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Decoding Islamic Patterns with Sharmina Haq

19/7/2018

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​Sharmina’s work is exciting and different. She sells her work as paintings, often inspired from tile-work or Koranic manuscripts and undertakes commissions for people who want to have something specific represented. Using gouache or watercolour (which Sharmina prefers because of the movement and depth) in the final design, Sharmina aims to ‘decode’ original geometric patterns and art.  She recreates them with extreme precision, using compasses and mechanical pencils to achieve the first draft.
Watching how Sharmina works you can begin to understand the enormity of the task of decoding an original ancient design. Sharmina likes to analyse historic traditional patterns and build up a design based on them.  Once the design is developed it can then be painted on wood or tiles, paper, glass or on plates and pottery. Sharmina has a maths background and is naturally interested in how patterns are formed.  Decoding a pattern, like the doorway of the Blue Mosque in Istanbul, was around one day’s work to prepare the original geometry. Her favourite design however, is from a manuscript which she first saw in an auction at Christies and then was fascinated into how to replicate the design.  See below a series of photos which show how this particular design was built up.

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Japanese Woodblock Printing - A Residency and a Book Deal for Laura Boswell

7/7/2018

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​Laura was in residence at Ardington School last weekend teaching Japanese Woodblock printing to a group of very enthusiastic students.  Laura’s courses are almost always booked up months in advance, and this pays testament to her reputation as a teacher.  One student said to me ‘what a privilege it is to be here – Laura is so professional and talented’.
 
What is Japanese Woodblock printing?
Japanese Woodblock is a water based printing technique that takes practise and a real feel for the materials. It uses watercolour paint with all the demands that particular medium brings; most prints are a build-up of many layers, all of which have to work. That said, the results are enchanting and it is a true table-top method: no press and no nasty chemicals. You get to use some exquisite hand-made Japanese papers too. You can read more about the entire process on Laura’s website.

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    ​Yvonne Sonsino

    Director, Ardington School of Crafts

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