Here are the results of the layered wax resist technique from the previous post, with all the wax burnt off, the silk washed and hemmed. The result is lots of rich texture and motion behind crisp beautiful lettering by calligrapher Laura Norton.
I’m anxious to receive pictures of the banners hanging in the sanctuary of St. Ignatius, Portland, OR and will post them for you when they come. In the meantime, enjoy all the blossoming plants and the great sunshine!
Rich textures can be made using one dye, wax, salt and 4 layers.
This is a project I’m working on currently for a catholic church in Portland, OR. First I contacted a good friend who collaborates with me on lettering. She is a wonderful calligrapher. You can reach Laura Norton at [email protected]
When she finishes the lettering I can start my watercolor sketch of the proposed design.
When the design is accepted, I make a copy of the sketch on newsprint the same size as the banner-to-be, in this case 13 feet by 30 inches. I make my lines with magic marker so the lines are dark. I place this pattern under the stretched silk, and can see the lines right through the silk. Next I apply a resist called “gutta” around the edges of the lettering, as seen through the silk. This establishes the lettering on the silk. When I apply the wax inside these gutta lines the gutta helps guide where the wax will go. Waxing the lettering means that the white silk is protected, as my first layer, and that the lettering will be white.
Below you can see that I have applied gold dye to the silk, and the wax has protected the lettering. However, I don’t want the lettering to be completely white. So I detach the silk from the frame just enough to get a handful of the silk. I am scrunching the wax to produce a crackle in the wax. The next layer of dye will enter these crackles and make a crackle design on the lettering. This is called “faux-batik”.
After scrunching the wax I apply some more wax with a sponge brush in sweeping streaks, but not too many as I want to add more streaks with each layer. Immediately I add a second layer of dye, and sprinkle salt on the wet dye. The salt melts and pushes the dye away, making a rain or snow like texture, similar to adding salt to watercolor. You can see the wet dye with the salt below. I also cover the cracked wax lettering with dye and a small bit seeps through.
Above you can see I also splattered wax randomly to add even more texture. And below you can see the result of the third and fourth layers of wax and dye, much more complicated. My goal is for a joyful motion to go with a sunny, warm rich color.
Now the painting and wax application are finished and need to be “fixed”. I roll both banners in layers of brown paper and newsprint and steam them. In the steaming process most of the wax melts off and is soaked into the newsprint, and the moist heat chemically bonds the dye into the silk fibers permanently.When the banners are unrolled the layers of dye will be revealed, the first layers being lightest and the 4th layer a deep gold.
Finally I will take these to the dry cleaner to remove any wax and dye residue, and the silk will regain its luxurious “hand” again, after being all stiff with foreign material.
Grunewald Guild, Leavenworth, WA, August 5-11, August 12-18, 2013
Teaching Liturgical Arts Week at Grunewald Guild with Jan Richardson, Garrison Doles, Gilly Sakakini and Laurie Clark every summer is a treat. I love the way our classes are woven together by Jan’s words and Gary’s music, and often find myself dreaming at night about the magic that will happen between us all the next day. This is indeed a thin place, where we all come together to explore Spirit in, with, through, around, under and above us.
Here’s what Jan has written about our theme “Between Heaven and Earth”:
“In the physical landscape and in the turning of the year, there are places where the veil between worlds becomes permeable. Past and future come together in the present, and heaven and earth meet. It’s not that God is somehow more present in those places—“thin places,” as Celtic folk have called them; rather, something in those places and times invites us to become more present to the God who is always with us. A veil falls away within us. We open, and we see.
Join us as we enter and explore these thin places, the spaces that open before us as we engage in worship, in our communities, and in our daily lives.”
Silk Painting: Exploring Color and Line as a Thin Place
I will be teaching two weeks of silk painting classes during this time, with one building on the other. In Week I everyone is invited, beginners through advanced. During Week II former silk painting students of mine (including Week I students) are invited for more in depth exploration. For more info, visit Liturgical Arts Week on the Guild’s website.
The banner “Who Is My Neighbor?,” commissioned by St. Marks Lutheran Church by the Narrows in Tacoma WA, was unveiled this Sunday. Pastor Jan Ruud wove the theme of the banner into his sermon. I wish I could have been there.
Every year our local Allied Arts of Whatcom County hosts a member exhibit. I submitted one of my silk paintings from the “Metamorphosis” series: “Painted Lady II,” and it was voted “BEST OF SHOW” in our Annual Members’ Exhibit by visitors to the gallery! You can read about it in the Allied Arts Feb. Newsletter. Thanks everyone.
This winter I accomplished a long-term goal to develop a stole representing our great Northwest environment.
The idea was to include day and night, winter and summer, mountains, plains and ocean in one piece!
My goal was to express the sacred beauty and presence of God I experience living in this varied landscape. Wearing this stole in our Green Season rites and rituals in our churches is a way of expressing gratitude to the Creator for such a wonderful home. My hope is to see this sacredness celebrated in our churches.
The seed for this stole design came from a painting I completed in 2006, celebrating life at Holden Village in the North Cascades. Can you see in the two vertical strips, one yellow and the other purple, one summer and one winter, the start of the design?
I promised myself I’d some day make a stole out of this painting, and now here it is!
New silk banner for St. Mark’s Lutheran Church by the Narrows, Tacoma, WA
This is the third year in a row St. Marks has commissioned me to make a banner supporting their annual theme. This year’s theme, “Who is My Neighbor,” I’m particularly happy to be supporting.
My assignment was to take inspiration from these places:
The hymn “Jesu, Jesu, Fill Us with Your Love”
ingoring the traditional boundaries that keep people apart
Dan Erlander’s drawings from his book “Manna and Mercy”
He Qi’s painting “Peace Be Still”
My calligrapher friend Laura Norton designed the lettering. She always does a beautiful job. [email protected]
The design for this piece came very quickly, it was the first sketch I made. . I was indeed inspired by the simplicity of Dan Erlander’s paintings, and even more so from He Qi’s art, where color and shapes are strong and flat.
I actually “quoted” some passages from He Qi’s figures, (like I did from Picasso in the painting “Abu Graib and the Twin Towers: A Lesson from Picasso” see image below) Because I was playing with He Qi’s style, I made a note of that right on the piece. I gave credit to him on the banner, writing in the signature area “In the style of He Qi”. That’s the turquoise bar on the bottom left side of the banner above.
It’s interesting learning from other artists this way. I went to Picasso when I was trying to do a painting about war, torture and other atrocities of Abu Graib. You can see easy references to Picasso’s “Guernica” here, all through my piece.
So I gave credit to Picasso in my title, which then has a double meaning. Picasso instructed me in art, and he instructs us all in the terror of war.
He Qi, thanks for teaching me about the power of simple flat forms and color to tell a powerful story.
Extraordinary Lutheran Ministries director Amalia Vagts commissioned a set of banners that can travel to different congregations. ELM has developed a logo for their organization and a logo for a program contained within ELM, called “Proclaim”. My job was to combine those two logos into one design for one banner, and to create a second companion banner out of the “ELM” logo alone.
Here are the two logos I combined:
On the left is how I chose to combine the two logos into one:
and here on the right is the companion banner.During the designing process Amalia and I were in contact so I could have her input and feedback, and incorporate any changes required.
Once we agreed upon the design the next step was to transfer it to the silk. Instead of drawing on the silk I drew the design on a large piece of paper the same size the banner was to be. I did this our the attic, which is my future studio!
As I write this my husband Kristofer is framing in skylights and a picture window (facing north) and getting ready to insulate the attic space. This will make a wonderful studio, and it’s hard to keep from moving in before it’s finished!
After drawing the design as big as the banner I stretched silk onto a wooden frame, then put the drawing under the silk. I could see the lines of the design through the silk, and copied these lines onto the silk with a resist.
Now it’s time to put some color on the banner! I usually start with the lightest colors first, then move to the darker ones. The biggest challenge with this painting was to keep any dye out of the area to remain white.
And the following picture is of the completed painting. Next: the silk painting must be steamed to set the dye, and then I’ll cut the bottom to create and inverted arch shape. The last step is to hem the banner and add a sleeve at the top. There’s quite a lot of work to do after all the painting is completed, but at least you can see what the banner is becoming.
Below you will see that the wax is still on the lettering. The wax will burn off in the steaming process, and will look much whiter. I’ve cracked the wax in the lettering to let some of the blue dye into the letters. This is similar to a batik effect, and ties the lettering visually into the piece. Otherwise the lettering looks like it’s not truly a part of the piece.
After I remove this one from its wooden frame to go into the steamer I’ll stretch a fresh sheet of silk over it to start the companion ELM banner. I’ll post that one for you to see when it’s ready.
How humans interact with the natural environment is a theme that runs through much of my work. I combined this theme with my love for drawing and painting the human figure in three oil paintings of nudes enjoying the wilds of the North Cascades. These paintings were recently juried into the 11th annual “Unclad” art exhibit in Stanwood WA.
If you’d like to see these three paintings, click on this link that will take you to the Unclad Art site where all the work is shown. http://www.uncladart.com/2012-artwork . The artist are arranged alphabetically, so find mine on the second page.
Better yet, come and see it in person!
Join us for the 11th annual UNCLAD Art Show
October 12th – 14th, 10 am to 5 pm
at the Floyd Norgaard Cultural Center
27130 102nd Ave NW, Stanwood, WA
Admission: $5 suggested donation
Featuring over 150 artworks — all nudes. Paintings, sculpture, photography, glass and a great Gift Shop. Artists from across North America!
*************************************** Special Event: Saturday, Oct 13th, 6 pm to 9 pm:
Wine & Cheese Night with Vicki Artimovich
Hold on as acclaimed historian and travel guide,
Vicki Artimovich, takes us on a wild adventure
through the colorful history of the Nude in Art.
Tickets $10 – reservations recommended. Call 425-359-7974
Our mission with UNCLAD is to create a beautiful art event that engages people in the world of art and inspires artists to push forward.
Please help us by sharing this site with your friends.
THANK YOU for your interest and support of the arts!
Drawing and Painting the Wild Journal at North Cascades Institute
Amidst the perfect weather of late summer our Wild Journaling workshop went out into the field to immerse ourselves in the grand mountains, meadows and valleys of the surrounding North Cascades.
The mornings were sweater-weather cool, and we hunkered down in our classrooms to practice our drawing and watercolor painting techniques. These skills supported our primary purpose of immersing ourselves in nature and recording the experience in our journals.
Thursday afternoon, our first day, we journaled on the short Peninsula Trail on campus, to test out our resiliency. The next day we traveled by bus with our journals and art supplies 15 miles away to Canyon Creek, rich with mining history. We crossed several foot bridges along a rushing creek to find an old miners’ cabin and barn deep in the forest, and spent the whole afternoon out there. Click on any thumbnail picture below to expand, then follow the arrows:
Sunday was our longest day in the field. We packed into the vans again and drove to a large meadow just under Washington Pass. The day could not have been more beautiful.
My students saw me go nuts with the camera. Here are some of the results. Click on a thumbnail, then follow the arrows. When you get to the end of the first batch, go to the second!
We had spent the 4 days of the Creative Arts Retreat with basket makers and artful mapmakers, and at the end of our time together we laid out our work for others to see.Here’s what our art show looked like:
What a wonderful time! Thanks, everyone, for such a great workshop! Hope to see you next year.