CHAPTER 2 METALLIC EMBROIDERY
Image 1 (size 4inches square)
A sampler
Traditional gold work stitches and techniques including the following-
Gold kid padded with felt and applied with stab stitches around the edge.
3 ply twist couched down to form veins
Double rows of gold J
ap couched down to form outlines.
Purl Purl applied to form curved lines.
Sequin mesh applied with metallic thread which also is used to stitch central beads.
Gold smooth and check purl chips, seed beads and french knots to fill small sections.
Double
Jap strands used to form spirals
Herringbone stitch worked in Gold
Ophir thread
Brick stitch
S'ing with smooth purl
Couched
Rococco
Image 2 ( Size 10 inch circle)
Acanthus leaf, bud and flower worked in traditional Gold work stitches. Many of the stitches in this sample are those practised in the sampler in image 1. In addition the vein of the main leaf is formed by graduated strands of soft cotton thread couched down and covered with smooth and check purl. In large stretches the stitches are worked from a central point, working above and below, to keep the curves and gradations of the cut of the threads. The flower is worked in silk shading in two strands of floss. ( This is still work in progress but is included as an example of
traditional work)
Image 3 ( size 5 inch diameter circle)This sample is inspired by the Gough Map, dating from 1360 . It is the oldest surviving road map of Great Britain as it was known during the height of Opus Anglicanum. More than 600 settlements are included, including almost 200 rivers. It is also the first map to show a recognisable coastline. All the main religious houses and Cathedrals were shown in the original map, all connected by major routes.
The sample is executed in a modern version of Or Nue. the outlines of the main roads, rivers and significant cathedrals were drawn on to a firm canvas backing fabric within an embroidery hoop. Starting from the centre of the design strips of gold polyurethane ribbon were then laid over the surface and secured by a pattern of bricking stitches in toning gold thread. Where the bricking stitches met the outline of one of the main features these were then worked in contrasting colours. White for the coast, red for the roads and buildings and green for the rivers. The strips were then repeated alternately, top and bottom of the first central strip.
The sample was then framed in a double circle of card covered with a heavy rayon thread.
Image 4
Making metallic threads
Image 5Making macaroni gold purl. Sections of macaroni were threaded on to a cord and painted with gold and silver acrylics. Once dry the purls were taken off the cord.
Image 6Further sections of macaroni were dyed with
Procion MX dyes and left to dry.
Image 7 (size 6 inches square)The painted and dyed macaroni purls were threaded on to a heavy cotton yarn and stitched in a pattern on to a canvas backing.
Image 8 (Size 6 inches by 4 inches)Sections of a variety of made metallic cords ( see image 4) were intertwined and were then hand stitched on to a black background.
The horizontal metallic threads were then worked over in a brick effect.
Image 9 (Size 6inches by 4 inches)An example of gold thread hand couched down over padded metallic card triangles)
)
Image 10 ( Size 5 inches square).Black fabric was stitched over in a grid pattern.
Sections of made metallic and twisted threads were then couched across the surface.
Image 11 (size 8 inches by 4 inches)
Metallic threads were made by covering nylon washing line with bias cut strips of metallic fabric to form piping cords. These were then couched down on to a metallic fabric at the edges of the sample. The central panel was formed by circles of twisted metallic threads being couched down with a teased out gold lurex thread being couched along the centre.
Image 12 (size 6 inches square)In this sample layers of sheers,
fragments of lace and and scraps of metallic mesh fabric were
inititally stitched together by machine. By looking at the patterns formed by the scraps of fabric and initial machine stitching a number of significant shapes emerged. These were then outlined by heavy gold thread couched down by hand. The shapes are some of those to be found in Opus
Anglicanum-- A winged insect in the top left hand corner and a stylised flower with associated leaves filling the right hand side of the sample.
Image 13 (Size 9inches by 5 inches)Lines of ribbon tacked to soluble fabric.
Image 14Hand made twisted thread placed on ribbon
Image 15Twisted threads tacked on to background
Image 16The threads were then couched down using gold thread on the machine. The overworking of the sample meant that a new fabric was formed, meshing all the layers.
Image 18Images 18 to 20 are a repeat of 13-16 in different colours.
Image 19
Image 20
CHAPTER 3 UNDERSIDE COUCHING
Image 21 (Size 9 inch circle)
This image contains 3 samples of hand worked underside couching.
On the left is a diamond or lozenge pattern worked over three colours of heavy rayon thread.
The lower sample in the centre is worked over wool in a herringbone pattern.
The upper central sample is worked in a pattern of heavy blue yarn over strips of narrow velvet space dyed ribbon.
Image 22 (size 8 inches by 4 inches)
Various machine samples of underside couching using
metallic threads in the bobbin.
Image 23 ( size A4)Using a rainbow coloured heavy rayon thread in the bobbin this was an experiment with various shapes, stitch formations etc.to study the different effects of horizontal and vertical shading, changes in stitch length etc.
Image 24 ( size approx 8 inch square)
Various examples of machine underside couching using thick threads on bobbin and varying tensions, stitch formation, length and direction.
Image 25 ( Size 7 inches by 4 inches)
Threads were were wound over a frame and then stitched down from the wrong side using gold thread in the bobbin. The threads were then cut from the frame.
CHAPTER 4RELIEF PAPER SURFACES.
Image 26 ( size overall A3 sheet)
Although these images 'stand alone' perhaps some are worthy of comment or further explanation.
In the top line the sample top left could be seen as decaying fabric beneath a diamond shaped couching patten in gold thread.
The blue sample next two it reminds me of the circles of blue stitching used to form halos in Opus Anglicanum figures.
The next sample did not really feel right in the scheme of colours being worked with but is included to make that point.
Bottom left the copper and gold sample is particularly pleasing to me in its colouration.
The sample next to it, when first painted ,was a series of pale purple scrolls formed over a a copper background. By adding the dark blue lines I seem to have turned them into fantastical birds, similar to those in the Book of Kells!!
The two samples top and bottom right are two workings of a similar pattern.
Image 27 ( Size overall A3 sheet)
In this group the sample top left was an attempt to print stylised leaf shapes over a herringbone green ground. The raised edges were then brushed with gold.
The blue sample in the top line was again achieved by overprinting, this time shapes of fishes.
The green sample,overprinted with the gold S shapes, is almost like fine manuscript in the background with applied gold letters .
The sample top right had sponged fan shapes in 4 colours with each additional colour being added before the previous one was quite dry.
On the bottom row the sample on the bottom right was a conscious attempt to try to replicate the design of some of the angel wings shown in the Opus Anglicanum studies.
In the sample to its left the gold lines are applied as though in a herringbone stitch pattern
Time taken for Module 2 to end of Chapter 4Chapter 1 Opus Anglicanum study
100 hours inclusive of research , photography, typing etc.
Chapters 2,3 and 4
60 hours.
Health and Safety Issues.
Long periods of standing to make papers, purl samples etc. Need to ensure that this work is undertaken sitting down where possible.
Display Screen Equipment regulations to be heeded when typing up research studies etc. It is too tempting just to sit for hours on end until the work is finished .( Especially when there is deep snow precluding other activities!!)
Safe usage of dyes , bronzing powders etc. using masks when appropriate
.Safe storage and disposal of mixed dyes, paints , glues etc. Keep away from food sources in outside shed.
Wear disposable gloves and overalls for all painting, dying and gluing work to safeguard against skin irritation and spillages.
Always use scissors to cut metallic threads to guard against fine cuts to fingers etc.
IMAGE 3 Left side view
IMAGE 3 Left side view
IMAGE 5 Front View
IMAGE 6 Side left view.
IMAGE 5 Front View
IMAGE 6 Side left view.
IMAGE 7 Underneath view
IMAGE 7 Underneath view
IMAGE 8 Top view of hat on flat surface
IMAGE 8 Top view of hat on flat surface
