Inspired Art and Living with Fiona Stolze

Resist Technique – How to Put Gutta on Silk Without it Flooding

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.


February 17, 2009 Posted by | SILK PAINTING TECHNIQUES | , , , , , , | 2 Comments



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.


February 11, 2009 Posted by | COLOURS | , , , , , | 1 Comment

Gutta For Silk Painting – What’s the Best Kind to Use?

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

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.

February 7, 2009 Posted by | SILK PAINTING TECHNIQUES | , , , , , , | 15 Comments