Greenwich Academy Alumnae

Cindy Willis's art career path took a detour. Because her parents did not want her to be a "starving artist," she tried to please them by receiving a degree in English literature, but minored in intaglio printmaking and art history at Barnard College. Persistent about pursuing the arts, she worked in an executive search firm from 1986-1988 and saved a portion of the money that she earned to go back to school to get a degree in textile design. Her first design job was working in the studio at The Echo Design Group, designing coordinate borders and layouts. She was selected as one of two artists to learn how to use the new (at that time) computer-aided design system and then was promoted to assistant designer for the classics line. Eventually, Cindy was the co-designer of the private label design division. It was at Echo scarves that Cindy realized that printing on silk is exciting because of the complex level of detail and the amazing intensity of color that can be achieved. Later, at Springs Industries, Cindy branched out to bedding design, and she enjoyed creating comforters as well as sheets, dust ruffles, throw pillows, wallpaper borders and curtains.

Cindy describes textile design as involving two main processes. First is the process of creating the original art, and second is the process of translating the original artwork into a design that can be printed. Original artwork usually is handpainted in an opaque watercolor called gauche, on watercolor paper. Occasionally, the design is painted in dye on silk fabric. Painting on silk gives a distinctly different style. The example on the right of this page, "Tropical Paradise," is an example of this technique.

In order to print the design, the artwork has to be made to end so that the pattern can begin again within the size of the diameter of the large rollers that are used to print the fabric. A separate roller is used for each color in the design. To create "Pheasants and Peonies," Cindy hand-stamped the square background pattern, and then hand-rubbed pastel over the boxes. The transparent effect of the motifs was achieved in a process of painting and lifting the excess paint with rags. This particular design was intended to become wallpaper and was painted in a 25 1/4 inch alternating pattern called a half-drop repeat. In order to print the design, separate 25 1/4 inch rollers are cut for every color in the design. After this is done, a roller no longer represents a color, but a position in the design. At this point, the colors can be changed. This is how different color combinations of the identical pattern are made.

Q: What inspires your career in the arts?
A: "In design, I am inspired by the hope that I can design something that brings joy to others. In art, I am inspired by the hope that I can create a work that expresses a thought or a feeling in a unique way."

Q: How did GA prepare you for your career in the arts?
A: "We had a great group in homeroom with Ray Noble. Many of us were in art class and/or art club together: Reagan Russell, Debbie Lill, Lisa Noble, Mary Pat Kurtz, Alison Berlinger, Sarah Dunlap, Caroline Schiele, Haley Rockwell and Carol Davenport. Linda Key and the Madrigals often serenaded us since we were on the same floor. I loved the camaraderie. If there were competition, it was the best kind of competition. Someone would set a high standard, and the rest of us aspired to it. We shared ideas, we collaborated, and we had mutual respect. I still enjoy the "studio" experience of working along side other artists — which fosters a sense of collaborative inspiration."

Q: Did you have any mentors at GA that inspired you?
A: "Ray Noble, one of my mentors, gave us a project to design a chair. Suddenly, we had to consider the construction, design, function, texture and color of a chair. It was one of my first exercises in "thinking-out-of-the-box." In design, our decisions always should be informed by a strong understanding of tradition and history, yet, to be exciting, good design must take an established form to another level. All of my Greenwich Academy teachers advocated the importance of a firm educational foundation and the need to ask questions and seek new solutions.

In Ray Noble's class, 25 percent of our art grade was based on attitude, and that standard forced us to create work, even if we did not feel like creating.This discipline has given me an advantage over other artists in my professional life.

Peggy Cragin's math class helped me prepare for the physical parameters of the textile printing process.

Carol Dixon is a mentor because she has been able to juggle a career and an artistic pursuit and, at the same time, raise a family."

Q: What is your advice for students and alumnae interested in pursuing art as a career?
A: "Success is one-third talent, one-third hard work and one-third playing well with others."

College: Barnard College
Post College: Fashion Institute of Technology, Associate Degree in Textile Design
Work Experience: The Echo Design Group; Studio Artist, CAD Artist, Assistant Designer Classic Scarves, Co-Designer Private Label Design Springs Industries; Acting Designer, Martha Stewart Bedding Wedgewood/Waterford Bedding and Table Linen Division; Freelance Designer

Tulips for apparel                            Christmas Candy scarf
                                                        © Echo Design Group