RSN Canvaswork: Progress After 8 Days of Class

After my 8 days of class for my RSN Canvaswork module, I still have a lot of work to do to finish!  I have made a plan with Tracy and feel confident in being able to get it completed.  She went over each new area with me so I feel like I know what to do to finish.  It is now "just" a matter of time and stitching.

Below are photos of my progress at the end of my 8 days.  I finally got used to working with the black and white stripes.  When I first started them, the contrast really played with my eyes.  Once I got to the shoulder area where the directions were changing, the contrast did not seem to cause as much eye strain as it did when I was working on the torso.

The hat also does not show the rather large chunk that I took out.  I felt it was slightly too dark and I thought if I was not happy with it at that stage, it was better to just take it out and try again.  The same can be said for the other flower (the one that is currently a lilac color)--it's totally coming out!  I think the color is not right.  I added a shadow color to the base thread color and I think I should have gone the other way and added a highlight so the overall flower color was lighter.

I am really excited to start back on this next week.  I really enjoy the canvaswork.  It is a lot more time consuming that I ever thought, especially mixing all the thread colors.  I found that is was imperative to keep detailed "recipes" for each mixture so that I could go back and remix them correctly and achieve the slight tonal differences in the sky and blouse.  My notes for this project look like a funny code because of all the color recipes!  

RSN Canvaswork: Progress After the Weekend and Day 5

I thought when I was preparing for my canvaswork module that canvas stitches are bigger so that would mean that they would definitely go quicker.  HA!!!!!!!  They do not.  I am really enjoying this technique though and love mixing the colors-- which is a good thing because the color mixing I think takes as long as the stitching.  

This weekend I finished the neck and one side of the sky and put in a bit more greenery.  Yesterday "Take Out Tuesday" struck me with a vengeance.  I spent the morning (literally the whole morning) picking out.  In the afternoon, I started work on the sleeve.  If you will notice, the stripes follow the drape of the shoulder and sleeves and present an interesting problem/challenge for the canvas stitches.  The horizontal stripes are horizontal Parisian, vertical stripes are vertical Parisian and the diagonal fold is diagonal Parisian.  I'm presently working on finishing up the diagonal part before class so Tracy and I can figure out how all these directions are going to meet and follow the shoulder line.  

 Neck in diagonal ground. 

 "Take Out Tuesday" in action

Progress at end of Day 5

RSN Canvaswork: Progress Day 3

At the end of Day 3, I have been working on the stripes for the top and the butterfly.  

I quite like the color mixing and the texture of the canvaswork.  Mixing the threads takes a lot of the time but I think it worth it.  The stripes on the shirt are mixes of DMC stranded cottons and Valdani variegated stranded cotton.   The butterly is composed of mixes of DMC stranded cotton, DMC stranded rayon, DMC stranded metallic, and Valdani variegated stranded cotton.  Maybe I can put the butterfly's body in today so I can say I've finished something! 

For now, on to putting in some more stripes before class officially starts for the day.  The other night I gave myself the homework of pre-mixing all my thread combinations so that is saving a bit of time here in class.  

RSN: Canvaswork

My last RSN Certificate module has started!!!  I embarked on my canvaswork piece on Tuesday and will be hopefully making loads of progress between now and next Friday.  

The design I am using is an illustration that was on the cover of Vogue UK in May 1936.  It's been a bit tricky knowing who to credit for it as I have come across a couple different credits.  The Vogue UK website credits Alix Zeilinger for the cover, however it was also the illustration for the cover of Vogue US in May 1934 with the dress yellow and black striped.  It's a new thing for me to not use a design of my own as my other modules have all been designs I have created it.  Canvaswork is not a technique I am very used to though and all the ideas that I was coming up with did not seem to be the best for the module at hand.  I have made a couple changes in that I have added more garden at the bottom and have added a couple sprigs of Lily-of-the-Valley (I kind of felt it needed it!).

On Tuesday, I spent most of the day transferring my design and framing up.  I started on the sky towards the end of the afternoon.  I had terrible jet lag and so was not making lots of "fast" progress.  Yesterday, I started more of the stitching working on the greenery and starting the shirt.  Lots more photos to come as I make a bit more progress!

 

UK 2014 Trip: St. George's Chapel at Windsor

A couple of my favorite books on goldwork are Mary Brown's Goldwork Embroidery:  Designs and Projects  and Jane Lemon's Metal Thread Embroidery  At the beginning of Brown's book, it has an excellent summary of the history and development of goldwork embroidery.  In the very back of Lemon's book, she has a list of the different locations of important embroidery pieces and collections.  I consulted this back section in Lemon's book to see where some of the pieces were located that I had studied and requested an appointment at St. George's Chapel at Windsor to see a set of panels created by Beryl Dean and other vestments and alter frontals in their collection.  (Please see correction note at bottom.)

Maria, one of the Senior Sacristans at St. George's, kindly showed me around and talked to me about the history of the pieces and the Chapel in general.  It was fascinating!  I absolutely LOVE looking at the beautiful details, craft, and imagery that was used in these pieces.  I was able to see 5 alter frontals and 6 sets of copes in addition to coordinating veils and vestment accessories.  The sets of copes included a set of white copes, the Coronation Jubilee Copes, a set of Blue copes used for Advent and Lent, a set of black copes used for funerals and Requiem masses, a set of green copes used for Eucharist Sundays, and the red set worn for the Order of the Garter service.  Maria was wonderful at showing me the different details on the copes that delineated the dean, canons, and minor canons vestments.

Each set had a special detail that I found especially exciting.  The intersections on the cutwork and the turns in the couching were so beautiful on the Jubilee copes.  Having just finished my RSN Certificate Goldwork Module, the intersections and how they were treated were of special and timely interest to me.   My favorite set were the blue copes used for Advent and Lent that had been created by Liz Thompson, a wife of a former canon, and Wendy Pearson.  To recognize a donation from the Australian Friends of St. George's that partly funded the copes, the motif of the "wattle" was incorporated into the design.  Utilizing cut felt leaves with french knot buds in a heavier thread (appeared cotton?) with goldwork embroidery, the embellishment was such a lovely mix of formal and informal, traditional and non-traditional. 

Here are just a couple images from my visit, shared here with kind permission of St. George's Chapel at Windsor:

The Beryl Dean panels did not disappoint either.  Having only seen them in print before my trip, I was not anticipating how large they were.  They are stored in a cabinet at the back of the Chapel as you walk from the worship area to the gift store/exit.  One is on view at any one time.  I love Dean's depiction of each person's face.  The oversized eyes and color shading in the stitches is very beautiful.

 These are some details of Mary and a Wiseman from the Adoration of the Magi panel (link for a very nice write up on St. George's Chapel website on this panel). 

Correction Notice:  The list of places to visit embroidery is actually in Jane Lemon's Metal Thread Embroidery book (another favorite of mine), not in Mary Brown's book.  Brown's book does have the wonderful history of goldwork at the beginning.  I apologize for the mistake and have corrected the information in my post above.  If you are interested in goldwork embroidery, these 2 books are both on my must have list. 

UK 2014 Trip: Jean Paul Gaultier at the Barbican

I ended my trip with a few days in London.  The final couple posts on my trip will spotlight a few of the exhibitions I saw in London.

The Fashion World of Jean Paul Gaultier From the Sidewalk to the Catwalk at the Barbican.  In one very short reaction-- if you are in London, this is a MUST SEE!!!!!  I have always loved the fashion of Jean Paul Gaultier.  His work is a phenomenal mix of fantasy, artistic expression, and incredible craft.  To complement the Gaultier pieces is an equally excellent presentation and exhibition styling.  They encouraged you to take photographs.  The app for your phone was excellent and provided further videos, images, and interviews for each section.  I spent over 3 hours in this exhibition taking it all in, sketching, and photographing details.  And just to warn you, there are two floors of the exhibition.  I almost missed the 2nd floor until I passed a small sign on my way out!

Since I had dubbed this my "Summer of Goldwork", I thought I would show some of the beautiful examples of goldwork from this exhibition.  You can also see the official photo gallery of the exhibition here.

 I know this piece is not goldwork, however the beading is so incredible that I could not resist adding it in here.  It is a full length gown and the entire front is beaded to look like this animal skin!

 

The origami folding, tucking, and pleating on this piece was so beautiful.  It's hard to see in these photos but there is also a gradation of color in the materials too that is so soft and perfectly complements the harder edge of the folds.    

UK 2014 Trip: Benton & Johnson

As you all know, I love goldwork embroidery.  Those wires and threads seem like magic adding sparkle, texture, and a little extra life to my embroidery.  I had the wonderful experience of visiting the Benton & Johnson factory just north of Coventry during my trip in June.  It was fascinating!  I had absolutely zero clue how labor-intensive these threads are to make.



Neil Halford of Benton and Johnson graciously showed me all the machinery and walked me through the steps required to make many of the metal threads and wires.  The process of making each thread was not a quick task and required a lot of patience and a tremendous attention to detail.  A tiny kink or incorrect tension and there goes your hard work and wire.


Here are a few things I learned and saw while at Benton & Johnson:

- Bullion is just a larger smooth purl (no technical difference other than the tube diameter).

- Broad Plate take 28-30 passes through the flattening machine to get to the correct dimensions.
- The color that the metal is wrapped around for passing makes an incredible difference in the final color of the passing.  If I thought about it, I would have assumed this would happen.  It was fascinating though to see how much of a difference it can make.



 This is the machine used to flatten the wires for smooth passing or rococo.  The more weight added at the bottom, the thinner the wire becomes.


 

Pearl Purl:  First the metal wire is drawn to the correct thickness, depending on the desired final size, by pulling the wire through a series of dies.  The smaller the desired pearl purl, the thinner the required wire and the more number of dies the wire must be drawn through.

Pearl Purl: Once the metal is the correct thickness, it is flattened and then pulled through another die and onto a round guide wire producing the cup-shaped wire needed for the pearl purl.  To separate the wire from the guide wire, two people have to wind them off each other in tandem (pictured above).


Pearl Purl:  Finally, the cupped wire is spun around a needle to create the iconic length of pearls.  The final pearl purl winds itself into through the funnels and into the buckets.

 Smooth Purl: For Smooth Purl, the wire is fed through a machine that spins it tightly around a smooth round needle and into a tube.


Bright Check:  Bright Check is made using the same process with the only difference of using a triangular needle instead of a smooth round one to create the jagged edges of the bright check tube.

Here is a link to the Benton & Johnson online shop where you can purchase metal threads and wires to your hearts content!  If you don't see a specific material you would like or have a question, Neil's email is listed at the top of the website. 

UK 2014 Trip: Liverpool

Liverpool Cathedral:  

A stitching friend of mine, Celia, had given me the book English Church Embroidery 1833- 1953 by Mary Schoeser when she found out that I enjoyed learning about ecclesiastical embroidery.  It is an excellent book not just on ecclesiastical embroidery (though that is the main focus) but also embroidery design influences and embroiderers during the Victorian and Edwardian periods.  Inspired by this book, I emailed Liverpool Cathedral to see if I could get an appointment to view the Elizabeth Hoare embroidery collection that is stored there.  Vicky, an embroiderer at Liverpool Cathedral, graciously emailed me back and volunteered to take me through the exhibit and to show me some of the samples that were not on display as they are part of the study collection.  

Located on the third floor of the Cathedral, it is an excellent exhibition of church needlework, focusing on pieces from the Victorian and Edwardian periods.  Ms. Hoare had been director of Watts and Co. in London and donated her collection to be exhibited at Liverpool Cathedral.  I highly recommend if you are interested in the topic and passing through or near Liverpool to take the time to visit it.  On display are samples, sketch and design plans, and final pieces, so you really get the full process of creating and enjoying these embroideries.  I thought I would share a few photos of some of the items I saw there.  I took over 550 photos there so there is A LOT more to see in the exhibition.  Sadly the photos of the alter frontals did not turn out the best, but I wanted to mention them because there are two in particular that are beautiful!

Detail from piece in study collection. 

Detail of a chasuble designed by Bodley and Garner in the 1880s (Schoeser, 161)

Cope hood designed by Geldart in 1880 (Embroideries of Liverpool Cathedral, 19).

Sample from Watts and Co (part of study collection).  I thought the color use and gradations in the wings was beautiful.

Sample from Watts and Co (part of study collection). 

Embroidered cope hood.

Detail from a cope hood.

Liverpool Metropolitan Cathedral:  A number of the ladies I was stitching with at Tracy's recommended I visit the Metropolitan Cathedral when I said I was going to Liverpool because the stained glass was beautiful.  Well,  amazingly beautiful it was!  It was such a unique experience visiting it.  Between the architecture, the stained glass, and the huge applique banners hanging, there was a lot to take in and created such a stunning viewing experience!

This tapestry in the Chapel of St. Anne was designed and created by Jill Hutchinson.

Tate Liverpool:  "Mondrian and His Studios"  I have seen Mondrian pieces before separately but never beside each other in a chronological manner.  "It's just blocks of color right?"--that's what many people say.  This exhibition opens the doors to Mondrian's process, which I find fascinating!  It started with his more nature inspired pieces, abstracting trees and church architecture.  Then it illustrates how his environment (apartment/studio/living space/creating space) was kept in a manner that not only reflected his art but helped to propel his ideas forward.

My favorite part of this exhibition was the very end.  After you have been drawn into his process and heard/read about the effect of music on his pieces, you see some of his final paintings.  There are more intersections in these.  What is so incredible is that you can see the music created by little white dots (which actually are not there) appearing to jump from intersection to intersection.  It was incredible!  So to anyone that thinks Mondrian is just blocks of white and primary colors encased with black lines--maybe at a glance it is, but on second glance or longer look, you are greeted with visual music!  Here is a video from the ArtFund UK about this exhibition:

UK 2014 Trip: York

Each time I go to the UK, I try to work in trips to exhibitions and private collections to complement my research and studies (and some just to have fun!).  I orginally thought I would put it all in one post, but it quickly became way too long.  Over the next couple weeks, I thought I would share some of the exhibitions that I really enjoyed and the private collections that I had the wonderful opportunity of viewing.

My first stop (outside Durham) was York.  I got to stay with my stitching friend, Denny, whom I had met 5 years ago on my very first goldwork course with Tracy Franklin at Hampton Court.  It is Denny, Uschi, and Christine (all who embroider for YorkMinster) that I can credit with really introducing me to ecclesiastical embroidery.  Yes, I had seen pieces before, but I had never met anyone who was passionate about ecclesiastical embroidery.  Sometimes it takes meeting those enthusiastic people to make you pay attention.  After meeting them, I went home and started my research into embroidery of the British Isles (starting with Opus Anglicanum) and have been completely and utterly hooked with the subject since then!

Mount Grace Priory

Taking a short break from my weekend stitching, Denny took me to see Mount Grace Priory and the North Yorkshire Moors.  Mount Grace Priory was amazingly beautiful and had the most wonderful stillness about it.  What I found most interesting was the fairly lavish accommodations for the monks.  Each had their own private house (bedroom, work room, living room, space above, outdoor bathroom and garden).  They had working plumbing and running water from the spring on the mountain.  Pretty incredible to me considering what the rest of society was living with at the time. 

Quilt Museum and Gallery in York

- "Setting the Scene":    This exhibition paired costumes from recent period films with historic quilts of the same time frame as the costume they were presented with.  It included pieces from The Duchess, Downton Abbey, Portrait of a Lady, and Jane Eyre.  I thought the set-up was really interesting because you really did see the correlations between the fashion fabrics of the time with the quilt fabrics.  My favorite was the costume from Jane Eyre.  The pleats were spectacular, but the detail that stole the show for me was the minute piping that was inserted into every seam!  It was beautiful!  

- "Dressed to Quilt" by Ineke Berlyn:   I loved reading about Ms. Berlyn's process in making these pieces.  She used so many different printing and mark making techniques to create the materials that she then used in creating the quilt dresses.