It’s been quite while since I wrote anything about colour so I thought I would start off by writing about the effect RED clothing can have on others.

I remember when I was very young and my nana saying: “Red and Green should never be seen except upon an Irish queen.” I didn’t really get that in those days and thought that Irish queens had special rights. But as I grew older and developed my love for colours and painting, I found that particularly odd as I discovered that red and green lived together in perfect harmony in a wide variety of beautiful flowers around the planet.

One of the colours that I avoided wearing for a very long time was RED. I painted in all sorts of bright colours, too, but red was clearly missing from my palette by choice. Now the psychology of colour is a very extensive subject and most of us are aware of it on a subconscious level.

When we think of the colour RED, one of the first things that comes to mind is love. It’s the colour of roses and Valentine’s Day. It’s the colour of passion and also of rage. Red-faced people are those who are choleric and have high blood pressure. Or who are embarrassed. And it’s the colour of blood, the life-giver.

So what does wearing RED clothing say about you? Well, for a start, you are likely to feel more energized on these days. Red is also a very warming colour and so quite a good choice on cold days. But it also gives out very clear signals to other people when you choose this colour for your outfit. If you come in to a meeting in red, then other know intuitively that you are a force to be reckoned with. You are likely to take on your opponents and are not so likely to back down easily. Dressed in red you may intimidate those negotiating with you and therefore have an advantage right from the start.

If a woman turns up for a date dressed in red, this can be seen as an expression of passion and her partner is likely to tune into the sexual undercurrents sent out by this colour.

It is a colour which can overstimulate people who are easily excitable and can raise bloodpressure. So if you are one of these people and like red, why not go for a shade more into the orange to tone it down a bit. In colour therapy you are not treated with this colour if your blood pressure is raised.

And you know the expression “seeing red“. In Spain the torero waves the red cloak at the bull to make it start charging and get the fight going. Your red outfit can also have this effect on others, rubbing them up the wrong way and causing irritation where it isn’t intended. So in situations where you want to be particularly diplomatic, red shouldn’t be your first choice of colour when selecting what to wear.

If you are selective about what you wear and when you wear it, red is definitely a colour that can be both enjoyed and appreciated by others.

I’ve been asked by many of you who have visited my website where all my mandala silk paintings are.

The focus has been on the silk cushions, pictures and cards but I realise now that lots of people have been expecting to be able to browse in the gallery and see the artwork I have been doing over the past few years.

So…. in response to that, Michael has kindly put together quite an extensive slide show which you can enjoy at your leisure. There’s a pause button, with forwards and backwards so you can take time to look at your favourite mandalas.

Just follow this link to the page on the website and remember to come back here afterwards and leave any comments you have. The first button is for the new extensive slide show and underneath that is the YouTube film, the older, much shorter one we did to music several months ago.

Slide Show of my Mandala Silk Paintings

I look forward to hearing from you.

Take care and enjoy.

Fiona

Okay, once you’ve decided which type of gutta to buy,what on earth do you do with it? Knowing how to put gutta on silk is not as easy as it looks but with a bit of practice and some useful tips, it should all start to flow a bit better.

If you’ve had a look at my post on which type of gutta to choose, then hopefully you’ve invested in some gutta that you’re happy with.

Now you may have bought a tube of gutta. In which case, all you have to do is take off the cap and start to apply it to the silk . But in actual fact, you may well find that the hole is a bit big and the gutta comes out really fast and thick which makes it difficult to control. These tubes are intended for beginners who want to just get started on some very basic patterns without worrying about finer details.

What if you want thinner lines? Well, the solution is to buy bigger bottles of gutta, small plastic bottles to refill and a set of nozzles to apply to the plastic bottles. It can be a tricky business filling the little plastic bottles but once you know how, it becomes a piece of cake.

First of all you have to match the nozzle to the plastic bottle. And this is how you do it….

You have to get a sharp pair of scissors and cut the tip off the top of the bottle. Be really careful only to cut off a small piece to start with. Next, try to fit the metal nozzle on top of the plastic. If it is still too wide, cut off another small piece. Try on the nozzle again. Do this with a twisting motion until the nozzle hugs the plastic. If it is still not perfect, slice off yet another piece of the plastic and try the nozzle again.

It’s really important to make sure you don’t chop off too much at the start as you may find that the nozzle just falls off and then you have wasted your money! So do it bit by bit.

Okay, so now the nozzle fits. And why is it so important to make sure it fits snuggly? Because when you are applying the gutta, there may be moments when you press the plastic bottle a bit too hard. This is when any badly fitting nozzle is likely to come flying off leaving you with a big puddle of gutta on your silk. And that can be rather off-putting to say the least.

Now, I’ll be perfectly honest. Your nozzle can still come flying off even if it fits perfectly. I overcome this by checking the fit every few minutes. I gently press it into place, twisting it firmly onto the bottle. But yes, I have had a few crises which ended up with a gooey mess of gutta on my beautiful masterpiece.

Right, you’ve cut the top off the plastic bottle. Now we need to fill it with gutta. And this is how you do it. Press the plastic bottle until all the air goes out of it and then hold the nib down into the gutta. Let go of the bottle and you will hear the gutta being sucked up into the plastic bottle. Now take the plastic bottle and gently bang it on the table to let the gutta settle. Repeat this procedure a few times until the bottle is at least half to three quarters full of gutta. You don’t want it to be completely full as that increases the risk of everything bursting out onto your silk.

Now you’re reading to start applying the gutta to the silk. Okay, so you are holding your bottle with the fitted nozzle in your hand, giving gentle pressure. You’re making sure that you are keeping the nozzle in contact with the silk, much the same as if you were writing your name, but with a little less pressure. An important thing to note is that you are putting pressure on the bottle itself with your thumb and forefinger so that you have an even flow of gutta. You are not pressing on the silk itself. Just maintain very gentle contact.

There is a chance that the gutta can ‘bloop’ at this point. This is when an air bubble comes out and the gutta makes a mini explosion over your silk. It can make a bit of a mess of your artwork. But you know what? This happens to me at regular intervals, too. And what do I do about it? I just make a creative feature out of it.

What do I mean by creative feature? Well, just pretend that it was meant to be that way. Turn the bloop into something that makes your design look really cool. Repeat it a few more times. Really, there are no mistakes in silk painting. Have fun and get creative.

I remember a few years ago when I was holding a workshop in Glastonbury. One very lovely participant suddenly lost her nozzle in the midst of a very creative phase. So I came over to the rescue. We made a golden butterfly out of it and added a few more for good measure. You would never have been able to tell from the result. And she was very pleased with it.

Now there is something I want to mention about resist technique. When you are drawing your lines, you want to make really sure that they stop the dye from ‘escaping’, so to speak. Hold your frame up to the light and you will be able to see easily where the weaknesses are and where the dye might be able to flow through when you begin to paint. Make sure all areas are properly closed and touch up any lines that seem a bit thin. It will be worth it when you come to apply your dyes as they will remain intact and keep the dye within its boundaries.

Have fun, then. And do let me know if you have any further questions or need any guidance on anything relating to this.

EMPOWER YOURSELF WITH COLOUR!

I don’t know if you are aware of it, but the colours you choose to dress yourself in can truly empower you.

When was the last time you woke up and just felt like moving mountains? And what did you grab for in your wardrobe? I’ll bet it was something pretty upbeat that made a bold statement about the way you felt on that day.

And the morning you opened your eyes and felt pretty awful. That was when you put on something that was likely cautious and “invisible”. Who wants everyone looking at them when they’re not feeling special?

It’s a fact that the choice of clothes you make on a daily basis really reflects what is going on inside of you. And for the majority of people this is happening on a subconscious level.

So, just image if you were to make conscious decisions about the way you colour dress and the impact this will make on everyone around you? (oops, I just coloured that yellow and it became almost invisible)

That would mean that you could think about what you have planned for the day and dress to enhance the desired outcome. Sounds good, doesn’t it? Personal empowerment with colour is quite easy once you know how.

I will be sharing some interesting bits and pieces about how to empower yourself with colour and I look forward to hearing about any of your personal experiences.

HAVE A COLOURFUL DAY!

When you’re starting out with silk painting it’s hard to know which materials to go for. Yes, there are many books and sites out there telling you which brands to go for but often they have a vested interest in promoting one over the other. So this post is just going to take a look at the pro’s and con’s of gutta for silk painting and leave the choice up to you.

I was just wondering how many of you actually know where the word gutta comes from. Well, it’s from the gutta percha tree which grows in Indonesia. The latex-like gutta from this tree was used in all sorts of industrial and medical applications

Gold gutta in plastic bottle with nib

including the lining of golf balls. One of the types of gutta available to silk painters is solvent based and seemingly contains this gutta, which has a rubbery feel to it.

Serti or resist technique is a method used in silk painting to create boundaries which limit the free flow of silk. Gutta is applied in small bottles with nozzles on them to the silk so that it pentrates the fabric. As it dries, it hardens to form a barrier which gives form to your painting. This is my preferred method of silk painting and indeed, I wouldn’t be able to create these detailed mandalas without the resist technique.

So back to the different types of gutta for silk painting. Basically you can choose between solvent-based gutta and water-based resist. And what is the difference? Okay, let’s start with the solvent-based type. You always have to remember that when working with solvent, it’s really important to keep your working space well-ventilated. This type of gutta needs to be removed after your artwork is complete and the only way to do it is by dry-cleaning which some of you might find impractical. One big advantage is that you can paint your dyes on very quickly after applying this gutta.

The other type is water-based and technically isn’t called gutta, but resist. However,  I still refer to it as gutta. What you need to watch out for is that it needs a bit longer to dry because the dyes can dissolve it a little if it is still too wet. One great way to speed up this process is to give your painting a blast with the hairdryer. I do that in my workshops so that we can get on with the colours. As to the question of dry-cleaning, this doesn’t apply to the water-based version.After you’ve fixed the dyes into your silk either by steaming or heat treatment (ironing), your can wash any clear gutta out by hand. One of the big advantages of the water-based version is that there are no fumes to contend with.

Now my preference is to use gold metallic gutta. The bad news is that you can’t dry-clean the solvent-based version. But I choose the water-based type because I want the lines to be a major feature of my finished work anyway.

However, I have had situations where I have tried to wash out gutta after I have changed my mind about the composition of my artwork. If you leave it too long, you might have a pretty hard job on your hands.

Now I wanted to address one particular point here. It is one which crops up again and again and I must admit that I have never had any difficulties with it. Many artists maintain that when they have completed their silk painting and then subsequently steam it, they never know how the finished work is going to end up because the lines tend to move and smear, letting the dyes blur at the edges.

I have never experienced this, either with iron-fixing or with steam-fixing but this appears to depend on the chosen brand.

In case you are interested in which brand I use, it is by Marabu Silk. I have used gold and silver gutta, as well as the clear version. All of these are the water-soluble types as I’m not keen on fumes and dry-cleaning.

I hope this helps. I am intending to post something on the art of resist technique itself so watch out for that soon. If you have any questions, please post them here and I’ll do my best to help out. Enjoy.

“How can I mount the silk painting I’ve made?” is a frequent question I hear from many of you who contact me. So I’ve decided to post an article on it for everyone to benefit from.

Mounting your silk painting needn’t become a chore and I’m going to describe to you how to do this in a relatively quick way for a modern, funky look.

You have to first of all fix your silk by steam or iron, depending on what types of dyes you are using. If you have at least 2 or 3 centimetres of edge around your image, then you can go ahead with this method.

Get yourself one of those artist’s canvas frames. I prefer the chunky ones with a 3cm depth but any thickness will do. Lay the frame on a flat surface in front of you and lay the silk on top of that. Centre your artwork as best you can on the frame and then wrap the silk over the top edge and gently hold in place with a pin. Do this for the other 3 sides. When you have done this, carefully turn over your artwork.

Please make sure your work surface is clean as your silk will be lying on it. If you can, lay down a thin cloth for protection.

Now you can start to affix your silk to the back of the wooden frame. Begin at the bottom, the edge nearest to you. Work this way for a firmer finsh. Hold the silk firmly and using an upholsterer’s stapler, staple the silk in place in the centre of the bottom. Repeat halfway along this edge to the left and right so you have a staple 1/4 of the way, 1/2 way and 3/4 along.

Do exactly the same for the other three sides, making sure you pull the silk firmly into place before stapling.

At each of the corners, fold the silk first to the left and then back to the right, tucking the extra silk underneath for a tidy finish. Staple in place.

You can now go around and put in extra staples in between the ones you have already placed, for extra hold. When this is complete, take a sharp Stanley knife (or similar utensil) and a long ruler. Hold the ruler in place to make a straight line and then cut along the silk, making a neat , tidy edge. Repeat for each side.

Et voila. Now your picture is reading for hanging. It has a very funky, contemporary look and is very versatile. All you need is one nail, two if you prefer.

If you know in advance you will be mounting your silk painting in this way, remember to include a wide border so that you can make a decent wraparound on the canvas frame.

Oh, yes and don’t leave the frame lying on the table when you are finished if there is a cat in the house. Ours has an antenna for silk and would love to  snuggle down on a freshly completed piece of work. We just have to make sure she sleeps elsewhere.

I hope this has been of use to you and look forward to hearing how you got on with it.

Warm wishes

Fiona

I often get asked by people which is the most suitable silk quality to use for silk painting. What I am sharing with you here is based on my personal experience over the years.

Generally light-weight silks are used for all silk painting and crafts. You would look for a medium-weight or heavy-weight if you wanted to make some quality, long-wearing clothing, such as a bride’s dress or a suit. I will be looking at silk weights in another post.

To answer the question in this post, the most important thing to know would be what you are intending to make. My personal favourite for wall hangings and other pieces which are meant to hang free and “float” is definitely pongee. It has that lovely wafting effect and is almost see-through depending on which quality you use. When you buy printed silk scarves, they are often extremely thin and this doesn’t allow for the same colour intensity as thicker ones. When I paint silk scarves, I don’t use anything under 8mm (momme – see upcoming post) and actually prefer to go for a 12mm for extra quality and still be able to use gutta.

Mandala Cushion on Silk: satin silk background

The mandalas that I mount and frame are all painted on satin silk, the Queen of Silks. It rightly deserves that name as it has an illustrious sheen, literally outshining all other silks I have worked with. When I have steamed a silk mandala, I don’t rinse the silk out until the bleeding stops, as with other items which are to be worn. This is because it is to be framed behind glass and so there will be no liquid, steam, etc coming into contact with it, nor will it be in contact with skin or other light-coloured fabrics. The disadvantage to washing out satin silk is that it slightly loses the beautiful sheen and most importantly, if there are any tiny creases, I cannot remove them with the iron. They simply “iron in”. So, for me, this is definitely not a quality to wash, only dry clean. Other types of silk can be washed by hand with care at your own discretion, although most manufacturers’ instructions (including mine) are for dry-cleaning only.

My personal favourite for clothing is crepe satin. This is a combination of satin silk on the top with a crepe backing. You can tell the difference when you have satin silk and crepe satin side by side. On the reverse, the satin silk is smooth and matt. The crepe satin, on the other hand, has a twisted weave. The advantage is that this quality is easier to drape and has a more elastic feel, not nearly so rigid as satin silk. My cushions are made with crepe-backed satin which makes them slightly softer.

An alternative to crepe satin is crepe-de-chine. This has the twisted weave on both front and reverse and doesn’t have the sheen of the satin. However, it is an ideal choice if you want to make gorgeous scarves, blouses, shawls, etc. It feels lovely against your skin.

Now, one or two words of caution. If you are intending to paint on these qualities, I would recommend you watch out for the thickness of the silk you want to work with. I have painted on different qualities over the years. My speciality is using gutta, the resist technique, which I will talk about in another post. After a bit of experimentation I came to the conclusion that the thicker qualities don’t allow the gutta to fully penetrate them, leaving gaps, so that you end up with a messy piece of work due to bleeding of colours. I wouldn’t recommend that you work with anything thicker than 12.5 for this reason.

I would also recommend that you wash any pongee or crepe-de-chine before you paint it and sew a garment, and this will avoid any disappointment due to shrinking. Silk has a tendency to shrink and that is one reason why people often find that their artwork turns a bit wavy after fixing due to the fact that the gutta lines don’t “fit” the shrunken silk any more.

You can pick up lovely offcuts of silk in bridalwear workshops. I would recommend only painting on them using washes of colour rather than attempt any resist and then cutting and sewing them into the desired article. Please refer to my upcoming post on silk weights for further details.

If this post has been of use to you, please let me know. If there is anything further to this you’d like to know, just ask below. If there is no comments box, click on the title of this post and one should appear. I look forward to hearing from you.

This space is intended as a silk painting forum offering help with the various techniques you can try out when painting on silk. I will  be discussing all sorts of materials you can use when painting on silk as well as giving various tips and descriptions techniques.

I want to encourage you all to ask any questions you might have and I’ll help you in any way I can.

In fact, you don’t need to wait for the upcoming posts. If you have any questions you’d like help with, just go ahead and post your questions now. I’ll do what I can to help.

Remember you can click on the Feed on Posts button, top right of the home page, to keep up to date with any additional posts. I look forward to helping you out with your favourite hobby.

Hello, my name is Fiona. A very warm welcome and thank you to all of you who are visiting my blog.

I really enjoy being highly creative and artistic at all times.  At some point in the future it would be wonderful to have a beautiful gallery for all the artwork that I create in a lovely holistic healing centre. I also visualise these mandalas on silk in healing centres all over the world to connect me with beautiful spirits globally.

You can book a silk workshop with me and create your own personal mandala on silk. And it’s always great to get questions from you either about your own silk painting or anything else you think I might be able to help you with. The category Silk Painting Techniques is a forum for your questions.

I also have plans to develop some new products both in the area of silk painting and self-development so keep in touch if you would like to find out more. Why not sign up to our Silk & Art Newsletter on our website homepage to keep up to date on what is happening

This blog is evolving organically as you, the readers, give feedback and I see how I can be of further service to you.

For more information and bookings, please contact me:

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Workshops – fionastolzeworkshops@gmail.com

All things linked with Silk Painting – silkandart@gmail.com
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I really look forward to hearing from you.

In gratitude

Fiona

P.S.: Why not have a look at the SilkandArt website to see some of the silk mandalas I have on offer. We’ve been branching out now and are offering t-shirts and other products featuring my mandalas (follow the link on my homepage).

I offer a special service of creating your own individual mandala on silk. This personalised mandala painting serves as a strong focal point in your home or workspace, depending on where you choose to hang it. The mandala is implemented in many forms of therapy to enable the client to find an easy way of expressing inner conflicts which are deeply buried and cannot find expression in words, thus overcoming huge barriers within a short time.

Mandalas are also excellent focal points for meditation which enhances peace of mind and eases problem-solving with whole-minded brain activity. Meditation is also an ideal way to calm the mind, reduce stress levels, bring clarity into your every-day life and to further inspire you to greater creativity.

Your personal mandala is a reflection of your soul with colour vibrations tailored to uplift and inspire you at all times, harmonising and balancing at all times.

When you commission me to paint your own unique mandala on silk, we discuss the basic colours to be incorporated, ones you particularly resonate with, and then I create your mandala in flow with your energy.

Please allow around 30 days for completion of a standard mandala (approx. 40m x 40cm). Large mandalas (approx. 90cm x 90cm are very work intensive and can take up to 2 months for completion.

Your completed artwork is carefully packaged, rolled up in a secure postal tube for safe transport. I am there to give you advice on how to back, mount and frame your mandala.

Double Happiness cushions as a wedding gift

Please contact me personally either by e-mail at info (at) silkandart (dot) com or by phone at +353 (0)870695657 to discuss all further details. I look forward to hearing from you.