PAP 3D Bolero, progress so far.

I started to formulate ideas for a 3D item at the end of Module 1 and have continued to develop them. In February I went on a cruise and spent time gazing at the water and the patterns made as the ship sailed through the ocean.

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 Gentle shapes made by the waves.

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The shapes created as the water swirled down the side of the ship.


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The movement of the water, viewed from the stern of the ship.


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More patterns made by the water.


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Flying fish darting along side the the ship.


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 Bleached coral I found on the beach in the British Virgin Islands. I went snorkelling over a coral reef and saw seafan coral, brain coral and staghorn coral. It was very exciting to see 'the real thing'.


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 Sketches made from my finds.


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Experimenting with colour and stitching as the background for the bolero I intend to make.  The background fabric will be faux silk backed with light weight, iron-on interfacing.

The mushroom corals were made by pleating strips of faux silk and painting them. I made the coral skeletons using dissolvable fabric.  I rejected both ideas as the pleated circles would never be neat enough and the coral skeletons didn't look or feel right.  The background stitching of waving lines was done with a twin needle. This made the fabric bunch up and distort too much. It would not have made a suitable fabric for making into a wearable jacket.

Star Sketch

I used this sketch to help me work out how to stitch the centre of a coral polyp.

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This time, for the background, I stitched the lines with an automatic stitch and created 'sea urchin' circles. The finished sample was smoother but still had too many wrinkles for dress making. I made the star polyp from 1 cm wide strips of faux silk, ironed in half lengthways and hand stitched down the middle. The ribbon stands perpendicular to the background. The small floret is the same idea I used when making my embroidery samples in Module 1.

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 I could see from the samples that my wavy lines were random and although I didn't want the pattern to appear too formal, I felt it needed some structure. The pattern above, drawn on tracing paper is 8 inches square and is a repeat pattern. The pattern will start on the centre back of the fabric and work out in all directions.



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This second repeat design fits over the design on page 10, however to avoid lines of circles, I started the adjacent squares of the design half way down the first one on either side.



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This overlay goes over the design on Page 10 and will act as a guide for the hand stitching.


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I have added further embellishments of seafan coral in feather stitch with pearls. I am also experimenting with plastic water bubbles, which are fairly flat and are glued to the surface at the moment. I have washed this sample in cold water and left it to drip dry. The thread florets needed a little rearranging, when wet. The small water bubbles stayed glued in place but the larger one became slightly loose after immersion in water. More experimentation required, will try washable PVA. The background here is still too wrinkled so I tried stitching with a triple needle instead.  This produced a much flatter and less wrinkled effect, which surprised me and will be a suitable surface for dressmaking.


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This is the first layer of stitching on faux silk, using a triple needle and a loose repeat pattern of wavy lines. The fabric has wrinkled to an acceptable extent. I allowed extra fabric for the take up of the stitching.

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This is a close up of the first 2 layers of background stitching. The wrinkling is very effective and does not distort the fabric. It will hang well when finished.


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I painted the fabric with Dynaflow Liquid Colour. Ironing the fabric to fix the colour would spoil the slightly wrinkled effect that I want to achieve, so I sprayed Airfix medium onto the fabric before I painted it so that the colour would fix without ironing.

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The colours I used were azure blue, turquoise, midnight blue and chartreuse. It was quite nerve racking but I think that the colours have blended beautifully together. It reminds me of a coral reef!

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Painted ribbons to be used as embellishments.

I need to carry out more testing of stitches and ideas. I am thinking of creating a statement clasp/fastening on the front of the bolero, incorporating the elements of the embroidery on the fabric, early stages at the moment. For the lining I am also thinking of using gutta to draw fish outline before I dye the lining fabric, which will probably be faux silk, as it is so light.

Distant Stitch Diploma, Module 2, Chapter 3 - Underside Couching

Underside couching is a stitch that is rarely used today as we have other techniques and materials to create the same  effects. However, in its day, it was a very versatile way of covering a fabric by hand with embroidery, and still allowing for movement in the cloth.

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Using painted Aida and thick threads, it was relatively easy to create some of the medieval patterns, stitching on a fabric with a regular weave. The top sample is brick pattern, with vertical zigzag on the left and horizontal diamonds on the right.


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I stitched this sample on fine net, counting the holes. It was much more challenging but I used a thick knitted yarn, just helped tremendously. I reversed the fabric so that the underside of the stitching could also be displayed.

After these practice pieces, I confidently started the sample based on the Virgin from the Syon Cope shown on page 12. An interesting experience which really made me appreciate the skills of the medieval embroiderers.



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Moving on to cable stitch on the machine, I kept altering the top and bottom tensions to see what effects could be produced. In this sample I used my whipstitch bobbin with a top tension of 7. The top line is an automatic stitch (M2/73 and M2/33). The zigzag line was set at W7/L5.


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This sample consist of 5 rings, based on coral polyps.

In outer ring 1, I have used a triple needle, with normal bobbin and straight stitch, top tension 9.
Ring 2, I have used a triple needle, no bobbin tension and straight stitch, TT 9.
Ring 3, change of thread, triple needle, no bobbin tension, zigzag W5/L2, TT 9.
Ring 4, change of thread, triple needle, normal bobbin tension, automatic stitch (M2/33), TT 5.
Ring 5, change of thread, single needle, whipstitch bobbin, zigzag W7/L2.

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This sample was made with a top tension of 8 and no bobbin tension, using a knitted gold thread.

Personally I prefer underside couching to machine cable stitch, perhaps because I like to see the patterns as they emerge, rather than hoping for the best and waiting until the fabric is turned over. I would certainly like to experiment more with underside couching and am developing ideas for the metallic PAP.

Presentation Sheet 3



Distant Stitch Diploma, Module 2, Chapter 2 - Metallic Embroidery related to Opus Anglicanum - Couching


I started by looking through my stash for gold wired threads. I had a few left over from a goldwork embroidery I had made from a kit, more than 10 years ago. Next port of call was Golden Hinde!

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I also made up my own threads using metallic threads zigzagged onto different cores.



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As my theme is coral reefs, I decided to look at the shiny scales of fish.


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Outline stitched in handmade gold cord, with fins made from gold cord and pulled gold purl. The eye is stitched with gold flatworm, mounted over felt to raise it, topped with a turquoise sequin and bead. The 'skeleton' is imitation gold leather, backed with silver sequins.


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Here I couched variegated silk thread over chicken wire!


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I cut up a small foil cake casing in a long spiral, from the outside towards the centre and couched it down using gold passing and buttonhole stitch. It has a great 3D effect.


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A more traditional design here, using modern threads. I couched down a piece of hand made cord and 'wove' strands of fine metallic passing thread over it, to make it look like basketwork.

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 Metallic washers and gold wire netting couched down with gold thread, using a cross stitch.

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 Metallic thread zigzagged onto wire which was then wound round a narrow rod and couched down with small 'invisible' stitches. Small cut spangles couched down between the wires.


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Metallic thread wound into lengths and couched down by machine with thick metallic Wonderfil.


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I had some burnished and embossed copper sheet, left over from another project, so I have couched it down using gold thread, with the feed-dogs up.


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This is a piece of sari waste which I have couched down using a set pattern, using free-machine embroidery. The 'original' pattern is displayed at the top of the sample.


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I couched some knitted lurex gold thread down by placing a layer of vanishing muslin over it, free machining in a spiral towards the centre, painting it and then heating it. The muslin flaked away (with the help of a toothbrush) but the thread wasn't damaged by the heat.


Presentation Sheet 2

Distant Stitch Diploma Module 2, Chapter 1 - Historical Study of Opus Anglicanum

I have enjoyed looking at Opus Anglicanum embroidery and was lucky enough to go to the Victoria and Albert Museum to see the Syon Cope. The quality of the embroidery is amazing and it must have looked magnificent when it was first made. The skills shown in the stitchery are staggering, especially when you consider that the embroiderers would not have had access to all our modern equipment. I have enjoyed practising some of the stitches, which has left me in awe of the exceptional expertise that is needed to make these works of art. I'm not in the least surprised that there was a 7 year apprenticeship.

OPUS ANGLICANUM STUDY

Opus Anglicanum (English Work), is the name given to embroidery made in Medieval England during the 11th to the 14th century. It was created for both secular and ecclesiastical garments, hangings, altar pieces, mitres and other textiles, using gold, silver, silver-gilt and silk threads on velvet or linen ground, embellished with pearls and precious stones. It was also in great demand across Europe due to the outstanding quality of the work. Much of the embroidery from the time has not survived but a few wonderful examples can be found in museums around the world.

Both men and women worked as embroiderers, for the church or under royal patronage. Mainly based in the City of London, the work was organised in workshops, where designers were employed to create the artwork then this was given to the embroiderers to make up. Some designers were embroiderers as well. The workshops were generally directed by men, and the workers, both men and women were expected to complete an apprenticeship of seven years, which was normal for the times. The main stitches they used were Split Stitch, Couching, Underside Couching, Plait Stitch and Tent Stitch. The designs were based around geometric shapes, such as circles, arcading and quatrefoils. Nowadays nothing is known of the designers and little is known about the embroiderers.

The Black Death in the middle of the 14th century marked the end of Opus Anglicanum as many embroiderers and their potential clients died. This was followed by the financial problems caused by the Hundred Years War with France, as well as a change in fashion and demand for ecclesiastical and secular vestments.

The major pieces of Opus Anglicanum that survive are nearly all chasubles or copes. They depict biblical scenes, coats of arms, animals and mythical creatures.


This chasuble, the bell-shaped vestment worn by priests when celebrated Mass, was originally made as a cope. It is embroidered with silver-gilt, silver thread and coloured silks in underside couching and split stitch, with couched work, on blue satin with silk wrap and cotton weft, reinforced with linen.  Much of the rich blue background has gone and today only small remnants remain. The design depicts biblical scenes as well as lions and griffin. It was made between 1272-1294, during the marriage of Margaret de Clare and Edmund Plantaganet, Duke of Cornwall. Before being cut down it also featured the arms of Margaret de Clare and Edmund Plantaganet, (as well as the Royal Arms of England), indicating that it was probably used by someone in their household.

Another wonderful example is the Syon Cope, which is semi-circular in shape, and is also on display at the Victoria and Albert Museum. It was created between 1300-1320. It derives its name from the Bridgettine convent of Syon, Middlesex, founded by Henry V in 1414-1415. The cope displays scenes from the life of Christ and the Virgin and features very detailed images of Christ and various saints. It has survived because it was taken into exile by the nuns, in the mid sixteenth century and was not returned to England until the early nineteenth century. It has a linen ground covered with embroidery worked in coloured silk threads (mainly red, now faded to brown, and green silk), as well as silver gilt and silver thread.


This cope is not in its original form as it was first made as a chasuble. When it was converted into a cope, the orphrey bands, (the front border) and morse, (the fastening strip across the chest), were added. Both the cope and the heraldic orphreys are on linen, worked in silk, silver and silver-gilt thread. The cope is made using split stitch, laid and couched work and the orphreys are made using underside couching, cross and plait stitch.

References: 
V and A website
Medieval Craftsmen - Embroiderers - Kay Staniland
Embroidery in Religion and Ceremonial - Beryl Dean
English Embroidery - Barbara Snook
National Archives website
Katherine Diaz Villegas blog
Textile Research Centre, Leiden


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I looked at the designs that appear in many embroideries of the period. The patterns are still relevant today.


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I particularly liked the quatrefoil design and I was glad I spent quite a bit of time working it out!  The faces mainly appear soulful, with exaggerated eyes.



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This is a sample of Split Stitch, in a variegated silk floss. I liked the effect I produced by stitching in circles and waves.


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I haven't tried Plait Stitch before. It was quite easy to do when working on a large grid.


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Tent Stitch was also relatively easy to reproduce on a large grid.


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Her I couched gold lurex cord, not too bad but definitely room for improvement.


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This is my first attempt at Underside Couching. Again it was easy working on a large grid and I really found it very satisfying to do. In some ways it is a shame we do not use this stitch very often.


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Full of enthusiasm I decided to 'have a go' at Opus Anglicanum! I watched a couple of YouTube videos and based my choice of colours on the figure of the Virgin on the Syon Cope.


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I enjoyed stitching this small sample piece (65mm x 65mm). I worked on a piece of linen that dates from the early twentieth century, backed with a good quality cotton. The face and halo worked out fairly well and I stitched these in embroidery threads, using split stitch and No 6 gold passing for the couching. However the underside couching was another story! The weave on the linen was slightly uneven and very small, so counting threads didn't work. The next problem was working out how many strands of thread to use to make sure that the zigzag pattern was visible but not too uneven. At my fourth attempt I opted for 2 strands of silk floss. In retrospect, one strand might have been more effective, oh well, there's always next time!!


Presentation Sheet 1