Insignia #4 – Metallica

Intrigued by the possibilities of rolling spiral shapes with jewellery wire, I have recently attended some workshops to learn more about the different techniques involved. After investing in a few jewellery-making tools (three types of pliers, wire cutters and a special hammer), I have found that it is actually not that difficult to create rings and spiral shapes (both open and tightly coiled) – but the process is VERY different from that of working with paper! Paper can readily be shaped and coiled in your fingers, whereas wire (particularly in a gauge of 0.8mm and above) requires strength and a very firm grip to pull it into the desired shape – and it is all too easy to ‘kink’ it inadvertently in the wrong direction!!

For my next ‘Insignia’ piece, I wanted to have a go at incorporating wire work with quilled shapes within a heraldic-style design. (You can read about the other pieces I have already made for this series here, here and here.)

I have called this latest piece ‘Metallica’ because it uses a combination of metallic background paper (gift wrap), copper-edged and rose gold-edged quilling strips and copper wire which I believe go quite well against a purple backdrop.

The crossed ‘implements’ at the top feature wire-wrapped loops (as more commonly used when linking beads together in jewellery), finished on opposite sides with simple spiral flourishes. Because I have not yet found a satisfactory way of gluing metal directly on to paper, I have supported them with little black ring coil collars through which the metal shafts pass, and tucked the ends of the wire into two little expanded paper cup coils, all of which are secured to the background in the usual way with PVA.

Below that segment is a tight coil made from a crimped ivory/rose gold edged quilling strip, set on some lovely patterned paper which I found on the inside of a mailing envelope. Below that is a trio of copper wire circles which I threaded on to a black paper ring coil that was later ‘squashed’ to provide a secure ‘glue-downable’ fixing.

The left hand segment features ogee shapes and a twisted pixie-hood loop fashioned from lilac and copper metallic quilling strips glued back-to-back. This is complemented by a little bit of filigree in ivory/rose gold. The right hand segment is lined with a dramatic piece of metallic gift wrap paper as mentioned earlier.

For the edging, I used three batches of copper-edged purple 3mm quilling strips sandwiched together. A flat central section is bordered on one side by a crimped triple strip layer and on the other by a double strip layer passed through a ‘ribbler’.

Like the other ‘Insignia’ pieces, this one is destined to be displayed at St Mary Magdalene Church, Taunton, in July 2018 as part of this year’s Taunton Live Arts Festival under the excellent ‘Adopt An Artist’ scheme.

Advertisements

Insignia #3 Only Connect

Those who have been following my previous posts here and here will know that I am currently working on a series of quilled collage pictures based on shields which are divided ‘heraldic-style’ into sections containing graphic symbols of various kinds.

Here’s the third in this ‘Insignia’ series, which I am calling ‘Only Connect’ in recognition of the television quiz programme of the same name which is broadcast in the UK on BBC2. This is because the symbols I have used in it are some of the same ancient Egyptian hieroglyphs which are used to denote category choices on the show: Twisted Flax, Eye of Horus, Water and Two Reeds.

I wanted to add some textural interest to this particular shield, so have incorporated embossed papers in the backgrounds of two of the ‘quarters’.

The hieroglyphs were interesting to create. In each instance, I worked with double thickness quilling strips which I had glued together in pairs along their length for extra ‘mouldability’ and strength. The water was created quite easily courtesy of a wide-gauge ribbler tool, while the others were formed manually by trial and a fair bit of error along the way!

I have made extensive use of metallic-edged quilling papers in this piece, to lift the overall appearance and catch the light from different angles.  In particular, I utilised the newly introduced Ivory/Rose Gold quilling strips from JJ Quilling Design in the outer border and corner filigree work to deliver what I consider to be a refreshingly different bright appearance. The filigree is structured around some of my favourite ‘quilled tracery’ arcs.

I hope that this unusual picture may appeal to someone when I display it along with the others in Taunton’s St Mary Magdalene Church as part of the Taunton Live Arts Festival 2018 in July. The Church has generously offered to ‘adopt’ me as an artist once again, and I am keen to deliver work that is worthy of such beautiful surroundings.

My next Insignia piece will incorporate wire as well as paper! Watch this space …

 

 

Insignia #2 – A Rural Patchwork

Continuing with my ‘Insignia’ series of quilled collages inspired by heraldic shields, I am very pleased to present the second piece which I have entitled ‘A Rural Patchwork’.

As I explained in my last post, I love the idea of dividing up shield shapes into small compartments, and with this one I have tried to echo that colourful ‘patchwork’ of fields and enclosures that can be seen in rural landscapes – particularly in Somerset, where the views from the hills seem to me to have their own very individual character, quite different from their equivalents in Devon and Cornwall.

I began by selecting different papers and card for the backgrounds to the compartments inside this shield, ranging from the bright yellow of rape seed fields to the varying greens and browns that typically adjoin them. I used Decopatch papers for the forest and parched earth; a photo from a glossy magazine for the flowing blue river; an envelope from a mailshot for the small patch of black ‘mud’ and various other materials from my ever-growing ‘stash’ of scrap paper.  The exterior border and compartmental ‘hedges’ are multi-layer ‘sandwiches’ of 3mm wide quilling strips, some of which are crimped and feature metallic edges.

Once the background was in place, I selected some ‘symbols’ to quill: a tree, an ear of corn, grass, wild flowers (poppy, buttercup and daisy), plus a bee without whose efforts the countryside as we know it simply could not exist. These I have placed inside selected compartments, creating an image which – I hope – is pleasing to the eye.

 

 

 

 

 

 

 

 

I plan to make at least five quilled collage pictures for my ‘Insignia’ series, and am delighted to announce that they will be placed on public display during the forthcoming Taunton Live Arts Festival 2018 in July. I am privileged once again to have been ‘adopted’ by the magnificent church of St Mary Magdalene in Taunton, which will be hosting my work as part of the Festival’s excellent ‘Adopt An Artist’ scheme.

In a separate but equally exciting development, I’m delighted to say that I am also going to be ‘adopted’ by the Polkadot Gallery jewellery showroom in Taunton for my quilled and paper bead jewellery … I shall hope to publish a further post about this in due course.

It looks like being another very busy year for me in Taunton, which is now firmly established as my true ‘creative home’. I am excited and honoured in equal measure …

Insignia #1

It feels so good to be creating a new blog post about a new project on this, the first day of a brand new year … and I’d like to start by sending warmest New Year greetings to all my loyal followers!

2017 was a hectic year for me (in a thoroughly good way!) and there were times when I thought I’d never get back to creating larger pieces of quilled artwork again – but the dust has settled, sanity has returned and I am itching to move forward with a new collection of framed pieces that have been assembling themselves in my head for some weeks now.

My new collection will be called ‘Insignia’, and the idea is loosely based around the shapes and symbols I have observed in heraldry and armorial shields. I love the idea of shield shapes being divided up into geometric compartments where quilled motifs and icons can be displayed, especially when executed with gold, silver and other metallic-edged quilling strips which are so readily available today.

I have just finished working on the first piece in the series, which will serve as a prototype for what is to come:

I had originally thought that I would embellish this piece with some ‘specimen’ quilled motifs such as a complex alternate side-looped husking or ring of pixie-hood loops, making the shields a bit like a sampler – but then I stumbled across another idea which seemed particularly suitable to be working on at Christmas. If you follow my blog, you will know that I am very proud of my artistic association with the magnificent parish church of St Mary Magdalene in Taunton, Somerset, and was fascinated by the beautiful range of iconic symbols which have recently been used to decorate the church’s Christmas tree. These are called ‘Chrismons’, which are Christmas decorations which incorporate traditional Christian symbols – you can read more about them via this link here.

Chrismons are traditionally made in gold and white, and I could see that they would fit perfectly into the first ‘Insignia’ design that I was creating. I picked three of them – the triquetra:

the heart:

 

and the herald angel:

all of which I quilled using white and gold.

The triquetra (or trinity knot) was made using three simple ring coils in gold. I pinched the first coil into an ‘eye’ shape for the centre of the knot. Then I did the same with the second coil, but cut it in half to form the two side loops of the shape. Then I cut a small section from the third ring to complete the ‘knot’ shape inside. Having glued these sections together, I wrapped the whole triquetra shape around the outside in white.

For the herald angel, I reduced an image of the shape to the appropriate size, placed the outline under cling film on my work board and wrapped a parallel stack of two gold and two white strips around the shape using pins. To hold the shape, it was necessary to rub glue between the strips on the reverse side whilst the pins remained in place, and manipulate the angel just a little after it was removed from the board. I was relieved to find that it fitted perfectly into the square I had reserved for it in my upper shield!

Wintry light (or lack of it!) has made it difficult to photograph the finished piece with accurate representation of the colours.  The background is dark navy blue, which complements the other colours of gold, red and light blue (plus white in the Chrismons) very nicely.

The outline for the shields was created using my trusty ‘sandwich strip’ technique which I described in an earlier blog post here.

Now I am keen to move forward with another ‘Insignia’ piece, for which I plan to use ‘sunnier’ colours in the background. Maybe I will use some more of the Chrismon shapes, or perhaps some other icons – all will be revealed in due course. Hopefully I will have a complete series of these pictures ready for exhibition at the Taunton Live Arts Festival in July, and will endeavour to blog about them individually as I go. It’s so good to be back in production once again!!