Chapter 1 addendum.......

this addendum to my last post is so anyone who wants can actually see and read my study of English 17th century flower embroidery. i realise that it doesn't pay to work large when blogging work! Last time i use A3 for text etc. anyway it might be wise to read the last blog first and then this one. each A3 has been split into 5 working from top left to bottom left, then top right and blootm right. the main text panel comes first with each section. so firstly we have 'inspiration'




'Costume'




'Samplers and flat embroidery'




'Raised work'



i do hope this lot is legible!

Chapter 1 Historical study of flower embroidery

For my study i chose 'complete' embroidered flowers in England in the seventeenth century. In a period when rather a lot happened politically, civil war, beheading, Commonwealth, Restoration and abdication it is surprising such a diverse range of amazing embroidery was produced. I have covered costume and domestic textiles but not furnishings and the later crewelwork. it took a long time to choose my area of study but as i had no knowledge of this period i thought it would be good to learn. The large sheets are A3 in size. i firstly started with inspiration and got carried away! i found the story behind John Tradescant, his cabinet of curiosities, his wife's demise and the start of The Ashmolean Museum quite fascinating but not hugely relevant to the study! anyway bedtime reading!
Costume after a certain date seems to mainly be accessories but some amazing ones.
since undertaking this study i have discovered the large sale of textiles previously owned by Sir Frank Richmond. The sale at Bonhams in March showed exactly how important and valued these textiles are now considered. in the sale there was an identical piece of embroidery to the three ladies in the bottom right corner, showing how designs were copied often more than once. the sale items and how much they went for can be seen at Bonhams in Sale #18761.
one of the stitches often seen in samplers is Rococo stitch. i thought i would work an actual flower to show how 'square' this type of stitch renders flowers etc. sample measures 7.5cm x 6.5cm.
although my Weldon's shows this stitch in the chapter 'Canvas Work' the instances in the 17th century appear to be worked on fine linen and also silk satin!!! Still not sure how!
i also consentrated on Raised work (Stump work). the basket in the top right and the casket (lid shown with mica covering) i actually conserved when i was at the V&A so i remember them quite well!
as part of this study i went to Exeter Cathedral to see Lady Dorothy Dodderidge who is beautifully regailed. unfortunately although she died in 1614 her jacket and petticoat date to an earlier design of flowers within tendrils which did not come into my study. a precursor for anyone else who is doing this study!
i am very lucky working in a museum with a large collection of books on costume/textiles! i was also told about a very useful website on the study of early textiles which could be included in the Module for future reference.
Hours taken: 52

Inspiration for flower head shapes

the above photo of a 'flower garden' by Tom Skinner was my inspiration for Chapter 2 stitched flowers.

Module 4 Chapter 2

While Chapter 1 is still ongoing i have been working on the stitched samples for Chapter 2. i chose two flower shapes freely drawn. A postage stamp size was recommended, hence the stamp to show scale!
#1 3D wire work, i can't tell you how pleased i am with this sample!! i got very carried away although the lesson to be learned is never let an 11 year old boy near your work as what was a 3D piece ended up as 2D till i squealed at him and readjusted it!! the background is satin stitch with stem stitch outline.
#2 rococo stitch one of my favourites. here worked on canvas although most of the pieces i have studied appear to be worked on a counted linen.
#3 detached needlelooping of various kinds.
#4 long and short stitch.
#5 a slip with a couched thread to neaten the outline.
#6 using waste canvas.
#7 a sample based on a stumpwork stitch which uses a silk wrapped bullion thread. in the original the loops lie flatter to the fabric and i think this is because it is a steel wire without any spring unlike the modern silver one.
#8 chain stitch
#9 padded satin stitch. i used felt for the padding.
#10 Kantha stitch.
#11 speckling and running stitch outlined in stem stitch.
above shows the working method of the waste canvas flower.
above the slip cut out but before applying to the ground fabric.
above shows the wire outline couched in place before the needleloop stitches were worked. i followed 'Beginner's guide to Stumpwork' by Kay Dennis and Mary Thomas's Dictionary of Embroidery stitches was invaluable.

Total 36 hrs.

Authentication Module 3

hope this is ok! i am working on the samples for my 3rd assessment piece.

Module 3 Final paperwork

These are all self explanatory!!! Although the colour range is quite interesting!

Textile artists using Knitting

i have many articles and books on knitting, in particular Ruth Lee's 'Contemporary Knitting' is a great source of inspiration. i have used some of her techniques in my samples previously posted.
there are a lot of artists using knit at the moment and i found it difficult not to go wild! however i have chosen a few that appeal to the quirky side of me and to their techniques some of which i experimented with in my chapter on knitting. i first came across Susie Freeman i think just after she had graduated when a friend asked me to make her wedding dress using some of Susie's fabric. it was great to be presented with a huge roll of this knitted construction and then realise i had to cut it to go into a 'v' at the centre front waistline!!! anyway it turned out beautifully. i also attended a couple of Knit days at the V&A organised by John Allen, this is where i discovered Nora Fok and Jan Truman. Nora has a touring exhibition on at the moment so do check it out, they are beautiful creations.
Rhian Solomon, Adrienne Sloane
Marie-Rose Lortet i encountered in a book on 'Outsider Art' i believe she is self taught, there is nothing traditional about her work which is why it is so fresh.
thought i had better include some 'outdoor' work in keeping with my graffiti theme.Suzumi noda, Super Blue, Fay McCaul uses fibre optics to knit with.