The silk mural “Tree of Life,”  composed of two 25 foot by 4 foot fabric panels, is  ready to be hung in Faith Lutheran Church. Dedication will be Sunday July 19, 2015 at Faith, 2570 McLeod Rd, 10:00 AM,and promises to be quite nice. Please join us if you are in town!
If you recall from previous posts I used rollers on each end of a frame to paint 9 feet of fabric at a time. When the piece was finished I was able set only 10 feet of  each panel next to its partner, enough to tell that the sections match pretty well, but not enough to get a sense of how it will all look finally hanging in its new home. That will have to wait until the new pulley system for hanging this and other banners is completed, soon. I am anxious to see how it looks!
I’ve photographed this piece in my studio as best I can. Since it is so long I was only able to get about 10 feet at a time. Â Below you will find 6 photos, 3 for each panel starting with the left panel, from top to bottom.
Left panel:
Top of left panel, about 10 feet by 4 feetMiddle of left panel, about 10 feet by 4 feetBottom of left panel, about 10 feet by 4 feet
Below is the right panel:
Top of right panel, about 10 feet by 4 feetMiddle of right panel, about 10 feet by 4 feet
In the last post on this silk Tree of Life project for Faith Lutheran Church, Bellingham WA, I showed you how I transfer a 10″x10″ pen and ink design onto large paper to make a pattern 8 feet by 8 feet. This makes up only one third of our 24 foot long pattern. I transferred all the rest of the watercolor design to paper using a grid system since the pattern shapes are so large that they get distorted by the projector.
Putting the silk and pattern both on the frames is the next step. My husband made two rectangular frames out of straight 1x lumber, both 4 feet by 9 feet interior dimensions, and added legs. Then he rigged up a roller system, very much like a loom, so I could load the extra silk onto each end.
In the picture above you can see the silk loaded on one of the rollers, and the paper pattern beneath it. Under both the silk and the paper are hung clear acrylic panels that allow me to raise the paper pattern to the right height below the silk. It helps very much to put a shop light underneath the frame, which shines through the clear acrylic to show my magic marker lines from the pattern through the silk. I use a resist called “gutta” to draw the lines, following the pattern, using clear gutta in some places and black gutta in others. I am using black gutta to help the piece echo leaded stained glass of the Chartre Cathedral North Window.
In the foreground of this picture you can see the black magic marker pattern underneath the silk. In the background you can see part of my studio. It is in a re-modeled attic of our 120 yr old house.
Here is a view  the other direction:
I have divided the work on this project into three separate parts. First I am developing the mandala-like stained glass window design, as that is the central focus area with a lot of detail. Almost every other part of the design supports this section. Second I will develop the background sky and waterfall, down to the horizontal pool of water. This second section is all connected by muted and more neutral colors with soft edges. The colors will gradually change down to the waterfall area behind the foliage. Lastly I’ll work on the waterfall, the bottom third of the piece. This area will repeat blues, purples, greens and whites in the areas above, but also contain some of the darkest colors in the rocks. This area will include gradual blending of colors along with some hard edges, and maybe splattering or other techniques to represent flowing, falling and splashing water.
Lots of work must be done before laying in the first colors. But now that the gutta for the round folliage area is ready, I will begin the most fun part!
I am happiest with a paintbrush full of color.
It takes a lot of time to fill in all of those spaces, and this part will be only half-done until the background gets filled in.
Below you can see the ghost images of the fruit yet to be, with the blackberries coming along nicely.
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Now to develop all 12 of the fruits that ripen one a month, so that none may go hungry!
Spring brings new life, and with it an exciting new Tree of Life project for me. I’m happy to be working with a local church, Faith Lutheran Church in Bellingham WA.
 Here’s the full view of the design. The finished piece will be 24 feet long and eight feet wide, on two long silk panels 4 feet across each.
The cross will not be painted in, but in this sketch represents the church’s existing wooden cross (9 feet by 6 feet) that hangs the ceiling. The silk mural will be behind the wooden cross.
I will use colors on the tree that echo the wood colors of the existing cross to make a metaphor: The Cross is like a tree that is alive, blooming, and abundant with food in each season, and its leaves are for the healing of the nations. (Rev. 22 vs 2)
Faith Lutheran Church has a big wall behind its alter that is blank except for the wooden cross and colored light coming from long thin windows at the side. Unfortunately I only have a black and white photo. The carpet is a muted purple, paraments at the time are olive green, the walls warm wood color. The wall looks like it needs a stained glass window behind its cross to me. So I designed the foliage of the tree with the underlying structure of the North Window of Chartres Cathedral in France. At times during the day light from the stained glass windows on the side will enliven the Tree of Life painting in a lovely way.
The collaborative process for designing this project was conducted  over a period of time, with input from a fairly large group of people from Faith Church. We met 3 or 4 times, and after each meeting I used their input to make changes in the design.
Below you can see the same sketch without the cross. This is the actual design that I will be painting on silk.
Things are going well. I just finished another couple projects and have cleared up my plate of tasks: so now it’s full steam ahead on this project. I’ve been anxious to get started and it’s really fun.
So far I’ve prepared the silk by hand-washing, line drying, ironing. Then cutting the width down to the right size and applying “fray-block” on all 50 feet of cut edge. The frames are all ready to receive both the pattern and the silk, and right now I’m finishing up drawing the pattern life-size on big paper after making a more careful drawing of the rose window/tree foliage.
UPDATE: April 8, The silk is now on the frames and I have been transferring the design to the silk with a resist from the rubber plant, called “gutta.” I will show pictures of this in the next post.
Following are some pictures of how I make this 30″ x 10″ watercolor sketch into a life-sized pattern for an eight-foot by 24-foot silk painting.
The first step was to refine the round Chartres foliage portion of the piece on another smaller drawing. I like this pen and ink version. It is 10″x10″.
The second step is to enlarge the whole sketch onto paper the same size as the silk would be. I use big roles of newsprint cut to the right size. Most often I use a projector to throw the image onto the paper, but with a round and highly geometrical pattern like this I had to transfer it the old fashion way. I made a big compass out of trammel points and measured carefully to get all the geometrical forms just right.
After this geometrical pattern is finished I can project the details from the pen and ink drawing onto the pattern, knowing that there is no distortion if I adjust the projector to fill the shapes on the carefully made pattern. It’s lots easier to work upright on a  wall than bending over on the floor of my studio.
I found it easier to transfer the large tree trunk and background imagery using a grid instead of the projector since they are such large shapes and easily distorted. So the only practical way to use the time-saving projector as a guide was doing all these leaves and the fruit inside the circles. LOTS of detail here.
I’ll keep you posted on my progress during the weeks ahead. I’ll show you the silk on the wonderful frames my husband makes for me, and what it all looks like with each step. Maybe you can come and see everything in person if you live nearby. Stay tuned!
 Here’s the full view of the design. The finished piece will be 24 feet long and eight feet wide, on two long silk panels 4 feet across each.
Things are going well. I just finished another couple projects and have cleared up my plate of tasks: so now it’s full steam ahead on this project. I’ve been anxious to get started and it’s really fun.
