Module 2 Chapters 2-4

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 Jap 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 5

Making 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 6

Further 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 14

Hand made twisted thread placed on ribbon

Image 15

Twisted threads tacked on to background

Image 16

The 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 18

Images 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 4

RELIEF 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 4

Chapter 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.

Opus Anglicanum Study

fantasy hat mock ups

IMAGE 1 (Fabric 3.5x2.5 inches) Manufactured fabric over-stitched with lemon wave blocks IMAGE 2 Experimentation with stitched sea weed to add to stitching on manufactured fabric.

IMAGE 3 (Size of fabric 3.5x2.5 inches)

Fabric overstitched with lemon stitching and sea weed stitching. A narrow'frilled' edge made in needle lace will also be added around the bulb of each strand of seaweed.

A front edge of lacy fabric has now also been added. Lace was made by knitting two strands of clear filament with lemon cotton thread in a lacy pattern.

IMAGE 4 Front view of image 3. Sample is self stiffened and self supporting

. IMAGE 5. LACE WING

A machine made lace ' wing' to be attached to each side of the sample.

IMAGE 6

Sample with lace wings attached and curved wire edges attached to each side.

IMAGE 7. In order to finish the back edge of the sample and 'tie' together the two wire curves this is an experiment in constructing a groyne which would be streched along the back edge. This would be further stitched to represent algae/ lichen.

IMAGE 8

Final mock up of miniature size sample with some decoration etc. As a result of these experiments I feel committed to both the black lace edges and the curved side wires and so I intend taking these forward to further models.

IMAGE 9 ( Size 11 inches x 9 inches without wings)

Having experimented with a minature hat I now turned to a bigger version.

The first trial was with a simple curved buckram base with a shaped front . A curving piece was cut to frame the wearer's cheek. This would be covered by an additional black lace wing , currently the mockup is in black net. A larger piece of lace has been knitted and attached to the front.

IMAGE10

Side view of image 9

IMAGE 11 (SIZE 11 inches x 9 inches)

Having experimented with a simple curve I now made a stiffened double curved mould which was more wave like in structure. the mould was made from fine mesh net , PVA stiffened.

This mould, although stiff, gives a greater feeling of movement and fluidity than the previous solid buckram curve.

IMAGE 12

Curved mould covered with manufactured fabric, front lace trim. The side wings would be formed, in the final version ,with three machine made black lace wings ; a single wing at the back and a pair at the front.

IMAGE 13

Additional surface stitching added to fabric. The black stitched side panels are designed to echo the shapes in the proposed side wings. At the front edge, moving back from the lace 'veil', rows of cords and fringe have been added in wave like forms. Two lines of wave like stitching lie behind the front edge and the whole fabric sample has been overstitched by hand in a toning green thread in a wave pattern.

This still leaves scope for further surface stitching of lichens, barnacles etc. and the addition of various other surface decorations.

IMAGE 14.

Overstitched fabric draped over mould. The back left edge of the fabric has now been wired to enable it to curve up in a wave like form. This seems to give an ideal fluid wave like form to the whole shape. The top surface is assymetrical and wave like and the whole is shaped over the wearer's head and face. The back curved wing gives the opportunity to add further decoration to the back of fabric to ensure interest from all angles.

It is till intended to add the side wings and curved wires.

IMAGE 15

As stated previously there is further scope for surface decoration and the attachment of decoration to the curved side wires as in the miniature sample. The pictures below show some experiments in making small items in line with the theme.

revised fantasy hat.

DESIGN BRIEF ; FANTASY HAT. In considering ideas for a three dimensional item of apparel I returned to my original sketch book- 'Life at the Margins: where land and water meet'. I considered again the sketch of Sea Defences Along the Wash, reproduced below. It was an image I worked with in the design phase of this module, especially using abstracted fragments and altered digital imaging. Image 1. (A4 sheet) Image 2 : A4 sheet The image produced here captured the essence of the original sketch , emphasising the black frame of the two narrow triangles, but without the crescents and zigzags of the abstracted fragments and computerised distortions. The centre panel was made from bubble wrap overpainted with a mixture of gesso , Procion MX dyes and Setta Silk paints. This gave a good texture and colour palette and the bubble wrap sample was robust enough to use in this simple design. It was clear, however , that ,even with limited stitching,etc., the paint surface did not form a good enough bond with the bubble wrap to stand up to the handling which would be necessary if I were to use it to make a more complicated item. The clean lines of the sample appealed to me as did the colouring and black frame in the original sketch. I began to consider, therefore, how I might be able to achieve a surface which replicated the textured form of the bubble wrap and the colours in the original. My first though was to use Tyvek but, having looked at a previous sample of this material , although it gave a similar bubble texture, it did not have the quality and 'feel' I was looking for in making a hat which would be wearable. I turned my thoughts ,therefore, to manufacturing a special fabric for this piece. In looking through my threads, ribblons and wools etc.I came across three sample balls which had the kinds of colours I was searching for and which all had a textured surface. I used soluble fleece and an 'invisible' filament and machine stitched rows of the group of three threads on to the fleece background. Image 3 (A4 sheet) This image shows the original threads on the left and the resulting fabric on the right once the backing fleece had been washed out. This achieved a richly textured surface but also a fine , lacy effect which gave the lightness I was looking for in the construction. At the next stage of the design trials I will experiment with ways of further stiffening the base while not adding to the weight and density of the fabric. I feel that a closer approximation to the bubbled surface might be achieved by overworking the fabric with hand made french knots in thick silk thread in toning colours. Once again this will be for experimentation at the next stage. Once I was confident that I could achieve the fabric I was searching for for the main body of the hat I then took my design on from the original images. Image 4 (A4 sheet) I decided to build the hat on to a purchased , teardrop shaped, fascinator as I felt that this would give the necessary foundation for the rest of the structure and was similar to the shape I am tryi ng to achieve. In the bubble wrap sample the black , framing triangles were placed with the apexes reversed. On reflection , for the best shape for a hat , I decided that it would be better to place the triangles in the same direction . The fascinator will be attached with the narrow point facing the apexes of the triangle. The triangles will be made from stiffened black satin and it is possible I may add a narrow black veil along the front. The triangles will be made so that they are capable of being folded up or down like wings. I decided to do this in order to give the maximum number of variations in the configuration of the hat, to suit the mood of the wearer. Thus they could be flat, both folded up, both folded down , folded with one up and one down etc. On each side , along the fold line of the triangle, but extending beyond it, I have added two narrow black trimmings. The decision to do this was prompted by the very narrow triangles in the 'design recipe' and also by the work on abstracted fragments ,extending beyond the frame of the original drawing. the actual formation and construction of these features will either be in bones ,or fine straw ,or covered wires, depending on experimentation and the availability of materials. Image 5 (A4 sheet) The top section of this image shows the triangle and trimmings in more detail , while the bottom section shows additional thoughts on the central crown section of the hat. In order to add greater height to the construction I will create smaller curving shapes in the same fabric but edged with different coloured stitching to bring out the individual colours . It will also have the effect of introducing some of the curved shapes which were present in the original design recipe , developed from the sketch. These will be over stitched, this time by machine, in a pattern of zig zag blocks, firstly to increase rigidity and secondly to introduce the final ' zig-zag' element present in the recipe. Image 6 (A4 sheet) In arriving at the design brief above I considered other potential configurations once I had manufactured the fabric. I looked closely at the paper drawings and fabric sample produced from the distorted digital images at the design stage. I looked at the possibility of using a round shape as the foundation ,again with a purchased fascinator at the base. It was then possible to cut a circle from the maufactured fabric or ,alternatively, to use one of the muslin tissue samples prepared in the same way as for the design stages of module 1. I could then use a circle of black satin or fine felt to cut a spiral which would then be wired in order that it could be pulled up to give height to the design . These ideas are illustrated in the image below . In the event I rejected this for the following reasons-: 1. I felt that I had explored the abstracted and distorted images sufficiently and wanted to return to the simplicity of the original sample. 2. I was pleased with the formation of the constructed fabric and its composition, with its long lines of ribbon , lends itself more to an elongated, rectangular shape rather than a round one. 3. Apart from the ability to adjust the height of the piral trimming there is less capacity to vary the shape of the finished hat. 4. The circular design, although reflecting the distorted image, does not contain as many of the elements of the original ' design recipe. Time taken for design, fabric manufacture and experimentation 13 hours.