Night owl

It was so satisfying to put on the finishing touches to this commissioned piece. As I was sewing up the hem, I couldn't help noticing how the print rolled over onto the edges, lovely detail of a hand-made piece.

There is something quite thrilling about working at night, late into the night. With winter approaching, the night air is cuttingly crisp and clear. It is deep, intense yet peaceful.


Autumnal blaze

I've been meaning to post this for awhile now. A recent forest fire on Lamma left some amazing hues in its wake. Nature transforming nature, colour palettes that are beautifully coherent without any human intervention. Apart from putting out the fire, that is.

I'm hoping these will inspire my next colour stories.



I've been working more with colours of late, and the colour story of the month is turning out to be a violet/cyan one. Preliminary marbling on this 8mm silk chiffon scarf turned out rather nicely, love the way the silk chiffon captured each fine, tiny line and is beautifully translucent against light. I've ordered another batch of scarves to work on, following some interest from potential buyers! 


Troubleshooting Suminagashi

I've recently been asked this, and since it's also taken me a few trials to grasp Suminagashi marbling, I've decided to write a post on this relatively easy yet incredibly therapeutic printmaking technique. If you follow these steps, you should be able to ALWAYS achieve nice, clearly defined concentric circles. The fun then comes with manipulating and experimenting circles, colours etc. Preparation and having the right material is key.

Suminagashi is possible on water (I think), but I do it as a marbling technique simply because marbling on a thick viscous base gives you better control over how the inks spread.

4 points:

1) The base - I use Carrageenan marbling base (Carrageenan is a seaweed extract to thicken water. It comes in a powder form that you blend with water. Prepare and refrigerate this 24 hours ahead of printmaking)

2) Brush A dipped in ink. (I use Jacquard marbling ink, it is concentrated, spreads well and fixes onto fabric or paper)

3) Brush B dipped in dispersant/surfactant (to disperse the ink) (I use Jacquard synthetic gall but it is very strong, so use it 50% diluted).

4) Alum. Preparing your paper or fabric with alum solution prior to pulling your prints will ensure that the inks do not just slide off. Having said that, I used no alum in my first marbling trial and still managed to pull some prints, just with less definition.

Alternate between dipping brush A and brush B onto the surface of the water. It's a practice in steady-hands, my idea of meditative fun!


- To get darker circles/rings, you need the ink to be concentrated. And the more times you dip the inked brush tip onto the water surface, the more ink there'll be and the darker the resultant rings. Do that a few times before dipping the dispersant brush.

- Shorter time interval (faster dipping) between the dipping of inked brush vs dispersant brush will lead to tighter circles. For bigger gaps between rings, either increase concentration of dispersant on the brush or dip dispersant brush longer/more times onto the water surface.

Hope this helps! Happy printmaking ~~



Another farewell night on Lamma

Night-time on Lamma island, particularly in remote Pak Kok, feels special and intimate.



Even after almost 3 years of living here, I'm still in awe of how wild this island is, a mere 25mins away from bustling Hong Kong island. Ingrid's farewell night, engaging conversations as usual between a few close Lamma friends, something quite magical in the mix of external environment and interesting people. Eric said, living in a house with a view like this gives one perspective. 

And since marbling is the theme of the month, what better farewell gift than a marbled card & envelope set!

Hand-marbled card & envelope set

Experimenting with Suminagashi marbling

It's been a productive 2 days marbling, and so satisfying to have pulled some amazing prints! The one on fabric is done using synthetic gall dispersal followed by Suminagashi swirls. 

Love the way the prints adhere to fabric, skims all the ink right off the surface, onto the fabric, for some truly tadaaa moments! LOVE working in black and white that somehow just allows me to concentrate on the lines without stressing out too much on the colour stories.

Holding my first ever marbling workshop here in H.K on 7th Oct! 


Marbling flyer color-big font.jpg

Lotus-silk weaving in Inlelake, Myanmar

Finally gotten round to linking my Instagram account to this blog!

This was something I saw back in April this year whilst travelling in Myanmar that quite frankly, blew my mind away. Lotus silk weaving is unique to Myanmar. At Khit Sunn Yin Hand Weaving centre in the village of Innpawkhon, Inle Lake, they do a live demo of this craft and offer an amazing selection of silk and lotus-silk scarves for sale. Khit Sunn Yin is a 4th generation family business and by far one of the most established ones in the art of lotus silk. Got a silk + lotussilk mix scarf for around 40+ USD. A pure lotus silk scarf costs 75 USD.

The arduous task of extracting silk-like filaments from each lotus stalk to spin into weaving yarn is simply mind-blowing. Takes around 4000 lotus stalks to make 1 scarf!

Gallery Block
This is an example. To display your Instagram posts, double-click here to add an account or select an existing connected account. Learn more