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How to Use Silk Painting?

Silk painting is a fantastic art that can be enjoyed by just about everyone. Even beginners can create stunning pieces to be proud of. It is such a versatile material that you can use it to create items of decoration – such as panels, pictures, wall hangings, suncatchers, cushions etc – to practical uses like clothes, scarves, ties, and bags. It is surprisingly easy to make something beautiful just by painting different colors on to a piece of silk and watching them spread and blend and work together.

By doing this you learn which colors complement each other and how to make soft and sharp patterns and shapes. Try painting the daisies again with a new piece of silk, but this time while the paint is still wet, sprinkle a few little clusters of coarse salt onto the areas that will be the centers of your daisies and leave to dry. Once dry shake the salt off the silk and draw your daisies. The salt soaks up some of the dye and leaves a mottled effect on the silk which will give your daisies a bit more depth and definition. Silk painting itself sounds extremely inventive, as making a craftsmanship on texture with silk as the canvas is extremely creative.

Presently, before you run with your paints and brushes, you have to know how silk painting is really done. There is nothing uncommon about the painting, it is an immediate paint-on technique with specific colors and paints. These colors and paints that are implied for silk painting, are connected to the silk texture and are uniformly spread. These colors and paints can be used for silk painting as well as for house painting. For techniques on house painting, you can look at painters Loveland. A colossal assortment of tones are utilized, contingent on the painting. The hues are converged such that they turn into a necessary piece of the texture utilizing delicate and smooth strokes. In addition, another guide require toward be engaged is that the silk paintings are ideally painted on silk texture not at all like different paintings that are done on canvas. Silk painting has never been simpler with texture mate markers. Be that as it may, yes a beautiful option to any home stylistic layout can be included by utilizing some basic procedures and a choice of organizing hues.

To begin with this, you simply need to gather and amass the required materials and an arrangement of hues on a work table and it is constantly prudent to cover the region with daily paper or plain newsprint to stay away from any kind of stains. Also, the best part is here is no compelling reason to set the shading after it has dried. Utilizing salt isn’t essential yet it makes a pleasant mottled surface. This is such a simple little experiment but can be amazingly effective. Everything you do will be teaching you the value of color and the flow of the dye on the silk. considering silk painting texture is an unquestionable requirement. The immortal interest, style and the silk texture picked say a lot about this stunning workmanship. Therefore, what are you sitting tight for, select any of the textures as indicated by your prerequisite and begin painting a canvas for your home

Mounting Silk Onto Foam Board

Decide size of picture and board.

Cut silk 1.5” – 2” larger all round than board, to allow for turnings onto the back.

Lay silk right side up on top of board, with excess hanging over edges. Stick a pin through the silk into the center of the board on its top narrow edge. I like to push the pin only half way in, as it is easier to get hold of when making adjustments, or moving pins along.

Turn the whole thing over and ensure that edge of silk is running parallel to edge of board (eg 1” turned over along whole length). Put more pins along top edge about 1.5” apart, working your way from the center pin to the sides.

Turn the whole thing over again, silk right side up.

Put a pin through the silk into the center of the narrow bottom edge of the board, opposite the top one, pulling the silk taut, but not too tight. Stick pins all along the bottom edge, as for the top edge, pulling taut each time, with pins opposite top ones. Put pin through silk into the middle of one of the sides, and match with a pin on the opposite side, pulling taut. Finish sides off as for the top and bottom.

Make mitres at the corners as best you can. Looking at the right side, adjust pins and stretch to avoid puckers.

On back use 1” – 2” lengths of masking tape to stick silk onto the board, pulling taut. Take extra care with the corners. If you use longer lengths of tape, and find puckers appear, it will be harder to unpeel it all and adjust it.

Make sure you have a pin quite close to each side of each corner to help neaten it.

When the whole thing looks right, you can adjust the spaces of the pins if you think it necessary, and push them right in. Make sure they go in straight or they may pierce the picture, or come out of the back of the board.

Cut a piece of brown paper a few mms smaller than the finished mounted silk on the board. Mark the center at top of back of board, and attach hanger/hook. Mark the center of the top edge of the brown paper, and cut a flap down the length and width of the hook/hanger. Turn it to the inside and tape over it. This neatens it and adds strength over the hanger.

Put a strip of double sided tape all round the board, very close to the edges. Peel back about 3” length of each piece of d.s.tape. Carefully position brown paper over the back of the board, and keeping one hand on the paper, peel off one length of d.s.tape. Smooth down, and repeat with other pieces of d.s.tape.

Plate hangers have very strong glue, and the packet will show the weight of plate which can be hung, so they are certainly strong enough for even a big piece of foamboard. If you have a very wide picture, you should probably put a hanger at each end.

The metal hangers are suitable for heavier pieces and have to be pushed down and along at the same time.


The Art of Suminagashi

The Art of Suminagashi literally means ‘ink-floating’. This is a technique which originated in China over 2000 years ago, and was taken up seriously by Shinto priests in Japan over 800 years ago. This is a method akin to the more well-known marbling designs called Ebru, which originated in Turkey.

Suminagashi involves floating ink onto the surface of water. This is blown or fanned very gently to move the ink and form irregular patterns. A piece of absorbent paper, such as the Japanese Washi paper, is laid onto the patterned water. The paper immediately picks up the ink, and is carefully lifted off and set to one side to dry.

suminagashi by Osvalda Teiser

Members of the Chiltern branch tried suminagashi at the monthly meeting at Rainbow Silks in April.

Silk Painting Artists

Training: Started my ‘art’ career at aged 8 attending Saturday morning art classes at my local Art School for 3 years. Art was discouraged at my very academic grammar school but continued drawing and painting at home.
My training and professional life as a teacher then headteacher gave me an outlet to be creative and explorative in several media.
I started silk painting 3 years ago working closely with Jill Kennedy.

Group Shows: Bucks Open Studios.

Membership: Member of the Guild of Silk Painters. Member of VIG.

Training: Studied at Chelsea School of Pharmacy, London.
I have taken a weekend silk painting course at the Earnley Concourse, and have several other day courses and workshops and have been silk painting for over 15 years.
I took evening classes for over 25 years in Jewellery and Silversmithing as well as taking a number of other courses in the subject and have had several commissions.

Group Shows: Hatfield Craft Show, Alexandra Palace Knitting and Stitches Show, Bucks Open Studios.

Interests: Silk painting, Silversmithing, and many other crafts.

Membership: Member of the Guild of Silk Painters for which she does the Book Reviews. Member of VIG.

Training: Attended Courses at West Dean College, Missenden Abbey and Hertford University.

Solo Shows: Bucks Open Studios.

Interests: Silk Painting, Portrait Sculpture Cast in Bronze, Fused Glass, Watercolour and Oil Painting.

Membership: Member of the Guild of Silk Painters. Member of VIG.

Training: BCUC – BA Hons – Applied Textile Studies 1999 – 2002.

Group Exhibitions: New Designers, Islington 2001, 2002.
Living Crafts at Hatfield 2007, 2008.
Bucks Open Studios 2008 – 2011. Chilterns Silk Painters group exhibition at Wycombe Museum, 2011.

Membership: Member of the Guild of Silk Painters. John Allen Design Group, Ley Hill.
Wax Lyrical, Great Missenden. Chiltern Textile Group, Penn. Member of VIG.

Training: Finding more time on my hands and looking for an interest to keep my mind active with something a little different and more creative, I was introduced to silk painting by an enthusiastic and friendly local group. I have learnt a lot about colour, dyes, materials and different techniques, and have even started experimenting myself. This has proved to be a very worthwhile and enjoyable activity and one that can produce a useable end product.

Group Shows: Chilterns Silk Painters group exhibition at Wycombe Museum, 2011. Bucks Open Studios.

Membership: Member of the Guild of Silk Painters. Member of VIG.