90x90cm Industrial Silk Dye Handpainted Silk Scarf

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This is a work in progress, that i am making in collaboration with silk artist and international relations board of director of SPIN ( Silk Painter’s International),Rashmi Agarwal, as i learn how to make silk paintings professionally. I was introduced to techiniques such as tracing and free hand drawing with clear or coloured gutta on 100% pure silk. Gutta’s are liner mediums which are manufactured in tubes, outlining the borders of our patterns with gutta prevents the low viscosity silk paints to spread and stain onto other parts of our image. The clear/transparent gutta can be washed off with ease once we finish our painting, before we iron it for heat setting.

This painting is lined with black gutta, and is stretched onto a 98x98cm adjustable french frame with suspension pins attached to the hem lining. The advantages of using this frame is that we can stretch the silk with ease onto the frame, this is adjustable to the smallest degree since there are many holes for the pins to be plugged in, this is of extreme help when allocating the appropriate tightness for working on the surface without ripping or straining the silk too much. Make sure to insert the suspension pins onto the hem, so that maximum strain force can be focused there and the silk is less likely to rip.
This piece is filled with industrial permanent dyes, these can be purchased from Avant Garde, Javana and Dupont.   Dyes are lower in viscosity, much thinner than the normal silk paints, therefore they also dry much faster and spread faster too. This asks for careful painting, as well as speedy work.

16/11/2013 – Value Drawing Practice

Needed practice after 7 months of no art, so decided to go with the basic cliche sphere shadow value drawing :)

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Formal Reflection of my own work:
The following piece demonstrates a basic and strong use of many elements of art and principles of design despite minimilistic artistic representation via elements, due to the subject matter merely being a sphere illuminated by dramatic light. This was made on heavy sketch book paper with the dimensions of 24x33cm with the use of a soft 6B pencil. The use of line is less evident, as the pencil shading masks this, hence demonstrating value. The use of curved shading strokes compliment the form and add to the three dimensional multi planar structure of a sphere. The abrupt patches of distinct shades add a dramatic sense to the image and  therefore increase the light intensity. As the shades on the sphere get lighter, the contour lines are more evident which again complement the three dimensional figure by supporting the form. The use of color is restricted to the greyscale and demonstrates effectiveness by use of value and intensity. The variance in intensity heightens the contrast within the colors, intensifies the dramatic effect of light and shadow and brings a cutting dramatic edge. Every light area is contrasted with a dark area with intense shading placed adjacent to it, to further highlight the dramatic change in colors by skipping from one end of the tonal value scale to the other extreme end. The texture  of the sphere and the table is visual and implied, due to the two dimensional surface. The sphere appears to be smooth on the surface as the tones get lighter, while the abrupt patches of darker shading add to the harsh texturally rough complexity. This changes the mood of the image, as the lighter areas give a peaceful and soft sense, supporting the connotations of the word “light”; while the dark areas, on the other hand,bring harsh abruptness into the image, contradicting and balancing out the effect of the lighter patches. The shape remains free hand and organic, on the account of the observational nature of this drawing. The focal point in this composition is the sphere, the eye is drawn to this first because of the supporting elements and principles. The use of space, balance and distinct change in value are the three most influential ones. The spatial arrangement is very plaid and uninteresting, the placement of the sphere in the centre drags the attention, also because it is the only visual element portrayed. The edge of the desk is just slightly higher than half way of the image, this allowed me to elongate the effect of the shadow and adding further drama, without disrupting the basic symmetrical spatial balance of the image. The movement of the eye in this is outwards, the focal point ( sphere) draws the attention first, and the vast empty space and the statistically directional strokes in the background force the eye’s attention to move outward; this also further make the effect all the more striking. And finally, the rhythm lies not only between the repetitive value shades and trends of strategic contrasting, but also the similar strokes on the sphere and the mimicking outward curving strokes in the background; all of these tie in harmoniously to make the piece come together and  support itself to showcase the desired striking and dramatic effect.