Volume 16 Issue 1 First Quarter 2009 THE NICHE AWARDS Diane Tuckman A year ago, Wendy Rosen of the Rosen Group, owner of the Buyers Market of wholesale craft trade show for galleries, observed that / was underrepresented in the Fine Art and Craft Market. Wendy launched an initiative to bring together several fiber related organizations to brainstorm with the mission to promote fiber arts to galleries, collectors and the general public. SPIN, along with the quilters, embroiderers, weavers and surface designers, was invited to be part of that initiative. We have had two meetings and are working on a couple of ideas. As the current representative of SPIN, I participated in the two meetings and was asked to present the Niche Fiber awards for this year in Diane Tuckman and Wendy Rosen at the Niche Awards Philadelphia. A list of the seven Fiber category winners follows: Sponsored by NICHE magazine, the exclusive trade Professional Division winners: Student Division winners: publication for progressive retailers of American craft, the Fiber: Art Fiber: Decorative NICHE Awards program annually recognizes excellence View From Above Sea of Emotions Bonnie J. Smith Eugenia Ortiz and innovation in the American and Canadian craft bonniejofiberarts University of Kansas industry. San Jose, Calif. Fiber: Wearable The coveted NICHE Award was presented to artists in Fiber: Clothing Those Sweet Words 34 professional categories and 14 student categories in a Sweetpea Cocktail Dress Eun Yeong Jeong ceremony held February 15, 2009 at the Buyers Market of Anna Shapiro University of Illinois Annaesthetic American Craft. Providence, R.I. Professional and student craft artists from across the Fiber: Decorative Inside this Issue Three Hitching into the Night U.S. and Canada submitted nearly 2,000 entries for the Niche Awards 1 2009 competition. In November 2008, NICHE magazine Renee Harris Renee Harris Studio From the Editors desk 2 announced the 149 professional finalists and 69 student Cincinnati, Ohio Resource List 2-3 finalists who were invited to display their work in the Fiber: Handwoven/Knitted Santa Fe Galleries 4-5 NICHE Awards exhibit at the Philadelphia Buyers Market, Silhouette Necklace Volunteers Shine 6-11 February 13-16, 2009. Anastasia Azure Judith Meeks 6 Entries were judged on the following main criteria: Azure Designs Philo, Calif. Addie Chernus 7 • technical excellence, both in surface design and form Fiber: Surface Design Shirley Jane Hobbs 8 • a distinct quality of unique, original and creative thought Transformed in Silence Phyllis Gordon 10 • market viability (professional entries only) Jane Kenyon Deborah Younglao 11 Full lists of finalists and winners, with photos, is available West Vancouver, B.C., Canada Remembering Lenny Yorke 12 at www.AmericanCraft.com. Winners will be featured in Signature Membership 12 the Spring 2009 issue of NICHE magazine. Sunflower Silkers Chapter 13 Application information for the 2010 NICHE Awards is Ask Addie 14-15 available at www.AmericanCraft.com. SPIN www.silkpainters.org page 1 From the Editor’s Desk Resources for My name is Brooke Wiley and I am the new editor of The Silkworm. It is bittersweet to say good bye Artists to an editor that has accomplished These authors presented at Silk in Sante Fe, August 2008 so much with The Silkworm. I am proud to say that I have met Judith and she is going to be a hard act to follow. I can only hope to continue the excellence this magazine commands. I am a new silk painter, and I am so excited for all of the new and tantalizing information, and the opportunity to meet and work with such creative people. Please let me introduce myself. I was born in San Francisco, but raised in New Mexico, where I have been surrounded by beauty and culture. I studied at Washington State University, and have traveled all over the country teaching computer software solutions to major companies, many based in Kansas City, where I resided for a short period. I returned to New Mexico where I now live happily ever after. Though painting for several years, I was introduced to silk painting by my dear friend Sandy Hopper. A neighbor, fellow artist, and comrade, who would tell me about this fantastic medium she was learning, creating, and enjoying. She had been a member of SPIN and Yoshiko Iwamoto Wada attended the festival in Santa Fe, and could not stop Arimatsu Narumi Shibori Celebrating 400 Years of talking about everything she had learned and the people Japanese Artisan Design (DVD available in English she had met. It finally took a time in my life that was and Japanese, 155 minutes). filled with grief, for me to reach out to her and ask if I could paint a scarf. It was transforming. I do not This is a documentary of artisans work filmed in Japan believe I need to tell you the rest, the A-ha moments of in 2007, produced by Studio Galli Production and amazement, and the incredulous feeling of freedom that Yoshiko Iwamoto Wada. A portion of the sale goes to painting on silk gives. the artisans in Arimatsu to fund another film project to document remaining traditional techniques as well as I love to explore, test and question possibilities in art, contemporary innovations by younger artisans. and the first time I put my paint brush on a brilliant piece of silk, I fell in love. Love for the unlimited The DVD can be purchased through Yoshiko Wada for possibilities, love for the explosion of color, and love for $29.95 plus shipping. the happiness and peace it brings to me. I am honored Email [email protected] Phone 510-527-3432 Fax to be involved in helping you explore your journey that 527-0231. silk takes you on. A journey we can share together. Memory on Cloth: Shibori Now 2002 (6th printing) In this issue we celebrate! A celebration of new This book contains historical world shibori , membership, new chapters, dear friends that have left , fashion, art, and modern techniques us, and a volunteer group that puts out this amazing including de-gumming of silk and silk as well vessel called The Silkworm. The enjoyment of being a as shaping textured silk objects. SPIN member is more than receiving literature quarterly, more than talking a class or entering an exhibit, but a A hard cover book which retails at $80, selling at $64 fellowship among artists that aspire for the same goals. from Yoshiko I. Wada. The same order information as above. Until we meet again. page 2 The Silkworm 16-1 Diane Tuckman and Jan Janas The Best of Silk Painting 1997 A showcase of silk art including garments, accessories, home decorations and fine art created by silk artists like you. One of three popular books by these authors; the others are out of print. $30 plus $4 shipping. To purchase contact Diane Mary Schoeser Tuckman at [email protected] Silk 2007 Tells the fascinating and its impact on the world with vibrant text and 250 color reproductions. It will make you proud to be associated with this noble fiber. $50 at better bookstores and online merchants.

Natasha Foucault and Jeanne-Michele Salander Silk Diary An Artist’s Journey from Moscow to Mendocino 2006 Paula Carnell Tracing Natasha’s journey as a silk artist as well as her Painting Professionally On Silk 2008 geographical journey from Moscow through Europe to America. Each chapter contains a story segment that is Practical Advice for creating the career you want as supported by a painting and a study of technique. a silk artist. Each chapter concludes with an exercise $35 to help you translate the material into actions in your To purchase contact Natasha Foucault at nfouko@ own life. Ten English Pounds yahoo.com or Jeanne Michele Salander at cjsalander@ To purchase contact Paula Carnell at sbcglobal.net or at Thai [email protected] SPIN www.silkpainters.org page 3 Santa Fe Gallery Owners Speak about Fiber Art The owners of three New Mexico galleries came to the Silk in Santa Fe Festival early one morning in August before their galleries opened to speak to the conference from their perspective as gallery owners. Each owner spoke to how she works with artists and her relationships with customers

Diana Johnson and her husband created the Johnsons of Madrid Galleries of Fine and Fiber Art in Madrid, an art mecca about 15 miles outside of Santa Fe on the Turquoise Trail. Their gallery is large with six rooms and they represent over 100 fine artists. Diana and her husband are both working artists. In 1990, our gallery started carrying ‘wearables and wallables’. We now devote one room exclusively to fiber art, in addition to hanging it elsewhere in our gallery. In August, the gallery hosted a fashion show of silk , created and modeled by the New Mexico Guild of Silk Painters. We need volume in our gallery and are always looking for new artists. I keep records of every garment sold in the gallery to ensure it is one of a kind. This includes keeping a record of the block printing used for the garment if it were made in our gallery. We have a gallery opening every two months. We have a very large mailing list and everyone on the list gets a postcard invitation to the opening reception.

Jill Heppenheimer and her partner Barbara Lanning are owners of the Santa Fe Gallery in downtown Santa Fe. Their gallery focuses exclusively on wearable art. They represent over 30 artists in just 300 square feet. Our gallery attracts artists who produce not just beautiful cloth but take it to the next level of wearables. Clients have taught us the value of bringing art to their bodies. We look for a garment with inspired shapes and fabrics that reflect the personality of the artist, and we move the garment to a client who also brings her own personality to it. The process starts with the artist who has a dream in fiber. The artist is present in the texture and colors. The gallery only chooses work with abstract designs not Diana Johnson representational. We select garments constructed in ways that let the fabric speak, but we’ve also listened to clients who say they need shape in their garments.

page 4 The Silkworm 16-1 Jill Heppenheimer, cont. I look for artists that have been at it for a while, not emerging artists. I like to know that the artist has potential for evolution. I don’t want to take on artists that have been doing one thing for so long that their work will not change and evolve. Where that artist will be in two years, neither of us knows. We accept work in a mixture of purchase and consignment arrangements. The days of 60 per cent commissions to the artist are gone. Most arrangements are 50-50. Our gallery is an intersection of the artist and her cloth, the collector and her spirit and the gallery staff who must tap into the two spirits and bring them together. The challenge is how to make that equation Jane Sauer is owner of the Jane Sauer work on every garment. Gallery (formerly the Thirteen Moons Gallery) on People are sometimes afraid of cloth. They do not Canyon Road in Santa Fe. Her gallery focuses on fiber art. Canyon Road is the gallery mecca of Santa Fe. Santa Fe know how to wear a scarf. We solve that by moving itself is the third largest art market in the United States. into the client’s space and touching her body. It is a female world, a female esthetic. Our staff cannot be When presenting art created with fiber, Jane says, “It separate from the fabric and tools. We have to feel is of material, not on material.” I love people who comfortable moving in and touching the cloth and break the rules and create new things. I choose artists draping it on the client. who are not hemmed in by any particular thought process. Our clientele include some walk-in customers, but 85 per cent of our business is repeat business, clients We often find our artists rather than having them who get to know us and resonate with our esthetic. find us. I look for new artists myself. I know what Some of our clients have never come to the gallery. gap I am trying to fill. This may not match what you, We do facilitate custom work. as an artist, are doing. I may not want to bring in something too similar to work that I already have. I do not want to have artists who are in competition with one another within my gallery. The view of the owner is different from the artist. My gallery is a business, not a museum or a not-for-profit organization. I am responsible for maintaining that business and so must sell work. There is sometimes a compromise between what I would like to carry and what I know will sell. I can afford to carry only a small amount of great work that will have difficulty finding a buyer. Also, I see many wonderful things that I do not carry in my gallery because they are not right for a residential environment. We accept the work of artists on consignment, most often 50-50. Being on Canyon Road in Santa Fe, we do get walk- in business, but most of our sales are to repeat Jill Heppenheimer customers. The Santa Fe Art Expo is extremely important to galleries. We meet customers there and develop a relationship with them. SPIN www.silkpainters.org page 5 Featuring Silkworm Magazine Volunteers: Judith Meeks, Addie Chernus, Phyllis Gordon, Shirley Jane Hobbs, and Deborah Younglao

The Silkworm started as an all text newsletter over 14 years ago, with an editorial advisory board consisting of Diane Tuckman, Collette Gouin, Idaz Greenberg and Jan Janas. A fun and energetic newsletter full of tips and articles that helped even the simplest of silk painters. Over the years the newsletter began to incorporate images, which were a great addition. In black and white, they appeared grainy and hard to view. However in 2008, with Judith Meeks at the helm, the magazine took a revolutionary turn when the newsletter became a full color, 16 page publication and was renamed The Silkworm Magazine. It reaches SPIN members internationally with information, education, and pictures of fellow members and their beautiful art pieces. This is a big thanks to all of you that contribute to The Silkworm Magazine. It is with great honor and respect that The Silkworm pays tribute to these hard working individuals, and the issues they have and will continue to produce.

Judith Meeks Recent past editor of Silkworm Judith Meeks took a class in Toronto, Canada where she resides; which spurred her to go online and seek out other silk painters. She found Silk Painters International USA, and joined. Judith became editor of a black and white, all text publication called The Silkworm Newsletter in 2005. She worked closely with Diane Tuckman the first year, but began to venture on her own with the Newsletter. Judith has had so many achievements with The Silkworm, but one that sticks out most in her head, is when the publication went color. A full color, 16 page magazine that could display images as they were designed to be viewed, was definitely a triumph. Judith joined the Board of Directors in 2006, which gave her a good sense of what was going on with SPIN. She retired from The Silkworm as editor at the end of 2008, and now resides on the SPIN Board as Vice President. Thanks to Judith for all of the help, manuals, emails and general guidance on how to produce a beautiful magazine, called The Silkworm.

Frozen Jewels 2 Decanter page 6 The Silkworm 16-1 Judith Meeks, cont. Cheeky Chipmunk

Addie Chernus Contributor Author of Ask Addie

My love of silk painting started as a tiny drop of water which would eventually nourish a blossoming sunflower. I’m the sunflower when I paint on silk with . Glimpsing a few silk paintings in the window of an art gallery in Laguna Beach, California, 13 years ago, was the small drop of water. My daughter and I went into the gallery and I asked what medium was used to create these “blow your mind away” colorful, vibrant paintings. Silk and silk dyes! I was hooked. Every book about silk painting lined my bookshelf. I enrolled in a class with Rosemary Cohen of the Atelier de Paris and applied my first brush load of to silk. Of course, I now had to purchase all the supplies and get busy painting. The first silk painting I sold was at a street fair in Oceanside, California in 1995. The purchaser demanded I stop painting the demonstration piece, for he wanted to buy the painting as it was. He would not let me finish or steam the painting. Years later I saw him and the painting was fine and he still loved it. Many, many paintings later I joined SPIN in 1998. I have greatly enjoyed being a volunteer worker for SPIN: Vendor/Sponsor Coordinator for 4 years; Advertising Manager for 4 years. I taught silk painting workshops and did demonstrations for SPIN. Through Diane Tuckman’s immense efforts, I, and others have been able Hot Jungle III to show our work at marvelous venues: Smithsonian, Silk and Dyes: 44” X 33” SPIN www.silkpainters.org page 7 Addie Chernus, cont. Ratner Museum, National Arboretum and Academy of Sciences, Federal Court House and more. Thank you Diane. I wrote 3 articles for the Silkworm in the past. Currently, I write a column for the Silkworm called “Ask Addie.” Writing about techniques for painting on silk, products, step-by-step demos and answering your questions brings me joy. The Silkworm is the voice of SPIN. It keeps the members informed of activities, showcases artists and educates. Judith Meeks has done an amazing job as editor of this very important newsletter. I first met her at the 2006 Silk in Santa Fe Festival. She spoke clearly and I had no doubt here was an intelligent, organized hard worker which SPIN would be most Puerto Vallarta happy and lucky to have. I was right! Thanks, Judith, for your Silk and Dyes: 24” X 30” highly successful efforts and leadership.

Early Morning Taos All that Jazz Silk and Dyes: 30” X 40” Silk and Dyes: 24” X 30”

Shirley Jane Hobbs Desktop publisher since January 2008 www.landscapesinsilk.com When the job of laying out the Silkworm was advertised right after I joined SPIN, I jumped at the chance to do something I love and learn about my community of silk painters at the same time. I’ve been silk painting for less than three years and live in a rural area in the Black Hills of South Dakota. I am also a life coach. To learn more about that, check out my website: www. shirleyhobbs.com I was fortunate to have Judith as my first editor and to be the first publisher to work in full color on glossy magazine stock paper. I met my first silk painters at Silk in Santa Fe last August. I have not been disappointed. Being a part of this group has been very rewarding. I look forward to many years to come. Shirley Jane demonstrating at a local gallery: Prairie Edge, Rapid City SD October 2008 page 8 The Silkworm 16-1 Shirley Jane, cont.

Black Hills Landscape: 20”X40” Habotai Silk and steam set dyes

In October of 2006 I started silk painting on silk scarves and developed a local area market. I paint seven themes: yucca, sage, coneflower, meadow rose, blue , and pasque flowers. A local quilter has asked me to partner with her to make quilted wall hangings. I paint, she quilts.

Yucca design scarf: 11”X60” Habotai Silk and steam set dyes Hollyhocks painted for : 24”X54” stone washed Crepe de Chine

Sage design scarf: 11”X60” Silk Chiffon and steam set dyes

Fall Coneflowers in the Black Hills: 20”X40” Habotai Silk and steam set dyes

Last winter I started painting Black Hills Landscapes on habotai and stretching them. I love the freedom of watercolor style painting on silk. Since Silk in Santa Fe I have been using Tinfix heat set dyes. SPIN www.silkpainters.org page 9 Phyllis Gordon 2nd Proofer www.designsonsilk.com I was a student of oil painting and watercolor for many years and also loved to sew with beautiful fabrics, teaching for eight years. When I discovered silk painting - which brought together all my interests - I was thrilled. Silk painting has been my focus for the past 8 years. I joined SPIN in 2000 and have attended three of the silk conferences. Each one was a major event in my life. Since early 2005, I’ve been part of The Silkworm team - as one of the proof readers of the newsletter. I especially enjoy getting that first look at the upcoming issue. My curiosity takes over and I must clear aside whatever else I’m doing, find a comfortable quiet place and settle in to explore the new issue. The editors have consistently given their best efforts to make each issue unique and informative. Their articles have introduced SPIN members to talented silk artists from around the world. These artists are always open and sharing of their skill, experiences and techniques. The inclusion of color photos was the ideal addition. I file away my issues in a notebook and from time to time go back and read them again. I always learn something new.

Moonlight Reflection Dyes on Silk: 20” X 16”

Himalayan Blue Poppy Alexandria Tulips Dyes on Silk: 20” X 24” Dyes on Silk: 20” X 25”

CALLING ALL CHAPTER PRESIDENTS! We are updating our Chapter database and need your input! Our Chapter Coordinator, Deborah Younglao, needs to know your Chapter name, location and the names of your officers and members so we can keep our information current. Please send an email to [email protected], or call 919-363-9413. Thank you! page 10 The Silkworm 16-1 Deborah Younglao First Proofreader SPIN Chapter Coordinator I have been a proofreader for the Silkworm for the past 2 years. Typos and incorrect grammar are two of my pet peeves, so proofreading was the logical choice for me when I wanted to volunteer. Judith would send me the articles several weeks before printing time and I'd send them back to her with any necessary editing done. The work was really pretty easy, since mistakes were few and far between. Reading the articles twice--once for proofing and then in the magazine-- has been a bonus since it has helped cement the material in my head!

Watery World I Watery World II

Paintings are heat-set paints and no-flow on habotai.

Watery World III SPIN www.silkpainters.org page 11 Lenny Yorke August 31, 1962 to November 15, 2008 by Kaki Steward Lenny Yorke spoke to the members and distinguished guests at SPIN’s Silk in Santa Fe conference. His topic was “Behind the Scenes in New York” and, although he stated that he was not a public speaker, he held our attention with beautiful photos and wonderful stories that most of us didn’t know about fashion designers. When his slideshow arrived at photos of his own designs “Style Management”, his demeanor changed from all business to that of a proud papa. After his talk and fielding a few questions there was a break in the program. The lights went up, and artists from the audience surrounded Lenny. You could still locate Lenny in that crowd because of his height and melodious voice and easy laugh. I was not one of them: I could not imagine what to say to a “New York Fashion Designer”. As he walked out the door, however, I mustered enough Lenny Yorke courage to hand him my business card, and said sized women. We are still motivated by his ideas and something like, “Great talk! Now I have 999 cards left.” commitment to his community. Again, his booming laugh filled the room. It is in this spirit of support and sharing the SPIN Festival The remaining days of the conference unfolded and we 2010 plans to sponsor two scholarships for artists new to were all checking for “Lenny sightings.” He had created the art of silk painting in Lenny’s name. Visit the SPIN quite a buzz, so you can imagine how very surprised I was website for future information on Lenny’s Scholarships. when I received an e-mail from him. He was interested in a collaborative project using my silk designs, his fashion SPIN Signature Membership designs and classically trained ballerinas as models. Needless to say, I was more than excited. We exchanged The Board of SPIN has created a Signature Membership many e-mails, phone conversations, sketches, photos and Level in SPIN that recognizes artistic achievement in crazy ideas, in the following two months. Silk Painting. Designation at this level, would entitle the As it turned out, I was able to go to New York the Signature Member to use the initials “MSP” (standing for second week in November and actually met Lenny at Master Silk Painter) after their name and they would be his apartment. I brought a piece of satin which I had published on the web as a Signature Member of SPIN. dyed in blues and purples, using a pole wrapping Shibori To apply for the Master Silk Painter designation, the artist technique, which he then planned to “build”( as he put it), must be a member in good standing in SPIN for a year and into a pencil skirt. We had a wonderful afternoon. When they must have exhibited in two national or international Lenny walked me to the taxi stand, I had many yards of juried SPIN events. During each induction round, new beautiful silk, a million ideas and an early January date for signature members are chosen from the completed our first photo shoot. applications submitted to a special Signature Membership Upon returning to Laguna Beach I called repeatedly to Committee. The application would include a selection of thank Lenny for his swift return of my glasses I’d left in images as well as other evidence for artistic merit. The my haste and excitement. He didn’t answer because just 5 evidence for artistic merit might include but is not limited days after our great afternoon of ideas and grand plans he to academic standing, artistic awards, special exhibits, had died. workshops taught, and letters of support from gallery owners, curators, collectors, and former students … He was 47. His enthusiasm, ideas and grand plans did not include this, and those of us touched by his gift were If awarded, the artist would be designated a Master of Silk not prepared for it either. As stated in his memorial story, Painting as long as they remained a paid member in good “Lenny had a knack for making other people feel good standing with SPIN. If there is a lapse in dues of more about their artistic abilities.” During his short 47 years he than 18 months they would be required to resubmit their used fashion and art to enrich the lives of others. These application. projects included: DC Fashion Council, Congressional The first induction round will be in April 2009. Find out Black Caucus, SPIN, Dress for Success, Makeovers for more about the Signature Membership level and how to critically ill children and self esteem projects for plus- apply at http://silkinsantafe.com page 12 The Silkworm 16-1 The Sunflower Silkers Diane L. Lawrence

Sunflower Silkers Barb Balentine (treasurer), Diane Lawrence, Denise Walker, and Ann Keller enjoying the Santa Fe Reception after the Fashion Show.

Artists are wonderful creatures and I’ve found over the years that the more contact I have with them the richer my life and the more my art improves. Creating art in the studio on a day to day basis can be pretty lonely without feed back or other artistic stimuli. If you are a silk painter who feels like you would like to seek out other souls with this passion for silk, why not create your own SPIN chapter? Since I have taught silk workshops over the years I knew who had a strong interest in this media. With this knowledge and a small amount of effort our chapter, “The Sunflower Silkers” was formed. At our first meeting in January 2008 it was decided that we would meet bi-monthly, what our goals would be and that we would not have officers. Members signed up for hosting meetings and could have them at their homes, my studio or at a local coffee shop. The meetings are very relaxed and casual, and the member sponsoring the meeting decides what the topic will be. Some topics covered have been steaming, application of foil, painting on glue primed silk, use of silk paint, discussions of exhibition spaces and resources for silk painting supplies and silk. Members are always encouraged to bring new work to the meetings so others can see what they’ve been creating. This is always exciting and inspiring! Since two of our goals are exhibitions and education, I feel we’re doing pretty well. We had a group exhibit on First Fridays in November of 2008 at a prime site in an area with numerous galleries. The attendance was excellent and the exhibiting artists were there to answer questions about their work and silk painting. We had a number of sales including scarves, an original and a silk purse. We are currently exhibiting at a popular coffee shop and restaurant for two months and have already sold one original. This coffee shop was designed with exhibition space and is a popular location for personal and business meetings. One of the things we did with our refund from SPIN was to have a nice reception for this exhibition on a Sunday afternoon. Each member was responsible for their own mailing for inviting clients, friends and family. In September we will have a booth promoting and demonstrating silk painting at an art festival here in Topeka, Kansas. At every exhibition or educational opportunity we always make sure the SPIN brochure is available and a description of the silk painting process is displayed. Besides the additional exhibition opportunities and learning Chapters! The Silkworm is looking to hear from you! from one another, I find I really enjoy being with these other Let us know what your chapter is up to! Send your eleven colorful artists, and look forward to the next meeting. information to [email protected].

SPIN www.silkpainters.org page 13 painting). The flowers were sketched all around her ASK ADDIE leaving room for stems and leaves. Step by Step Painting Fiber pens filled with your dyes This technical article is the fourth in a series I am writing The pens have a strong fiber nib which allows for precise about the art of painting on silk. I hope you will enjoy and neat applications of dye. They are great for texturing, reading this article which deals with the Step by Step working in small areas, applying dye in a limited amount process I followed when painting “Geisha Garden.” This so there is very little drifting of color. I filled the pens painting is a study in textural contrasts, harmonious with my favorite colors, one to each pen, using an eye subjects, unifying color and using fiber pens filled with dropper. The pens can be refilled with the same color and your dyes as the major painting tool. Please email me are air tight. Also, remember to color code your pens so questions or ideas you have about silk art and this column: you know which each holds. My empty fiber pens were [email protected] purchased from Atelier de Paris, (310) 553-6636, and Dharma Trading, (800) 542-5227. Materials Painting Steps I used steam set DuPont dyes, Habotai 12mm silk, Chinese brushes, fiber pens with my dyes in them and two Black water based resist (DuPont) was used to outline the drawings on vellum. The colors used were: greens (Olive, woman and her clothing. I like to use black resist when Fougere and Lierre), yellows (Helianthe and Madrilene), I want the colors to look very bright. Be careful not to reds (Soleil, Windsor and Bordeaux), purple (Orchidee), smear the resist or leave gaps. Black resist, because it is orange ( giroflee) and black (noir). opaque, can also be added on top of dry dyed silk. Then the flowers were outlined and squiggled lines were applied using pens filled with dyes. No resist applications for the flowers are necessary when using these pens. The amount of dye released by the pens is controlled and small. No water has been added to these dyes and there is no water residue on the tip. Therefore the dyes do not migrate as much as if the dyes were applied with a brush.

Materials: Arty’s Frame System, DuPont dyes decanted into poster paint containers, Habotai 12mm silk, safety gloves, liquid fade out pen, Chinese brushes, fiber pens with my dyes in them, inspiration materials, Presist water based clear resist, black water based resist, squeeze bottles and tips and dish of water. Vellum drawings of Geisha and flowers The idea for this painting came from two drawings I had Geisha was painted and the flowers outlined. I used the fiber previously drawn. One drawing was a Geisha woman pens with my dyes to paint the Geisha in a flat manner and in full costume standing in an interesting pose. I have the flowers in a textured way. Notice the same colors used painted many beautiful Geisha women for paintings, wall throughout the painting. hangings and kimonos. The other drawing was a loose Using the same pens I painted the Geisha using several sketch of sunflowers. Putting these two harmonious layers of dyes. While the dyes were still wet I added more drawings together was enjoyable. lines of color which melded into the underlying color. The First, using a liquid fade out pen, I traced the woman onto colors of the Geisha are the same as the colors all over the another piece of vellum in a pleasing spot (not center painting. This same use of colors produces art which is or too high or low, with her face looking in towards the unified in color and feeling. page 14 The Silkworm 16-1 The flowers were layered with squiggles of the same by itself. The side of the painting with the Geisha and pens. The squiggles were made with petal shapes and some flowers was painted with a few layers of the same color in mind. I had fun just drawing in abstract shapes dark green dye. The background, like the Geisha, stems on the flowers. Several layers of dyes were added to the and front leaves, are painted in a flat manner. complexity of squiggly lines. Values were darkened for Here is the interest and dimensionality. finished painting before it is In this photo one can see steamed. Notice the beginning of the build up the areas which of abstract squiggles on the have smooth flowers and leaves. The pens applications of are wonderful for this type of dyes: the Geisha linear application of dyes in woman’s clothing, a controlled manner. Each the forefront flower has one dominant color. leaves and stems and the negative spaces. The flowers and some When the flowers were dry I used a Q-tip to add water to of the leaves were treated to show lots of texture. Combining the parts of the flowers. This is wet on dry which causes the smooth with the textured areas of a painting create more interest for the viewers and artist. underlying dyes to mingle and move out to the dry area forming a dark edge. More squiggles were added to the Conclusion flowers to deepen the values. Using these fiber pens is fun, easy, neat, great for drawing Presist, a water based clear resist, was used to outline the on silk and applying small amounts of dye, under and flowers before the background was applied. I did this over texturing, air tight so the dyes can be stored in the so that when I painted the negative space, background, pens, and best of all you fill the pens with your own dyes. the colors did not mix. With the resist I added stems and To unify your work try using the same pallet of colors more leaves. The pens were used to paint the stems and through out the art piece. Remember to use various leaves in a smooth manner. This flat application of dyes textures in your art work to add interest and fun for you. is a contrast with the highly textured flowers and some of Most silks are smooth and the liquid dyes are also smooth, the leaves. This difference of dye application was to add so to achieve texture the artist has to have this need in interest and variety on the painted surface. mind. Try these fiber pens-- I am sure you will love them!

The forefront leaves and stems were added using clear water based resist in a squeeze bottle with a number 9 metal tip. I added vertical lines to divide the negative space for interest and ease of painting. The lines add visual diversity to the circular flowers. Sometimes backgrounds are too large and not broken up into small spaces. This makes painting the background difficult. “Geisha Garden” is now steamed and the colors are set. I Clear resist was used to form the vertical lines. I used changed her mouth into a smile. Using the same colors and harmonious subjects, the viewer can appreciate the peaceful three reds, one for each vertical shape. When these coexistence of the Geisha in her Garden. were dry I over dyed the reds with black dye. Using an undercoat of color creates a black with more interest than SPIN www.silkpainters.org page 15 6806 Trexler Road Lanham, MD 20706 USA

Editor: Brooke Wiley [email protected] Publisher: Shirley Jane Hobbs [email protected] First Proofreader: Deborah Younglao [email protected] Second Proofreader: Phyllis Gordon [email protected] Database Manager: Susan Butler [email protected]

From Decanter Webmistress Teena Hughes by Judith Meeks [email protected] page 6 inside

is the quarterly magazine of SPIN--Silk Painters International--an organization of silk artists, painters, practitioners, and educators. SPIN provides its members opportunities to network with kindred spirits and to grow through workshops, conferences, juried competitions, and gallery exhibitions. Material contained in The Silkworm belongs exclusively to The Silkworm and/or the artist. Do not reprint without written permission. Executive Director: Diane Tuckman Email: [email protected] Website: www.silkpainters.org Phone: 301-474-7347 Fax: 301-441-2395 page 16 The Silkworm 16-1