tag:blogger.com,1999:blog-59300556300967078342024-03-21T23:26:04.539-04:00Katherine DiuguidKatherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.comBlogger168125tag:blogger.com,1999:blog-5930055630096707834.post-70336665365362933572022-02-17T13:26:00.007-05:002022-02-17T13:51:00.610-05:00 "The Woman and the Dragon" from Revelation 12: the Frame and Final Details<p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi16kcFK0uBKHcxJY9HVvhvXFu8QLQ6fiF-DbPOxWsgwTLl3-KBCxYKJfjZkAuAv4v_67RT0sblhkJ0lVGCVF3K9YAQvKo9xlm2SMwexS517ISQVGji0idWKBB3YyUC_OSjwSpPpNaUp2Sx_dedhGeBZXxUnXVxdR78K66So4qmbscENwl9z3RLn88L=s1400" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEi16kcFK0uBKHcxJY9HVvhvXFu8QLQ6fiF-DbPOxWsgwTLl3-KBCxYKJfjZkAuAv4v_67RT0sblhkJ0lVGCVF3K9YAQvKo9xlm2SMwexS517ISQVGji0idWKBB3YyUC_OSjwSpPpNaUp2Sx_dedhGeBZXxUnXVxdR78K66So4qmbscENwl9z3RLn88L=w400-h400" width="400" /></a></p><p>So what about the final details? As with many large projects, there were some alterations to the original "plan". I think it is vitally important to listen to the piece as you stitch it and what it needs. As I stitched this piece, my original plan had been to frame it with a double matte of gold and ivory as I have done many of my pieces. This plan just did not feel "right". It felt like a story this grand, stitched in gold and velvets and silk demanded something a bit more. In this blog post, I'll talk about the "more". </p><p> <b><u>The Stitched Frame:</u></b></p><p>The stitched frame was not part of the original sketch; however, as I stitched this panel, it felt obvious to me that it needed something to quite literally frame it in a rather grand way—a way that just matting it would not be able to do. My solution was a goldwork frame. This was also influenced by <a href="https://www.instagram.com/explore/tags/katdiuguidretablesamplerforaic/" target="_blank">my Retable Sampler</a> that I created for the Art Institute of Chicago (based on their <a href="https://www.artic.edu/artworks/41449/altarpiece-of-the-virgin-and-child" target="_blank">Burgo de Osma Retable and Altar Frontal)</a> and the many pieces of Opus Anglicanum that I have had the privilege of studying and seeing in person. Usually, the frames in the Opus Anglicanum pieces are fairly ornate and are comprised of either intertwining branches or architectural columned archways. In many pieces in the form of an arcade of arches forming separate frames for each Saint or scene (ex- <a href="https://collections.vam.ac.uk/item/O93206/apparels-of-an-unknown/">V&A #8128 to B1863</a>). These examples felt very important as I reinterpreted this Apocalypse scene in stitch, especially as some of my reference points for the embroidery were contemporary pieces to the referenced manuscripts.</p><p>I did not want to lose the feel of the manuscripts though to the more ornate interpretations of the medieval embroidery. In the <a href="https://medieval.bodleian.ox.ac.uk/catalog/manuscript_4550" target="_blank">Douce Apocalypse</a>, there are two main framing styles utilized for the illustrations. Either a simple interior color with a narrow gold outline on either side or a thinnish border of waves of two colors, usually blue and red, outlined in gold. For the folios where the Woman and the Dragon’s story unfolds, the borders are blue and red waved with gold outline (on the interior and exterior edge) with one possible exception as <a href="https://digital.bodleian.ox.ac.uk/objects/d8f4f265-b851-48a8-b324-4fc871f68657/surfaces/7b65cc40-6085-4590-982b-11276abc95d6/" target="_blank">folio 34r</a> looks like it may be green and red. I need to mention here that all my observation of the manuscripts have been via the digital and printed sources as I have not been able to see them in person. So it may be an exception in a green, it may be a blue that appears greenish on screen and reprinted.</p><p>The <a href="https://mss-cat.trin.cam.ac.uk/manuscripts/uv/view.php?n=R.16.2&n=R.16.2#?c=0&m=0&s=0&cv=30&xywh=-915%2C-207%2C5832%2C3384" target="_blank">Trinity Apocalypse</a> has a border too but it is a very simple outline of gold. It is interesting that they balance the more decorative and patterned treatments of the background and motifs with the simple border. The use of gold makes it feel weighted to stand up to the renderings that it contains. The Douce Apocalypse with its bareness of background can withstand a slightly wider and more ornate border. I wanted to reference them both, but I could not figure out how just by sketching. I decided to stitch some samples to work out what created the best and most appropriate stitched effect. Most especially, I wanted to make sure that both the width and decoration of the border did not detract from the embroidered panel itself. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjHdKXH3dO_h12XuLhOKK3hTFQmm4iy87pCZLn1e3wrWGTvtoZRNzj7J4br09MYElqYvtjYUBTLTurZCFyq_gDwECH7-nSl6xXqI-L2ZLPykzqeDd-E2JgLzgfa-VUhqM0T892qLrFMchpEHhulAKs96c2oWP_xSUEPX85x6O5KqtJM7wLZDrYNBQWF=s1254" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1254" height="359" src="https://blogger.googleusercontent.com/img/a/AVvXsEjHdKXH3dO_h12XuLhOKK3hTFQmm4iy87pCZLn1e3wrWGTvtoZRNzj7J4br09MYElqYvtjYUBTLTurZCFyq_gDwECH7-nSl6xXqI-L2ZLPykzqeDd-E2JgLzgfa-VUhqM0T892qLrFMchpEHhulAKs96c2oWP_xSUEPX85x6O5KqtJM7wLZDrYNBQWF=w400-h359" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Most of the options that I explored are variations of couched gilt passing and gilt pearl purl edging. There is also some cutwork and s-ing I tried too, though those options quickly identified themselves as not the right choice for this project. The cutwork and s-ing felt too static and overly formal for this piece. Something about couching the gilt passing with the colored silks produced the level of formality needed for the composition and the impression of fluidity that kept it from feeling stodgy. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">All of these samples began with one layer of felt. A couple of them also experimented with adding multiple layers of felt or soft string too. I wanted to experiment with building physical dimension versus creating implied dimension. The red is one of the reds I used in the Dragon and the blue is the mid-tone Marian blue I used in the Woman's gown. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgiXkf2agFEki5ODJ2vUs4ALZJmEVGDWReVIQlk0BVy9fWRVqUWMbpBISjf3NRdPLhIpZxu8V8i5mLytbOj2w2U1W4wn6aIuo1jK0PgMBMf1tkVKwRkWrkSOp30r0X8-bPypUVcUnlIb_ggCsqjTfpKsZCTtj33uoyjIv4BwZpLhKqEQz1e34zpX0wD=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1099" data-original-width="1500" height="293" src="https://blogger.googleusercontent.com/img/a/AVvXsEgiXkf2agFEki5ODJ2vUs4ALZJmEVGDWReVIQlk0BVy9fWRVqUWMbpBISjf3NRdPLhIpZxu8V8i5mLytbOj2w2U1W4wn6aIuo1jK0PgMBMf1tkVKwRkWrkSOp30r0X8-bPypUVcUnlIb_ggCsqjTfpKsZCTtj33uoyjIv4BwZpLhKqEQz1e34zpX0wD=w400-h293" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;">Here I am making sure the width of the chosen frame sample felt correct with the whole composition. As you may be able to see, I adjusted the width as it felt a bit too wide. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiSASZysMS5yEENfAgnfpKImNR_Yvxod5kL_SJ7rcLzOC6GjzMkdMTulokig2wlblXXerD1h2o1MnTPZfPEa9Qr5ZQkWmOs4L6eJU55c9OYsxlVdwwpfGXlNEbdAQ-DnJTH9H-_GIBnxyrbowebJmhfXseuRKtghOaenJloh8a5NP9bM4hIeZ9kNwl5=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1207" data-original-width="1500" height="321" src="https://blogger.googleusercontent.com/img/a/AVvXsEiSASZysMS5yEENfAgnfpKImNR_Yvxod5kL_SJ7rcLzOC6GjzMkdMTulokig2wlblXXerD1h2o1MnTPZfPEa9Qr5ZQkWmOs4L6eJU55c9OYsxlVdwwpfGXlNEbdAQ-DnJTH9H-_GIBnxyrbowebJmhfXseuRKtghOaenJloh8a5NP9bM4hIeZ9kNwl5=w400-h321" width="400" /></a></div><div><br /></div><div>I started with the felt. I chose to use a couple layers to create a subtle, even bevel to it. I also chose to miter all the corners instead of turning them. This you can see in the felt here, but I also mitered every corner on the couching too. More difficult? A bit, yes, but I thought visually it would look the best and I liked the challenge!</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg5PLPONKDmGCO61nc2DCt3vanHiChtesH02SnXzCTA3sMhBgxaAl7Ee5S22q5eXkpqwikv6qULWu6Y8pofqe1At5AVXEZ0OjD9t5d5HjVgWU_7GBDFuv-cesmrNLgq1XmFjaUhAEUPoOlWrQ22n04RybeNIAbFBxWS8ykM9RuqJDX3dtEuyWK893ht=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="865" data-original-width="1500" height="231" src="https://blogger.googleusercontent.com/img/a/AVvXsEg5PLPONKDmGCO61nc2DCt3vanHiChtesH02SnXzCTA3sMhBgxaAl7Ee5S22q5eXkpqwikv6qULWu6Y8pofqe1At5AVXEZ0OjD9t5d5HjVgWU_7GBDFuv-cesmrNLgq1XmFjaUhAEUPoOlWrQ22n04RybeNIAbFBxWS8ykM9RuqJDX3dtEuyWK893ht=w400-h231" width="400" /></a></div><div style="text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhAwUnYPZkenvqcJtYlKUtEtA_8I5tNf_N5CD0ubeMzjYSinDFcQipK4M7Y2JnEKIccDvk0NA86Kv6KqwY7sgxa4Td4lDYiHXKJwL4xSwQTrnGjDAiu1j_Uss4JjHv6oyNzoBSWN98hIUd6ZdOJVgSM_fr2nbYcVbs_x8_rrdW2jkz2iHx2SZz93VYr=s2400" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1895" data-original-width="2400" height="316" src="https://blogger.googleusercontent.com/img/a/AVvXsEhAwUnYPZkenvqcJtYlKUtEtA_8I5tNf_N5CD0ubeMzjYSinDFcQipK4M7Y2JnEKIccDvk0NA86Kv6KqwY7sgxa4Td4lDYiHXKJwL4xSwQTrnGjDAiu1j_Uss4JjHv6oyNzoBSWN98hIUd6ZdOJVgSM_fr2nbYcVbs_x8_rrdW2jkz2iHx2SZz93VYr=w400-h316" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><b><u>A Bit More Foliage:</u></b><br />After the frame was complete, the ground felt a bit bare. I actually did not notice this in person but found this as I took the documentation photos. I ended up adding a bit extra foliage in the form of needlelace leaves and some silk-covered purl loops mixed in with the overtwist on the ground.<div><br /><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh5MBtvIyTYuc_Kxl4DqBV3rsxWxrbE8G6fhVdSBmRJaw27DjJocRtwCiMXG5n_WSKPixJ7yA9ExiP-enRZgF2CHi4EhyaFweKpYnpx8QQTAbBIzLrMUulfKHsydmMT1fxqLueHe-4xD6ZmNoNXO-DcZ0fSU1vZ8OpJmYKSQobemRXxhe6Qm1lXLbLw=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEh5MBtvIyTYuc_Kxl4DqBV3rsxWxrbE8G6fhVdSBmRJaw27DjJocRtwCiMXG5n_WSKPixJ7yA9ExiP-enRZgF2CHi4EhyaFweKpYnpx8QQTAbBIzLrMUulfKHsydmMT1fxqLueHe-4xD6ZmNoNXO-DcZ0fSU1vZ8OpJmYKSQobemRXxhe6Qm1lXLbLw=w400-h300" width="400" /></a></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b><u>The Final Details and Frame:</u></b></div><div class="separator" style="clear: both; text-align: left;"><b><u><br /></u></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiM1p54W5_-3r5HRiLaVyhNOG4UOpMxECldSrTGIxEi0Gn4llV038sMcjjdd8M8N0y_lO2hVftD2xrH15WqJ4k4q0tf4xIUzEM5J6-CQscQ14s5UYEJW5MamHtSVPJ_3tI4juZ4QO2C_giYOd3RWFpRZO2qrHsrSn0FaEUJoR2rPdiCtahElwOJR2G5=s2100" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1575" data-original-width="2100" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEiM1p54W5_-3r5HRiLaVyhNOG4UOpMxECldSrTGIxEi0Gn4llV038sMcjjdd8M8N0y_lO2hVftD2xrH15WqJ4k4q0tf4xIUzEM5J6-CQscQ14s5UYEJW5MamHtSVPJ_3tI4juZ4QO2C_giYOd3RWFpRZO2qrHsrSn0FaEUJoR2rPdiCtahElwOJR2G5=w400-h300" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEipFfy2LrcWQxOh4qVamU94YqWPDUL-z3JtJksbGU1MeoHQ-FSff3zqwyr_mD51RiHNtEURi0UdMI2CvBc8D1je8yLcLhfS6Cvd03oE3jFFR3BbPP7QbRIC2Nq1NXwZHJ46tRCDlzfKbR0R9OrCdnoTp_ZdW-SSUu3CewsJ9bDPf1I_jPGXgTQsJxtS=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEipFfy2LrcWQxOh4qVamU94YqWPDUL-z3JtJksbGU1MeoHQ-FSff3zqwyr_mD51RiHNtEURi0UdMI2CvBc8D1je8yLcLhfS6Cvd03oE3jFFR3BbPP7QbRIC2Nq1NXwZHJ46tRCDlzfKbR0R9OrCdnoTp_ZdW-SSUu3CewsJ9bDPf1I_jPGXgTQsJxtS=w400-h300" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEje8kDC--ZNkTkS2mPn4ULCGSvIJuGcEXRbrdv7satHSQZ-4YFIop57S0_UPbGcalO-snRlPpLVgYHk6_OQpTorQAFIdsAUusMgGJcVef_a-s2mEfN5sBnWwWNeRCrR1itPHEmnbOwFov7_p8nYfvT88P8zKa3NUx0dMjYbNFngYHILHy5Ehi3KP0bQ=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEje8kDC--ZNkTkS2mPn4ULCGSvIJuGcEXRbrdv7satHSQZ-4YFIop57S0_UPbGcalO-snRlPpLVgYHk6_OQpTorQAFIdsAUusMgGJcVef_a-s2mEfN5sBnWwWNeRCrR1itPHEmnbOwFov7_p8nYfvT88P8zKa3NUx0dMjYbNFngYHILHy5Ehi3KP0bQ=w400-h300" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiwhqVIqTG5nSu9LPMUSUxyHC9cNFyYKESvfdyfspfUY6-Kee1yVHy_iOjenKtroM58dHtTZm70Md7j7lYBE0MyjJa-dknVQoMugK6StjozJKr5PXxTuFapkjjROeKMRQKLbVHAARPxeY4vSWDZUuoLiJvHvT6yC69Ox4Oubr5IFGvs2yZsNitcmfIy=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEiwhqVIqTG5nSu9LPMUSUxyHC9cNFyYKESvfdyfspfUY6-Kee1yVHy_iOjenKtroM58dHtTZm70Md7j7lYBE0MyjJa-dknVQoMugK6StjozJKr5PXxTuFapkjjROeKMRQKLbVHAARPxeY4vSWDZUuoLiJvHvT6yC69Ox4Oubr5IFGvs2yZsNitcmfIy=w400-h300" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhf4Nhtv1mlhR-NsqjhjpToFFtFAEjcKco-_DLkqABhqxSH5f1YUEfzXJoht6btUQrYJ3keWEdWhy3UgE1Qsy7U6Y3qNVq1rZ3OPMq6kdoiH-aWIC39FCS5pYM25TnkgxVmIjGVOdYTDK-UN_TpzrOcWXwGWi3xT_y23ggrxUNDVXS4NwVPNBLoecTb=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEhf4Nhtv1mlhR-NsqjhjpToFFtFAEjcKco-_DLkqABhqxSH5f1YUEfzXJoht6btUQrYJ3keWEdWhy3UgE1Qsy7U6Y3qNVq1rZ3OPMq6kdoiH-aWIC39FCS5pYM25TnkgxVmIjGVOdYTDK-UN_TpzrOcWXwGWi3xT_y23ggrxUNDVXS4NwVPNBLoecTb=w400-h300" width="400" /></a></div><p>The last wonderful detail was handing it over to the wonderful framing artists at <a href="https://www.fcfgframing.com/" target="_blank">Four Corners Framing</a>. June helped me choose a frame that matched the grandness of the story. I had mounted the piece on the double matte as taught through my RSN training. When I picked it up, June had such beautifully framed my piece that I was quite literally dancing with joy! </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgn_60skp5XJhKH-7kQkJveqqjWox-3sYdkuOxvnZ8LIVlmbn47XEkuIrCch3reWcXLyP9FOcmEBa6rNWbIDISnEt8LR8M5QGYDDscsfGyCpXaXu_iWS5xILqcdluOccEm9o-eJ7DVArODF-NsTGBFM7CRS0ZD1Y9NtY40y5ea9T14lCU5zsMxFI0tC=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1264" data-original-width="1500" height="338" src="https://blogger.googleusercontent.com/img/a/AVvXsEgn_60skp5XJhKH-7kQkJveqqjWox-3sYdkuOxvnZ8LIVlmbn47XEkuIrCch3reWcXLyP9FOcmEBa6rNWbIDISnEt8LR8M5QGYDDscsfGyCpXaXu_iWS5xILqcdluOccEm9o-eJ7DVArODF-NsTGBFM7CRS0ZD1Y9NtY40y5ea9T14lCU5zsMxFI0tC=w400-h338" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.instagram.com/p/CYfCbcAIbRO/" target="_blank">Click here for my reveal video on my Instagram</a></div><p style="text-align: left;">This piece will now be making it's way to London to be part of the <a href="https://broderers-exhibition.co.uk/" target="_blank">Broderers' Exhibition</a> next week (22-28 February 2022) at <a href="https://www.banksidegallery.com/" target="_blank">Bankside Gallery</a> and then I will be proudly hanging it in my house! </p><p style="text-align: left;"><br /></p><p><u style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"><b>Referenced Sources:</b></u><span style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"> (this is only a selection from my full bibliography)</span></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm;"></p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm;"><span style="text-indent: -1cm;">A. G. Hassall and W. O. Hassall, </span><i style="text-indent: -1cm;">The Douce Apocalypse: with an introduction and notes</i><span style="text-indent: -1cm;"> (Faber, 1961). </span></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;"><span style="text-indent: -37.7953px;">Belt, Shawn. “Plant Fact Sheet - Golden Ragwort.” </span><i style="text-indent: -37.7953px;">United States Department of Agriculture Natural Resource Conservation Services</i><span style="text-indent: -37.7953px;">, USDA, https://www.nrcs.usda.gov/Internet/FSE_PLANTMATERIALS/publications/mdpmcfs8097.pdf.</span></p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Bodleian Libraries, <i>Bodleian Library MS. Douce 180</i>, April 2021. </p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">David McKitterick, Nigel J. Morgan, Ian Short, and Teresa Webber, <i>The Trinity Apocalypse</i> (British Library: London, 2005). </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“MS. Douce 180,” <i>Medieval Manuscripts</i>, April 2021. </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Nigel J. Morgan, <i>The Douce Apocalypse: picturing the end of the world in the Middle Ages</i> (Bodleian Library, 2007). </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“Revelation 12: NLT Bible: YouVersion,” <i>NLT Bible | YouVersion</i>. </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“Revelation 21: NLT Bible: YouVersion,” <i>NLT Bible | YouVersion</i>. </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Richard K. Emmerson, <i>Apocalypse Illuminated: the visual exegesis of revelation in medieval illustrated manuscripts</i> (The Pennsylvania State University Press, 2018). </p></div></div>Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com1tag:blogger.com,1999:blog-5930055630096707834.post-32921635029087394702022-02-09T15:22:00.002-05:002022-02-09T15:22:52.945-05:00 "The Woman and the Dragon" from Revelation 12: The Woman Clothed with the Sun<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgHh1ZZ_vnpVV-8LpgtR6dJ8EBfViWn3Auhg3FJ-d3YrkRA52w-nE6X-KJxhy_RQlOP3BL1sPS-t6FKp7yZ-St9vhh2uhbt2Nbg2JGXJHufHdZ2G-mKVgQ1JPs926q1aMiHxKEM-12MrYMmjzT2otDRXhcdDn9CaDMkRqFkE4HC24g27KcK5Cx5LADl=s1226" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1226" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgHh1ZZ_vnpVV-8LpgtR6dJ8EBfViWn3Auhg3FJ-d3YrkRA52w-nE6X-KJxhy_RQlOP3BL1sPS-t6FKp7yZ-St9vhh2uhbt2Nbg2JGXJHufHdZ2G-mKVgQ1JPs926q1aMiHxKEM-12MrYMmjzT2otDRXhcdDn9CaDMkRqFkE4HC24g27KcK5Cx5LADl=s320" width="261" /></a></div><p>The drama of the Woman's story matches the complexity of the various interpretations of the characters and symbols present. The most common variations of the Woman view her as a representation of the Church, the Virgin Mary, the Holy Spirit, or a simultaneous combination of the Church and Mary.</p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Depictions of the Woman of Revelation 12 in the</span><em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Douce Apocalypse</em></strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">In the sequential frames depicting her story in the Douce Apocalypse, the Woman's clothes evolve as her story progresses. She first wears a red dress with blue sleeves, then a red dress hemmed with gold underneath a blue cloak, and finally, a blue dress and cloak both edged in gold. The methodical movement towards increasingly blue garments implies that it was a conscious decision and strengthens the interpretation of the Woman as a combination of both the Church and the virgin Mary. As her relationship to the Child, usually interpreted as Christ, becomes more distant, her garments morph from dominantly red, a color associated with the redemptive blood of Christ, to entirely blue, the color now associated with the Holy Mother Mary. The Sun is a symbol closely associated with Christ, and therefore, the red of her garments visibly wraps her in Christ's redemptive blood, providing salvation for believers from darkness through His death and resurrection. As her garments transition to blue, she assumes her role as the Mother of the Church; thus, she could simultaneously symbolize the Church while embodying the Holy Mother Mary. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Depictions of the Woman of Revelation 12 in the</span><em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Trinity Apocalypse</em></strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">The Woman's clothing as depicted in the Trinity Apocalypse also morphs. </span>When we first see her on folio 13r, she wears a desaturated red gown with a blue robe lined in red and with a green headscarf. The Sun is very stylized and sits behind her leaving her unprotected from the Dragon (McKitterick, 54). Her halo has 12 scalloped points finished with stars. The Child wears blue as she hands him to an angel, but then wears red as he is flown to heaven. </p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">In the next scene, we see the Woman holding her hands to caress a baby who is not present. Her halo has morphed into the traditional circular gold motif, and she wears a gown of blue with a robe of red. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Skipping to folio 14r after the War in Heaven on 13v, we see her given her wings and fleeing from the Dragon's flood as she wears a gown of blue with a robe of blue powdered with gold motifs and a white headscarf. In the next scene, she wears the same garments as she sits protected in the wilderness, a portion of the narrative only depicted in the Trinity Apocalypse (McKitterick, 54).</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Inspiration for the Woman:</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Viewing the Woman from a modern gaze, her interpretative complications magnify. Is her story one of redemptive foreshadowing, or does she embody the expectations imposed onto women by fundamentalist interpretations of Biblical femineity, stripping women of any individual identity separate from her familial structure and closest male association (husband/father/etc)? Additionally, the representations of good and evil as personified through the Woman and the Whore of Babylon create a stark juxtaposition of feminine stereotypes and provoke questions concerning the role of grace in redemption. The association of red with the Whore of Babylon, both as told in Revelation as well as many medieval Apocalypse manuscripts, prompts one to consider if the transition of the color of her garments is truly representative of Christ's love or murmuring to women their "path to salvation" through maternal priorities. The choice to bring life into the world is the most significant power embodied in women and envied by men. As men are physically incapable of growing or biologically nourishing life, their power lies in the taking of life rather than the giving. Could the Red Dragon also foretell of the patriarchal systems that create such starkly controlled perceptions of women? John's narrow depiction of the Woman of Revelation 12 and the fluidity of the character's meanings create a narrative rife with interpretative complications. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Stitching the Woman:</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">I wanted to stitch her in a way that acknowledged the range of her symbolic interpretations. I am not looking to answer questions or pronounce that I have discovered her or her story's true meaning. In fact, that very complexity and the diverse range of interpretations of her makes her so intriguing to me. I am fascinated by each of the arguments for the different interpretations. Rather than providing answers or conclusions in my piece, I want to elicit further questions--- what could she mean to us today? Does she have to mean the same thing to me as she does to you? Has her symbolism changed or stretched since the creation of the Anglo-Norman manuscripts? Where does she fit in the Biblical perception and contemporary Christian definition of womanhood? The design decisions I made to stitch her, both technical and aesthetic, will hopefully open the viewers to question these concepts rather than present a specific interpretation.</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">The Padding: </strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Traditionally, the padding would have been accomplished with felt or string. Padded characters and deep relief did not become popular until later in medieval embroidery. Opus Anglicanum techniques are quite flat, and the depth in the composition is created through the intricacy of stitch. </span>A natural loft happens when you see the slips stitched down or when a piece uses a velvet ground, but the actual stitching is all very much on one plane. Post Reformation on continental Europe, embroidery became increasingly more dimensional with deeply padded relief. I saw the choice to pad her as an opportunity to visually imply the contemporary viewpoint to the story that I have and included in my depiction of her story.</p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">The traditional felt and string did not feel right for this piece as I wanted to pose a contemporary question with this conceptual opportunity. I chose to use dryer lent for the padding because of its relation to the domestic and its use in feminist art to represent the domestic space that women inhabit/are confined to. I wanted to ask--are women still fighting the same fights that women fought at the time these Apocalypse manuscripts were created? These depictions of the women in Revelation, both the actual descriptions in Revelation and how they were subsequently illustrated in art, are, to say the least, disconcerting. Having been raised in a strictly fundamentalist Christian way, I deeply understand the abusiveness and hurt that these confines cultivate. Yet, I am reminded that Jesus did not treat the women surrounding him during his time on earth with the same disdain and contempt seen in many ecclesiastical and secular environments. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Since becoming a mother myself, the work of </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3292163502908739470" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Mary Kelly</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> has grown in personal significance. I very much felt her work after the birth of my daughter as I was also a full-time professor in a very male-dominated university. Her </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3292163502908739470" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Post-Partum Document</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">, created in the later 1970s, felt like an embodiment of solidarity, encouraging me in the face of blatant misogyny. Her use of compressed lint in a number of different series continues her political and social conversations. Sadly these questions feel as relevant today as they were in the 1970s and, as Christine de Pizan's writing exposes, as these ideas of womanhood were in Medieval Europe. Why isn't motherhood seen as a strength, or let's start by not counting it as a deficit? </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjPo5bBC1_qteOSP1DkibdCAxntRSjGS6kuJCsTNc0y5gOiaCQzcDjm22Tp5Tn6fc3KEhAx4oMl4ykQICXey4TLu4PlqaPcVrjCW9OsOkF5vsojhyxFjlN_jD1loDk4KDGtNTbcMkJgjJVmQDbRRDQOLavOQbcq2P0TBMHZf7RK6UseAvgoOf0m04XU=s2990" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2990" data-original-width="1500" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjPo5bBC1_qteOSP1DkibdCAxntRSjGS6kuJCsTNc0y5gOiaCQzcDjm22Tp5Tn6fc3KEhAx4oMl4ykQICXey4TLu4PlqaPcVrjCW9OsOkF5vsojhyxFjlN_jD1loDk4KDGtNTbcMkJgjJVmQDbRRDQOLavOQbcq2P0TBMHZf7RK6UseAvgoOf0m04XU=w201-h400" width="201" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Finished lint padding. I then added a layer of cotton muslin to protect the lint padding from the gold and make sure I did not have any lint peaking through.</td></tr></tbody></table><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Her Gown:</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">I specifically wanted a contemporary feel to the dress. I wanted the style of dress to be reminiscent of the drapiness of the medieval gowns, yet I did not want it to feel overtly medieval. I arrived at a simple, somewhat Grecian-style maternity gown. I rested her right hand on her belly to exaggerate the roundness and clearly communicate that she was still with Child. </span></p><p><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">I knew I wanted her dress to be a combination of gold and Marian blue. This saturated form of blue has become synonymous with Mary even if depictions of her in medieval art also see her wearing red and green. I chose to stitch her in a combination of gold and Marian blue. I wanted to make visual references to both interpretations that she could represent either the Church (gold) or Mary (blue) herself. This was the reason why I purposely chose not to do the couching in undersided couching or shaded bands of split stitch, which would have been more faithful to the style seen in Opus Anglicanum. The Or Nué couching such as I have stitched here is more true to later Medieval embroidery such as this </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3292163502908739470" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Cope Hood </span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">that is part of the V&A's Collection. Notice how on this piece the Woman's bodice and overskirt are stitched in primarily colored silk in a bricking pattern with the shadows stitched in Or Nué. </span> </p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiPH6NLboZGXwC2LPQ3Xg25cLcnIpAwcc5nnZrikjw5hUPKtM2t8QZax89k--zM4YqK-wS-bRbkLk5jo83vWTZshfX6AriDqfBWvbWNXbzjcrtIrYRf7HWQam66rfU4JtSXviKscGTm4gi7mQ7mFBzqdM_lDyoduX8ssY8-giQGtFhzLDLJljTs6T-o=s1500" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1125" data-original-width="1500" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEiPH6NLboZGXwC2LPQ3Xg25cLcnIpAwcc5nnZrikjw5hUPKtM2t8QZax89k--zM4YqK-wS-bRbkLk5jo83vWTZshfX6AriDqfBWvbWNXbzjcrtIrYRf7HWQam66rfU4JtSXviKscGTm4gi7mQ7mFBzqdM_lDyoduX8ssY8-giQGtFhzLDLJljTs6T-o=s320" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Couching the passing down using three different shades of Marian blue silk. Here you can see the layer of muslin I stitched down to protect the dryer lint padding from the padding. </td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjjR-Ac94gjim2oEx9HRoTFTt45ShcCwC6yrVQeOrLpMfcZE3TbVUUuthwIyOtkf-3UPp6JlyJqs7XL5EdM9KBa2nKONMcc43rZgOJD6SVeq3XDVAuRLXgulctFcUq_df5Om8T6HoHZtRkiVch73KOKvGHVv_VicGYQrsXW1W2_fJHuVtq0sV9JT3q5=s2127"><img border="0" data-original-height="2127" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjjR-Ac94gjim2oEx9HRoTFTt45ShcCwC6yrVQeOrLpMfcZE3TbVUUuthwIyOtkf-3UPp6JlyJqs7XL5EdM9KBa2nKONMcc43rZgOJD6SVeq3XDVAuRLXgulctFcUq_df5Om8T6HoHZtRkiVch73KOKvGHVv_VicGYQrsXW1W2_fJHuVtq0sV9JT3q5=s320" width="226" /></a></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgUl5PSZt0ljI3G_4lehSfFWNcjPO7acrdgP_1zz9F2QKbGwNu_pWLC9sqqEy8RO6CubzlcaN-fqcwkYBiVaQqhA7YzzgkJrsi7wENn_rw8s_psaNio77DA5CpYDpgN_EOmz-qkmtFyF4sroNs1qpakOGKfxrwcbGT9-WJCzNyRLodKbb8z2WTxZO-a=s1714" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1714" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgUl5PSZt0ljI3G_4lehSfFWNcjPO7acrdgP_1zz9F2QKbGwNu_pWLC9sqqEy8RO6CubzlcaN-fqcwkYBiVaQqhA7YzzgkJrsi7wENn_rw8s_psaNio77DA5CpYDpgN_EOmz-qkmtFyF4sroNs1qpakOGKfxrwcbGT9-WJCzNyRLodKbb8z2WTxZO-a=s320" width="280" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Couching complete and starting to plunge the ends to the back.</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg-KaxkrNgkeSm7TXfdufSpvqinG7iE4XkkqlaY55MQtmGl_we6gCF84zvEhE1ZKYm6_E8K7CVIF8yG49qdjkFFyznPXubJx-exQrBG_WCRPEv4iGTxQI65Lr3HegYIZ3gYV0jWSauDhzeCIPiPvclnbuhqpX6nodiGFZqDu82Rd9hI15FQGIRLFDjg=s2455" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2455" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEg-KaxkrNgkeSm7TXfdufSpvqinG7iE4XkkqlaY55MQtmGl_we6gCF84zvEhE1ZKYm6_E8K7CVIF8yG49qdjkFFyznPXubJx-exQrBG_WCRPEv4iGTxQI65Lr3HegYIZ3gYV0jWSauDhzeCIPiPvclnbuhqpX6nodiGFZqDu82Rd9hI15FQGIRLFDjg=s320" width="196" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ends plunged to back and ready to be tied down. You can see the different blues much more clearly on the back and I love the stitch pattern created. </td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhfDVEd-IAJfmWISN8XcmaOFo8PBD7-DKJnGvwXKUGr68vafNE2oXR_-pfyKykzBcaEKd4mNPh-CyCvgUok4at-deGBPOCyLlo8gZqgbDuzk2pg-t5LZK8Q3WiSZaGaQu1hR8wzolp6E-tacGa4uymNySVFoWplr1i47jP2e_qZ0ZLNIdqejpREcTxP=s2000" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1163" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhfDVEd-IAJfmWISN8XcmaOFo8PBD7-DKJnGvwXKUGr68vafNE2oXR_-pfyKykzBcaEKd4mNPh-CyCvgUok4at-deGBPOCyLlo8gZqgbDuzk2pg-t5LZK8Q3WiSZaGaQu1hR8wzolp6E-tacGa4uymNySVFoWplr1i47jP2e_qZ0ZLNIdqejpREcTxP=s320" width="186" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">All ends plunged and tied back.</td></tr></tbody></table><br /><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">I used tiny rows of silk split stitch for her face and arms to be more true to the Opus Anglicanum references. I used a combination of silk split stitch and single silver-plated passing couched for her hair. Several characters are depicted with this style of hair on the </span><a class="editor-rtfLink" href="https://www.artic.edu/artworks/41449/altarpiece-of-the-virgin-and-child" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Burgo de Osma Retable and Altar Front at the Art Institute of Chicago</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">, and it is a way of representing hair that I think is beautiful. I chose white for her hair to tie her to the Son of Man as described in </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3292163502908739470" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Revelation 1: 13-18</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> . </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> </span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhK4NcJrFGbXzGM2SUJO5EXjrHJVOO6WuY7oX6YcgbQGKZCCV-FeszVpbO0f7oYZgolZGfu_2HbmBOxTm98WcIElhbqoa0HKk3czjNLVrLvxYq8e7tPcyfH57yLjv-WiOJo8s65m4kofvHTI-1feKRFxgOxvM9b0K2JLdwo-QVSz2FXdiT7bl-pVoy7=s1500" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1282" data-original-width="1500" height="273" src="https://blogger.googleusercontent.com/img/a/AVvXsEhK4NcJrFGbXzGM2SUJO5EXjrHJVOO6WuY7oX6YcgbQGKZCCV-FeszVpbO0f7oYZgolZGfu_2HbmBOxTm98WcIElhbqoa0HKk3czjNLVrLvxYq8e7tPcyfH57yLjv-WiOJo8s65m4kofvHTI-1feKRFxgOxvM9b0K2JLdwo-QVSz2FXdiT7bl-pVoy7=s320" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Completed Woman ready to be appliquéd to velvet.</td></tr></tbody></table><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Halo or Crown?:</strong></p><p><span style="color: #0e101a;">In the Douce Apocalypse, the presence of a golden halo that contains 12 stars, as mentioned in Revelation 12:1, lends credence to the interpretation that the maker of the Douce Apocalypse was projecting the identity of Mary onto the Woman of Revelation 12. The Trinity Apocalypse's scalloped halo with stars was an interesting interpretation that broke with the more common gold circular motif used for halos. Common interpretations of the 12 stars include their symbolizing the 12 apostles, the 12 tribes of Israel, or the 12 Zodiac signs. Christine de Pizan's less common interpretation, and a connection described by Bonaventure, was that the 12 stars represented the 12 joys of Paradise (Kennedy, 284), foretelling of the joys to come after the Last Judgement. </span></p><p>This creates an interpretation inclusive of the 12 tribes and 12 apostles as Revelation 21 tells of the "12 gates guarded by 12 angels. And the name of the 12 tribes of Israel written on the gates… The wall of the city had 12 foundation stones, and on them were written the names of the 12 apostles of the Lamb" (Revelation 21: 12-14, NLT). Additionally, the interpretation of the 12 stars of her crown foreshadowing the 12 joys of Paradise creates a connection between the Woman of Revelation 12 and the Bride of Christ of Revelation 21. It encourages a focus on the redemptive power of Christ and the glory to come for believers in the New Jerusalem. This connection also implies the Woman as the New Eve and further illustrates the grace and redemption of God (Le Frois 1958, 94). </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi1-UWQu_oAyp5ystv5QT2DOZEAELCX9w7RcHQOlJbUY7AkVwFcYH_I6cDRNeezIrD7vGvRlc4iWan9XfJEPwTR1elhyI2cL6ljdAzTXSxqatC_udTOtelmxo66orSjwDAJJGYhiqL7VQPEPvjSBUOsKhWDkNdIRrq1kwe_V3fqdw9SXWXxQmsmbCCT=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1190" data-original-width="1500" height="318" src="https://blogger.googleusercontent.com/img/a/AVvXsEi1-UWQu_oAyp5ystv5QT2DOZEAELCX9w7RcHQOlJbUY7AkVwFcYH_I6cDRNeezIrD7vGvRlc4iWan9XfJEPwTR1elhyI2cL6ljdAzTXSxqatC_udTOtelmxo66orSjwDAJJGYhiqL7VQPEPvjSBUOsKhWDkNdIRrq1kwe_V3fqdw9SXWXxQmsmbCCT=w400-h318" width="400" /></a></div><div><br /></div>When stitching the Woman, I gave her a halo of 12 stars. The radial pattern reflects the halo of the Douce Apocalypse, while the spiked stars reflect the scalloped points of the halo of the Trinity Apocalypse. In reading her story in Revelation and the various interpretations of her, it felt essential to have precisely 12 stars represented. To flatten them into a solid halo felt like a loss of part of her story. I have stitched her halo of stars in gilt cutwork and s-ing with gilt spangles and chipping providing the finishing touch. <div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi9C48qeLK5UYTzr_1jryznPowP9aGdNqKGvKCvmytYLYAbeDe3ZzZdamdHyocDS6DueGNQWyIK42WrKBXVNTYWo1o3Ybu_zgTfyX65uqsyUAftRjK_fAa96VGo8evf4-97Q8H_n_h612taP0eEbLACiTYPUNsjIJVKNCY0pm1x-pw3hf5OUSCDowcP=s2684" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2684" data-original-width="1500" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEi9C48qeLK5UYTzr_1jryznPowP9aGdNqKGvKCvmytYLYAbeDe3ZzZdamdHyocDS6DueGNQWyIK42WrKBXVNTYWo1o3Ybu_zgTfyX65uqsyUAftRjK_fAa96VGo8evf4-97Q8H_n_h612taP0eEbLACiTYPUNsjIJVKNCY0pm1x-pw3hf5OUSCDowcP=w224-h400" width="224" /></a></div><br /><div><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Finally, I added a silver crescent moon padded with felt and stitched with kid leather appliqué, pearl purl outline, and chipping. Her silk split stitched foot barely peaks below her gown to step upon the moon. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">A Note About Inspirations</strong></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Because this was a contemporary view of this story and these inspirations from my viewpoint, I did not feel that I had to remain wholly true to one specific historic style. So, though I reference Opus Anglicanum and later medieval embroidery, I did not feel like I had to choose between them. In the same way that my view of this story is affected by countless influences throughout my life, and yours will be different because of your influences, the technical inspirations are a blend of various medieval European ecclesiastical embroidery styles. The purpose of this project was not historical recreation. It is a historically-inspired interpretation. </span></p></div><div><br /></div><div>More soon :) <br /><p><br /><b>A few excellent talks: </b></p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/eIcEM0dLIiQ" width="415" youtube-src-id="eIcEM0dLIiQ"></iframe></div><div class="separator" style="clear: both; text-align: center;">Excellent talk by <span face="Roboto, Arial, sans-serif" style="background-color: #f9f9f9; color: #030303; font-size: 14px; text-align: left; white-space: pre-wrap;">Canon Jeremy Haselock for the Churches Conservation Trust.</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/iCEQwmRqYc8" width="320" youtube-src-id="iCEQwmRqYc8"></iframe></div><div class="separator" style="clear: both; text-align: center;">Mary Kelly in Conversation with Hans Ulrich Obrist for Tate Talks</div><div class="separator" style="clear: both; text-align: center;"><br /></div><u style="color: #444444; font-family: Puritan; font-size: 13.2px;"><b><div><u style="color: #444444; font-family: Puritan; font-size: 13.2px;"><b><br /></b></u></div>Referenced Sources:</b></u><span style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"> (this is only a selection from my full bibliography)</span><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm;"></p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm;"><span style="text-indent: -1cm;">A. G. Hassall and W. O. Hassall, </span><i style="text-indent: -1cm;">The Douce Apocalypse: with an introduction and notes</i><span style="text-indent: -1cm;"> (Faber, 1961). </span></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;"><span style="text-indent: -37.7953px;">Belt, Shawn. “Plant Fact Sheet - Golden Ragwort.” </span><i style="text-indent: -37.7953px;">United States Department of Agriculture Natural Resource Conservation Services</i><span style="text-indent: -37.7953px;">, USDA, https://www.nrcs.usda.gov/Internet/FSE_PLANTMATERIALS/publications/mdpmcfs8097.pdf.</span></p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Bodleian Libraries, <i>Bodleian Library MS. Douce 180</i>, April 2021. </p><p></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">David McKitterick, Nigel J. Morgan, Ian Short, and Teresa Webber, <i>The Trinity Apocalypse</i> (British Library: London, 2005). </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“MS. Douce 180,” <i>Medieval Manuscripts</i>, April 2021. </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Nigel J. Morgan, <i>The Douce Apocalypse: picturing the end of the world in the Middle Ages</i> (Bodleian Library, 2007). </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“Revelation 12: NLT Bible: YouVersion,” <i>NLT Bible | YouVersion</i>. </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“Revelation 21: NLT Bible: YouVersion,” <i>NLT Bible | YouVersion</i>. </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Richard K. Emmerson, <i>Apocalypse Illuminated: the visual exegesis of revelation in medieval illustrated manuscripts</i> (The Pennsylvania State University Press, 2018). </p><p></p><p> </p></div></div>Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com1tag:blogger.com,1999:blog-5930055630096707834.post-63842645736607869822022-01-26T13:37:00.001-05:002022-01-26T13:37:23.887-05:00 "The Woman and the Dragon" from Revelation 12: the Background<p>The background of this piece was a true merge between my influences from both the Douce and Trinity Apocalypse manuscripts. Ironically, the backgrounds of both are extremely different yet they play an integral part in what drew me to these two manuscripts. In this blog post, I will summarize the aspects of each manuscript that played a key influence, and then I will discuss each part of the background on my embroidered panel and how these influences were synthesized in my piece. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="1340" data-original-width="990" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY_ukWGU89SWniVjPZqbKMrPj4420jNZZmbiAETxF03y7IAeh6wy-4qerNHe_2e4SEtquwqI0Uv1Dh0g1_YVw4V2ontZTSd7E_5mDMjifPFwDHngxEj0cjTo4pWdfVsoBExVJyidax1FY/w295-h400/Trinity-13r.jpg" style="margin-left: auto; margin-right: auto;" width="295" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://mss-cat.trin.cam.ac.uk/manuscripts/uv/view.php?n=R.16.2&n=R.16.2#?c=0&m=0&s=0&cv=28&xywh=-116%2C1304%2C4062%2C2607" target="_blank">Trinity Apocalypse folio 13r</a></td></tr></tbody></table><p><u><b>Influences from the Trinity Apocalypse:</b></u></p><p>I love the backgrounds in the Trinity Apocalypse-- how they are divided and form vignettes with the various bars and rectangles, how the colors are flipped to subtly reinforce this without creating visual noise that would distract from the figures depicted, and how the subtle patterning softens the solid spans of gold and saturated colors. All these aspects I absolutely adore about the Trinity Apocalypse. Much is written about the rendering style of the drapery, which no doubt is lovely but it is the background that captures my attention. The harshness of the geometric divisions lends a more contemporary feel, especially as the artist has flipped complementary colors, as seen in the above image of Folio 13r. If you separate the layers of the composition and image it without the imagery, the backgrounds themselves seem fairly noisy. Yet, the powdering of the tiny motifs and groupings of dots seems to provide a buffer that harmoniously joins the background layer with the imagery layer. The thin outline of gold then frames out each composition. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir5Hq081CXRzSiCsyVUxUaeAIq1cqXdAxf-1jm_acohB_z3ntT_91YHbequ9Z0VCU_QX3L0TNNZ7oRrhMINL8w-cXrd6NFXJ6zZjayn8NgIyUEXbo_jaKnR3A9q6YwOF0UhTDGL67CYXo/s1416/Douce-33v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1114" data-original-width="1416" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir5Hq081CXRzSiCsyVUxUaeAIq1cqXdAxf-1jm_acohB_z3ntT_91YHbequ9Z0VCU_QX3L0TNNZ7oRrhMINL8w-cXrd6NFXJ6zZjayn8NgIyUEXbo_jaKnR3A9q6YwOF0UhTDGL67CYXo/w400-h315/Douce-33v.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://digital.bodleian.ox.ac.uk/objects/d8f4f265-b851-48a8-b324-4fc871f68657/surfaces/3b66a9a9-ff07-4d5c-b6d0-dd5b3c869340/" target="_blank">Douce Apocalypse folio 33v</a></td></tr></tbody></table><p><u><b>Influences from the Douce Apocalypse:</b></u></p><p>In looking at the Douce Apocalypse, one main aspect that I loved about how the illustrations are rendered is the blankness of the background. This is starkly contrasting to the completely colored background of the Trinity Apocalypse, but there is something about the sketchbook-like quality that this blank background creates that I love. It seems to open the door a bit more informally to the story and makes me feel like I am peaking into it as the artist is trying to sort out the story themselves. This story is wild, complicated, layered, and not an easy one to unpack. </p><p>Where the background of the Trinity Apocalypse is formed using harsher straight rectangular sectionings, the Trinity Apocalypse is abundant in its use of wavy lines and circles. The concentric wavy lines encircling the Woman on Folio 33v create visual movement and direct the viewer's attention to her while not feeling stodgy. Her crescent halo balances with the upside-down crescent moon to provide visible boundaries for the Woman and cocoon her pregnant belly, which strategically rests in the center of the concentric undulating circles. Our foremost attention is directed to her child within her belly protected by her caressing hands while presenting her in a position of high importance. The wavy lines of the landscape balanced with the wavy lines of the sky help to continue the softening of the composition. The only straight, linear elements are the border and the staff in John's hand. </p><p><b><u>Setting the Stage: </u></b></p><p>The main portion of the background on my panel is composed of metallic gold linen. I chose this fabric as it blended the reference to heaven in the gold and the reference of the redemption through Jesus' resurrection in the linen. I then added a strip of apple green velveteen to provide a base for the foliage. I chose a straight band as I wanted to include the strict geometry seen in the Trinity Apocalypse background. To further the inspiration from the Trinity Apocalypse, I use fine gilt thread to create a thin lattice pattern covering the metallic linen background. Though different from the powdered motifs of the Trinity Apocalypse, the lattice pattern maintains a similar diamond-shape to the repeat as the half-drop repeat has for the powdered motifs. </p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-BMqCrpheBzvYwQPzYY9IasLzppV2ieNtbdQub-NRkXl1W-VpAhHmrlJgdbkmaPzr52RjAlAW5wo2qG6QFo5x58AIexmEEAg52VRa-rjN3JwtqVtnQZ_bijw54LGehQHclr4h-EoB_SY/s1500/KDiuguid-Apoc-background4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1165" data-original-width="1500" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-BMqCrpheBzvYwQPzYY9IasLzppV2ieNtbdQub-NRkXl1W-VpAhHmrlJgdbkmaPzr52RjAlAW5wo2qG6QFo5x58AIexmEEAg52VRa-rjN3JwtqVtnQZ_bijw54LGehQHclr4h-EoB_SY/w400-h311/KDiuguid-Apoc-background4.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><p style="text-align: left;"><b><u>Foliage:</u></b></p><p style="text-align: left;">The depictions of the foliage were especially charming in both manuscripts. They remind me of crewelwork leaves and stems. They are not remotely naturalistic and that is precisely why I love them so much! In the Douce Apocalypse, the depiction of the foliage visually grows as the Woman’s story unfolds. When the Woman first appears, the foliage minimally anchors the composition providing John a place to sit. By the Woman’s escapes on 35r, the foliage covers almost half the background emphasizing her migration from celestial to the earthly environment. I tried to be cognizant of this as I decided how much or how little foliage to add to the panel. </p><p style="text-align: left;">For the actual foliage, I chose to appliqué silk that I had eco-printed with leaves. I loved how the color of the eco-print mimicked the variation in the color washes of the Douce Apocalypse. The leaves seemed oversize in the composition and yet are true to size biologically. It also felt right to use something created quite literally from our world using a roadside weed, Appalachian Ragwort (<a href="https://plants.ces.ncsu.edu/plants/packera-anonyma/" target="_blank">Packera anonyma</a> also called Small's Ragwort), which is both a pollinator for bees and butterflies yet can be poisonous to other animals such as livestock. That duality, providing nourishment to some and toxicity to others, felt suitable for a composition depicting an Apocalyptic scene. It is also in the same family as Golden Ragwort (<a href="https://plants.ces.ncsu.edu/plants/packera-aurea/" target="_blank">Packera aurea</a>) which was used medicinally by Native Americans to treat menses, prevent pregnancy, and help childbirth (<span style="text-indent: -37.7953px;">Belt).</span></p></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5ECnE1hbynPWGuNFldsvAcnyr6FG8vN0d_QJX1kjThhb84kEcw19S1vuT7zVB1Gl13vo7j29J978yqiIufdgGS6QKKzEx3GWEfYFAEQU4Uinrs-Ni71hzMjvPq5351Mu_z86Bfmzkht4/s1900/KDiuguid-Apoc-background6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1900" data-original-width="1500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5ECnE1hbynPWGuNFldsvAcnyr6FG8vN0d_QJX1kjThhb84kEcw19S1vuT7zVB1Gl13vo7j29J978yqiIufdgGS6QKKzEx3GWEfYFAEQU4Uinrs-Ni71hzMjvPq5351Mu_z86Bfmzkht4/w316-h400/KDiuguid-Apoc-background6.jpg" width="316" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">I appliquéd the leaf prints with stab stitches in a sketchy feel, securing them in place and emphasizing the contours of the leaves. I preserved enough bare botanical print to expose the color variation. I positioned the Dragon over the leaves as I wanted to make him feel like he was lurking in the foliage and just beginning to emerge to come after the Woman. I wanted there to be a connection between him and the vegetation anchoring him to the earth. </div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0LZOsbGPx_Y7RwInz797T1WEgilbb4GqsFI745GdlRqyQEJO6BrFWz9cy6P7PbD-rebQpCI0mZk2D2lJlby3TZU9LrmkRgYW6WwJX1W7o3DmxLCXXLLYy98bFrojzQ9yy8VQptQGvaac/s1500/KDiuguid-Apoc-background5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1159" data-original-width="1500" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0LZOsbGPx_Y7RwInz797T1WEgilbb4GqsFI745GdlRqyQEJO6BrFWz9cy6P7PbD-rebQpCI0mZk2D2lJlby3TZU9LrmkRgYW6WwJX1W7o3DmxLCXXLLYy98bFrojzQ9yy8VQptQGvaac/w400-h309/KDiuguid-Apoc-background5.jpg" width="400" /></a></div><p><b><u>Circle:</u></b></p><p>In the Douce Apocalypse, the circular undulating lines framed the Woman Clothed with the Sun in such a beautiful way. They represented heaven and created a womb-like protective boundary in which she resides. This protective boundary and its womb-like feel were important to me when considering how to protect her from the Dragon. </p><p>As tempted as I was to maintain the undulating movement around the circle, I felt it was important to smooth it out to give a nod to the clear geometric boundaries of the background vignettes on the Trinity Apocalypse. To soften this edge, I knew I would add some kind of goldwork edging to blur the velvet boundary into the heavenly gilt linen background. Though this crispness of edge felt like the right direction, it also created an emptiness in the velvet that seemed a bit naked when considering the influence of the Trinity Apocalypse. Granted, the emptiness of the background of the Douce Apocalypse was one of the characteristics that sparked my interest; however, velvet has a much different visual that demanded something more. This presented an interesting design dilemma, along with the edging choice, that required a bit more sampling on the side. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiSouHlHJMipA25YwZUPth9oGdKa3hwC6kx6j5p8R8a_PiDoBYJHexWZ95Zj7wvWuqXX9rJ-n-Xxx4afLPcWGd9tfy5ld0ftidYGEPmX4m9BNrQTPdrk35NmDqA2Cjw4zKT5ctZ1_zjVCk9EBrejNyHU7Gu97WhGl9cRQnFqbj0qkyzhNllcX4XdV8y=s1926" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1926" data-original-width="1400" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEiSouHlHJMipA25YwZUPth9oGdKa3hwC6kx6j5p8R8a_PiDoBYJHexWZ95Zj7wvWuqXX9rJ-n-Xxx4afLPcWGd9tfy5ld0ftidYGEPmX4m9BNrQTPdrk35NmDqA2Cjw4zKT5ctZ1_zjVCk9EBrejNyHU7Gu97WhGl9cRQnFqbj0qkyzhNllcX4XdV8y=w291-h400" width="291" /></a></div><p>For the edging, I tested different variations of pearl purl outlining and s-ing with smooth purl. None of them worked. They seemed too inconsequential and created the feel of a ragged edge instead of a purposely blurred edge—not the look I desired. To be honest, I think I was over-complicating the matter. The solution I chose for the final panel was a combination of couched passing and overstretched pearl purl using a Marian blue silk thread to attach both. Sometimes simpler is better. The Marian blue broke up the gold enough that it created a nice transition that felt considered yet not flashy. </p><p>To address the nakedness of the velvet, I decided to mimic the diaper patterning present in the Trinity Apocalypse with stretched gilt smooth purl stars and small gilt spangles stitched with a Marian Blue silk thread. It was essential to sample for the stars as redoing something on the velvet would have meant redoing the velvet altogether. Anytime you take something out of velvet to redo it, bits of the pile are lost too, scarring the fabric. I tested different size gilt spangles, various attaching methods, stars created with stretched and unstretched cutwork, and purl french knots. In the end, I chose a combination of spangles and stretched purl stars, aligning them to the same grid formed from the gilt thread lattice covering the metallic linen allowing the pattern to span the surface of the background. </p><p><br /></p><p>The next post will be about the aspect that intrigued me most about the story and within the manuscripts.... the Woman Clothed with the Sun! </p><p><br /></p><p><u><b>Referenced Sources:</b></u> (this is only a selection from my full bibliography)</p><p></p><div></div><p></p><p></p><p style="margin-left: 1cm; text-indent: -1cm;"></p><div></div><p></p><p></p><p style="margin-left: 1cm; text-indent: -1cm;"><span style="text-indent: -1cm;">A. G. Hassall and W. O. Hassall, </span><i style="text-indent: -1cm;">The Douce Apocalypse: with an introduction and notes</i><span style="text-indent: -1cm;"> (Faber, 1961). </span></p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;"><span style="text-indent: -37.7953px;">Belt, Shawn. “Plant Fact Sheet - Golden Ragwort.” </span><i style="text-indent: -37.7953px;">United States Department of Agriculture Natural Resource Conservation Services</i><span style="text-indent: -37.7953px;">, USDA, https://www.nrcs.usda.gov/Internet/FSE_PLANTMATERIALS/publications/mdpmcfs8097.pdf.</span></p><div style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></div><p style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Bodleian Libraries, <i>Bodleian Library MS. Douce 180</i>, April 2021. </p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">David McKitterick, Nigel J. Morgan, Ian Short, and Teresa Webber, <i>The Trinity Apocalypse</i> (British Library: London, 2005). </p><div style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></div><p style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“MS. Douce 180,” <i>Medieval Manuscripts</i>, April 2021. </p><div style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></div><p style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Nigel J. Morgan, <i>The Douce Apocalypse: picturing the end of the world in the Middle Ages</i> (Bodleian Library, 2007). </p><div style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></div><p style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“Revelation 12: NLT Bible: YouVersion,” <i>NLT Bible | YouVersion</i>. </p><div style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></div><p style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“Revelation 21: NLT Bible: YouVersion,” <i>NLT Bible | YouVersion</i>. </p><div style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></div><p style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Richard K. Emmerson, <i>Apocalypse Illuminated: the visual exegesis of revelation in medieval illustrated manuscripts</i> (The Pennsylvania State University Press, 2018). </p>Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com1tag:blogger.com,1999:blog-5930055630096707834.post-13687683242597146172021-07-03T22:46:00.004-04:002021-07-03T22:50:12.234-04:00"The Woman and the Dragon" from Revelation 12: the Red Dragon <p><span class="text Rev-12-3" face="system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, Arial" id="en-NIV-30895" style="background-color: white; font-size: 16px;"><span class="versenum" style="display: inline; font-size: 1.2rem; font-weight: 700; line-height: normal; position: relative; top: auto; vertical-align: text-top;"></span></span></p><p>The Red Dragon was my starting point for this project. As I contemplated the narrative of the Woman Clothed in the Sun, I have to admit that I was so intrigued at the challenge of how to create the Dragon in stitch that I could not pass up this opportunity to give it a go. He appears in two sections of Revelation 12. He is presented in verses 3 and 4. Verses 5 and 6 describe the Woman giving birth to the Child, offering the Child to Heaven, and then fleeing for the Wilderness. Then the Dragon returns to siege war in Heaven and subsequently faces expulsion from Heaven after his defeat.</p><blockquote><blockquote><span class="text Rev-12-3" face="system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, Arial" id="en-NIV-30895" style="background-color: white; font-size: 16px;"><span class="versenum" style="display: inline; font-size: 1.2rem; font-weight: 700; line-height: normal; position: relative; top: auto; vertical-align: text-top;">3 </span>Then another sign appeared in heaven: an enormous red dragon with seven heads and ten horns and seven crowns on its heads.</span><span face="system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, Arial" style="background-color: white; font-size: 16px;"> </span><span class="text Rev-12-4" face="system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, Arial" id="en-NIV-30896" style="background-color: white; font-size: 16px;"><span class="versenum" style="display: inline; font-size: 1.2rem; font-weight: 700; line-height: normal; position: relative; top: auto; vertical-align: text-top;">4 </span>Its tail swept a third of the stars out of the sky and flung them to the earth. The dragon stood in front of the woman who was about to give birth, so that it might devour her child the moment he was born.</span><span face="system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, Arial" style="background-color: white; font-size: 16px;"> .....</span></blockquote><span class="text Rev-12-7" face="system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, Arial" id="en-NIV-30899" style="background-color: white; font-size: 16px;"><span class="versenum" style="display: inline; font-size: 1.2rem; font-weight: 700; line-height: normal; position: relative; top: auto; vertical-align: text-top;"></span></span></blockquote><blockquote><blockquote><span class="text Rev-12-7" face="system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, Arial" id="en-NIV-30899" style="background-color: white; font-size: 16px;"><span class="versenum" style="display: inline; font-size: 1.2rem; font-weight: 700; line-height: normal; position: relative; top: auto; vertical-align: text-top;">7 </span>Then war broke out in heaven. Michael and his angels fought against the dragon, and the dragon and his angels fought back.</span><span face="system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, Arial" style="background-color: white; font-size: 16px;"> </span><span class="text Rev-12-8" face="system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, Arial" id="en-NIV-30900" style="background-color: white; font-size: 16px;"><span class="versenum" style="display: inline; font-size: 1.2rem; font-weight: 700; line-height: normal; position: relative; top: auto; vertical-align: text-top;">8 </span>But he was not strong enough, and they lost their place in heaven.</span><span face="system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, Arial" style="background-color: white; font-size: 16px;"> </span><span class="text Rev-12-9" face="system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, Arial" id="en-NIV-30901" style="background-color: white; font-size: 16px;"><span class="versenum" style="display: inline; font-size: 1.2rem; font-weight: 700; line-height: normal; position: relative; top: auto; vertical-align: text-top;">9 </span>The great dragon was hurled down—that ancient serpent called the devil, or Satan, who leads the whole world astray. He was hurled to the earth, and his angels with him.</span></blockquote></blockquote><p></p><p></p><p></p><p></p><p> - <a href="https://www.biblegateway.com/passage/?search=Revelation%2012&version=NIV" target="_blank">Revelation 12: 3-4 and 7-9 </a><a href="https://www.biblegateway.com/passage/?search=Revelation%2012&version=NIV" target="_blank"> </a></p><p><span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; font-family: Times; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></span><b><u>So who was the Red Dragon?</u></b></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">The Red Dragon is a personification of Satan or the Devil. Its seven heads wear seven crowns and have ten horns. The narrative does not specify how the ten horns are divided between the seven heads. The number seven is crucial as it usually is connected with the idea of completion in the Bible. In this context, the seven crowned heads refer to the seven deadly sins or the complete embodiment of evil. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">As we looked at the various depictions of the Red Dragon in Medieval Apocalypse manuscripts in class, I could not help but imagine how I could stitch each one. My favorite depiction was from the </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/1368768324259714617#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Silos Apocalypse housed at the British Library</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> (image below). Honestly, would this not be so much fun to stitch! I love all the patterns and bold colors, the dots speckling the Dragon, who seems much more serpent-like here than most other depictions. The stars appear like tiny daisies, and the depictions of the Woman are also interesting. My fingers were twitching as color numbers and goldwork techniques filled my imagination. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxUOJ_kV7PGj5N_Wyvt0hKz0_p98kyCg0dW-Lf6-1aOMTfLQ0rM8af09UHd9NSH0Jws9FiB39wcNdA6qorF5o5VYQMnn8Z8rCLz55BaxpHKLGtoBs1POnpTaue6FMjF6ILUKNSrBoG-L4/s2000/Silos-Apocalypse-add_ms_11695_ff147v-148f.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1719" data-original-width="2000" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxUOJ_kV7PGj5N_Wyvt0hKz0_p98kyCg0dW-Lf6-1aOMTfLQ0rM8af09UHd9NSH0Jws9FiB39wcNdA6qorF5o5VYQMnn8Z8rCLz55BaxpHKLGtoBs1POnpTaue6FMjF6ILUKNSrBoG-L4/w400-h344/Silos-Apocalypse-add_ms_11695_ff147v-148f.jpeg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.bl.uk/collection-items/beatus-world-map" target="_blank">Silos Apocalypse, 1091- 1109, made in Spain, held at British Library, Add MS 11695.</a></div><p>My Red Dragon is inspired by Komodo dragons. I wanted to base it on an animal that was not extinct, that still lurks around the globe. I looked at various ones from different zoos and National Geographic photography and YouTube. Their movement is slow, methodical, and creepy. </p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/C20t4OJDpVA" width="320" youtube-src-id="C20t4OJDpVA"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Once I had the base body, I played around with adding six more heads. A question that became very important was, "Should the heads be of equal size?". In theory, the answer to that question is probably yes, as the sins are seen as equally bad. However, I felt that it was essential for there to be a larger head, partly as visually it seemed creepier, and partly because in the Christian churches I grew up in, there was common debate about which sin was the "unforgivable sin" as mentioned in the New Testament. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;"><b><u>So how was the Dragon depicted in Apocalypse manuscripts?</u></b></div><div class="separator" style="clear: both;"><b><u><br /></u></b></div><div class="separator" style="clear: both;">In most of the manuscripts I have explored, all seven of the heads are of equal size to each other. In both the <a href="https://digital.bodleian.ox.ac.uk/objects/d8f4f265-b851-48a8-b324-4fc871f68657/surfaces/7b65cc40-6085-4590-982b-11276abc95d6/">Douce Apocalypse</a> and the <a href="https://mss-cat.trin.cam.ac.uk/manuscripts/uv/view.php?n=R.16.2&n=R.16.2#?c=0&m=0&s=0&cv=30&xywh=-3421%2C-1442%2C10680%2C5848">Trinity Apocalypse</a>, this is the case. However, the necks intertwining in the Dragon of the Trinity Apocalypse have a different feel than the more equally long necks of the Douce Apocalypse's Dragon heads. </div></div><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background: rgb(255, 255, 255); border: 1px solid rgb(68, 68, 68); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #444444; float: left; font-family: Puritan; font-size: 13.2px; margin-bottom: 0.5em; margin-right: 1em; padding: 5px; position: relative; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB7Xo_jZGw8yFBEbyHKywyOdpl3s9weYtP56NODKeKHDZmFcTMFXFFf4cZKAWxbkVgVg7EBuzRHshRPsQue5sH2hXLLUFzKcP-XpDl6pgs3ri_ezLS0Kb7LYvYCthkPw9qdOvfZoKphWs/s1154/Douce-34r-full.jpg" style="color: #45818e; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="1154" data-original-width="890" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB7Xo_jZGw8yFBEbyHKywyOdpl3s9weYtP56NODKeKHDZmFcTMFXFFf4cZKAWxbkVgVg7EBuzRHshRPsQue5sH2hXLLUFzKcP-XpDl6pgs3ri_ezLS0Kb7LYvYCthkPw9qdOvfZoKphWs/w309-h400/Douce-34r-full.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="309" /></a></td></tr><tr><td class="tr-caption" style="font-size: 10.56px; text-align: center;"><span style="font-size: x-small;"><a href="https://dighttps://digital.bodleian.ox.ac.uk/objects/d8f4f265-b851-48a8-b324-4fc871f68657/surfaces/7b65cc40-6085-4590-982b-11276abc95d6/ital.bodleian.ox.ac.uk/objects/d8f4f265-b851-48a8-b324-4fc871f68657/surfaces/7b65cc40-6085-4590-982b-11276abc95d6/" style="color: #45818e; text-decoration-line: none;" target="_blank">Douce Apocalypse, Bodleian Library, fol. 34r.</a></span></td></tr></tbody></table></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background: rgb(255, 255, 255); border: 1px solid rgb(68, 68, 68); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #444444; font-family: Puritan; font-size: 13.2px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 5px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiZq4zGhwVeCI73vaOA2oVJHBe83KB4EFSV3nYbzX2y7JRtc-GXThvWm3BnI2FzmHV6EruojC7UCruAcdiAm5Z9VmZ4L2QzzJgxtDOBCByv7tCSYV9PA_PhxI2uaRUcKpbYPURAXeRkRI/s1348/Trinity-14r.jpg" style="color: #6aa84f; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1348" data-original-width="993" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiZq4zGhwVeCI73vaOA2oVJHBe83KB4EFSV3nYbzX2y7JRtc-GXThvWm3BnI2FzmHV6EruojC7UCruAcdiAm5Z9VmZ4L2QzzJgxtDOBCByv7tCSYV9PA_PhxI2uaRUcKpbYPURAXeRkRI/w295-h400/Trinity-14r.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="295" /></a></td></tr><tr><td class="tr-caption" style="font-size: 10.56px; text-align: center;"><span style="color: #0000ee; font-size: x-small; text-decoration-line: underline;"><a href="https://mss-cat.trin.cam.ac.uk/manuscripts/uv/view.php?n=R.16.2&n=R.16.2#?c=0&m=0&s=0&cv=30&xywh=-2322%2C-839%2C8483%2C4645">Trinity Apocalypse, Trinity College Cambridge, fol. 14r.</a></span></td></tr></tbody></table></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">There are a couple of exceptions that made me feel like it was ok to deviate from the majority for my visual interpretation. The <a href="http://digital.bib-bvb.de/view/bvb_mets/viewer.0.6.5.jsp?folder_id=0&dvs=1625365076879~610&pid=13423867&locale=en&usePid1=true&usePid2=true">Bamberg Apocalypse</a> is one of those examples and happens to be an Apocalypse manuscript that I find stunning stylistically. As depicted below in folio 29v, the Red Dragon in the Bamberg Apocalypse has one main head with six smaller heads stemming from the primary neck. Also of note is the beautifully vivid colors used to render this beast. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDE3fvmmwZIKFY107sz1itVQotnnJ3hoi-CVNdVR0X1NEuC0Yd78CWgLuwT8V1seUs-wvmvraR2nfpwgNZGPQXA_fWacLneCranzeWwBNxu5bQOUx-CMOfSdCq6blVFsBaFUIUDkBQMl4/s2048/29vBambergApocalypse.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1520" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDE3fvmmwZIKFY107sz1itVQotnnJ3hoi-CVNdVR0X1NEuC0Yd78CWgLuwT8V1seUs-wvmvraR2nfpwgNZGPQXA_fWacLneCranzeWwBNxu5bQOUx-CMOfSdCq6blVFsBaFUIUDkBQMl4/w298-h400/29vBambergApocalypse.jpeg" width="298" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="http://digital.bib-bvb.de/view/bvb_mets/viewer.0.6.5.jsp?folder_id=0&dvs=1625360130135~564&pid=13423867&locale=en&usePid1=true&usePid2=true" style="background-color: white; color: #45818e; font-family: Puritan; font-size: x-small; text-decoration-line: none;" target="_blank">Bamberg Apocalypse, Bamberg Staatsbibliothek, Msc.Bibl.140, folio 29v.</a></td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: left;">It was also interesting to consider the division of the horns to the heads as ten does not split evenly between seven heads, and, as you can imagine, there were many different ways that we see the manuscript artists dividing the horns to the heads. I decided that the smaller heads would have a single horn, and the remaining four horns would adorn the most prominent head. This acknowledges the possibility of an unforgivable sin, which may be outside or inclusive of the delineations of the seven deadly sins. It also is a way to recognize that each person may not struggle with different sins equally. </div><br /></div><p><b><u>Stitching the Red Dragon:</u></b></p><p>Now that I had the basic outline of my Red Dragon, we have reached the "fun" part-- how to make it come to life in stitch! I knew I wanted it coming off the ground fabric. This Dragon was not going to be a shrinking, wallflower of a dragon. I began by padding him up with layers of felt on the body and soft string under felt for the tail. Watching the movements and joints of the Komodo Dragons helped me figure out how I wanted to pad the body. I, unfortunately, did not take photos between each layer, but the thickest area of felt was about 5 or 6 layers deep. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVxOT-uzz24wU8IF_JMr0ghNx1yHYdBHVDw7wnRafrmy4z8xbBfBq_l9v9-xi2gQ3rYQ_KkWOUs2ruX6p2EmkP8tcQ3RArYER4RHeqOOWUV54w3T5VtoD0zxzq0KSOShQ38Ks1hsmndOA/s1500/KDiuguid-RedDragon-felt3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1307" data-original-width="1500" height="349" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVxOT-uzz24wU8IF_JMr0ghNx1yHYdBHVDw7wnRafrmy4z8xbBfBq_l9v9-xi2gQ3rYQ_KkWOUs2ruX6p2EmkP8tcQ3RArYER4RHeqOOWUV54w3T5VtoD0zxzq0KSOShQ38Ks1hsmndOA/w400-h349/KDiuguid-RedDragon-felt3.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjPH_ibtyONb8ZfrK4FYN5ypbVin0pSzunNAb0-sD_xktaa00skCJpCA1j-dKRlmPYZn8m2f496L9-7mXVz9Hbt1rYkFlIpGW9Es4AXFQxGJXfgGiguFWuWMFnt8SE-hsd5gZnzoD6KGg/s1500/KDiuguid-RedDragon-felt4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1281" data-original-width="1500" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjPH_ibtyONb8ZfrK4FYN5ypbVin0pSzunNAb0-sD_xktaa00skCJpCA1j-dKRlmPYZn8m2f496L9-7mXVz9Hbt1rYkFlIpGW9Es4AXFQxGJXfgGiguFWuWMFnt8SE-hsd5gZnzoD6KGg/w400-h341/KDiuguid-RedDragon-felt4.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtZ55G5IosxcWEe4Bd3P2cAER2J5q3fHRd09_iN0O6lIdodVKd0b1a7QCEjZdxG5wAT7RHAlUctFkC_Gp6fANIiUBFEAtPf8CMpkEs2dkitveor8qnVy6EgAxFC5MKSMyy3WR9iWO0l_A/s1500/KDiuguid-RedDragon-felt2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1409" data-original-width="1500" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtZ55G5IosxcWEe4Bd3P2cAER2J5q3fHRd09_iN0O6lIdodVKd0b1a7QCEjZdxG5wAT7RHAlUctFkC_Gp6fANIiUBFEAtPf8CMpkEs2dkitveor8qnVy6EgAxFC5MKSMyy3WR9iWO0l_A/w400-h376/KDiuguid-RedDragon-felt2.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFuo4kGTUhzoTfmCiLhBd2s_sdr3omWO8jX6O-26hH2BW8_iT2pBiFEAoFDbq856y4Nio4EcVlAcVot9SeUYuzL9A8AIGOMXGXy_NF2v86O_yIuxMyRg77bz6A0EV9JH6ISqD6V6_9Cmo/s1500/KDiuguid-RedDragon-felt.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1480" data-original-width="1500" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFuo4kGTUhzoTfmCiLhBd2s_sdr3omWO8jX6O-26hH2BW8_iT2pBiFEAoFDbq856y4Nio4EcVlAcVot9SeUYuzL9A8AIGOMXGXy_NF2v86O_yIuxMyRg77bz6A0EV9JH6ISqD6V6_9Cmo/w400-h395/KDiuguid-RedDragon-felt.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;">Once the padding was complete, it was time to add the first layer of stitching. I rendered it using split stitch (a nod to Opus Anglicanum) but using multiple strands in my needle to allow for some fun color mixing. The numerous strands also created a great texture that felt reptilian. </div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Also, a note: I know he has three legs. I had planned for the back leg to be covered in foliage, so I haven't forgotten about it. It's just going to be covered. </div></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisbrGw3CxiJo_k97zaVUEE0E54ziHtGHFtE6O1r9rSUH_opo1GvcHYbhZ7VNtxF8KdaI-XLiRbmFMPEvgJrQWbb-58iYX9su_FsAai2-GnkwNfE1RCAC57YhAya4JkfwjDgoFUEHioxI0/s1425/KDiuguid-RedDragon-split-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="978" data-original-width="1425" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisbrGw3CxiJo_k97zaVUEE0E54ziHtGHFtE6O1r9rSUH_opo1GvcHYbhZ7VNtxF8KdaI-XLiRbmFMPEvgJrQWbb-58iYX9su_FsAai2-GnkwNfE1RCAC57YhAya4JkfwjDgoFUEHioxI0/w400-h274/KDiuguid-RedDragon-split-3.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPAKGZTDQn8B4ucI4jamZwTMpqKMiB90CawoR9KqTTpaHWPW4d3e8OS9HxEBeFzwmVRbEfYiKMs7D6hyphenhyphenMf8g0LjyAAMxkESCcZSEmzM_NApJT27kdKmiR9jaW06R_5g4R-Tyr-YIIXyhU/s1500/KDiuguid-RedDragon-split-.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="949" data-original-width="1500" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPAKGZTDQn8B4ucI4jamZwTMpqKMiB90CawoR9KqTTpaHWPW4d3e8OS9HxEBeFzwmVRbEfYiKMs7D6hyphenhyphenMf8g0LjyAAMxkESCcZSEmzM_NApJT27kdKmiR9jaW06R_5g4R-Tyr-YIIXyhU/w400-h253/KDiuguid-RedDragon-split-.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuhvOyjF9x-EkJU9inwYYiC3CIH_kSCxitTG5U4H_yaeHQSHvylkwIkwIhBFZCdr_6TziSQmFQ0e-oGWl6C6yI4YevoovqrgdBogwDARf0pnZcPppKrosK8pYZdcz9VhuED0RMK7gh2Ts/s1500/KDiuguid-RedDragon-split-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1209" data-original-width="1500" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuhvOyjF9x-EkJU9inwYYiC3CIH_kSCxitTG5U4H_yaeHQSHvylkwIkwIhBFZCdr_6TziSQmFQ0e-oGWl6C6yI4YevoovqrgdBogwDARf0pnZcPppKrosK8pYZdcz9VhuED0RMK7gh2Ts/w400-h323/KDiuguid-RedDragon-split-2.jpg" width="400" /></a></div><div><br /></div>Then, I played around with different ways of making it more scaley using various needlelace and goldwork techniques. I hated all of them once they were on the Dragon, so each and every attempt was patiently taken out. Sometimes that is the only thing to do. Below is one of the failed attempts. This iteration was the one I thought was the least offensive as you could sculpt the needlelace to stand off the body. However, I was not fond enough of it to keep it, so it went too. <div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheOywuyJ2Z9QjmENIP4tlolNoi8BXbx0-50-dSXr0Jxw9AchJ-bdBn867_Ikh9NYMfx_edQeqdrQDx5LgyVt_pjk1uH7vgdoVKYkHL5NMkncfrmO6ltLxUpzdiCbjmjrfyqrFgaZBaZMA/s1500/KDiuguid-RedDragon-sample2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1009" data-original-width="1500" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheOywuyJ2Z9QjmENIP4tlolNoi8BXbx0-50-dSXr0Jxw9AchJ-bdBn867_Ikh9NYMfx_edQeqdrQDx5LgyVt_pjk1uH7vgdoVKYkHL5NMkncfrmO6ltLxUpzdiCbjmjrfyqrFgaZBaZMA/w400-h269/KDiuguid-RedDragon-sample2.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;">Now, here is the part of the making story that I love. I was so excited about the Dragon and stitching it that I kept telling my husband different ways I was thinking of stitching it. As he went to bed, he said to me, "Just don't make it too complicated." In fairness to him, I was originally trying to finish this by the time the class finished too, but all I could think was-- challenge accepted! I wanted to make the heads 3-dimensional. I wanted them coming at you! Flat heads would not do for this demonic creature lurking in my composition. I also had this idea of sculpting tubular Ceylon stitch to create these auxiliary heads that I could not wait to try. </div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Tubular Ceylon stitch is used in 17th Century raised-work to create little Ceylon stitch caterpillars to add to the flora and fauna that dapples the compositions. Why could I not make dragon heads like I would make the caterpillars and make them stand up and join it with a needlelace head? So, I tried it. The first result was ok, but I think I tried to accomplish too much by joining the heads into a snake hood-type structure. Below is an example of a pair combined. </div><div class="separator" style="clear: both;"><br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtlM-af2xLFMzR7OV5YKAXZfFCFWuiSXt2HLDq_ycbNACtDFBN9qRa4hoHyZMiW-M90-NI3RIFwfTfWHTnOUI9pEpbKURhfDoMc9HMWqjeZG8m7gSOm8nXpLX70dl4yUOoAlcqzp6a7Qw/s2048/KDiuguid-RedDragon-sample3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1478" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtlM-af2xLFMzR7OV5YKAXZfFCFWuiSXt2HLDq_ycbNACtDFBN9qRa4hoHyZMiW-M90-NI3RIFwfTfWHTnOUI9pEpbKURhfDoMc9HMWqjeZG8m7gSOm8nXpLX70dl4yUOoAlcqzp6a7Qw/w289-h400/KDiuguid-RedDragon-sample3.jpg" width="289" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">After testing out joining the necks, I decided that individual neck/heads joined directly to the body was the best way to go forward. It allowed me to blend it into the body better and provided a smooth surface if I wanted to add anything after the joining. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBYxIQ3PV9VbjttrF_QpjTfVA-uiRixSy_7zza0p8pR09iYpuv4cdSZ51VRvnGn8UNgCvMZuhe9h-C8GG7W7hxjMctZJiyjdfnMTBOqZioH0x6t2vLWIGoLFsAzqSeWzS74Ip3AS7lIGg/s1500/KDiuguid-RedDragon-heads2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBYxIQ3PV9VbjttrF_QpjTfVA-uiRixSy_7zza0p8pR09iYpuv4cdSZ51VRvnGn8UNgCvMZuhe9h-C8GG7W7hxjMctZJiyjdfnMTBOqZioH0x6t2vLWIGoLFsAzqSeWzS74Ip3AS7lIGg/w400-h300/KDiuguid-RedDragon-heads2.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">I plunged the ends down to help secure the heads. The long silk pins enabled me to adjust the heads' directions and sequence as each neck is a different length to allow for perspective in the composition. Once I pinned them to my liking, I secured them to the body blending the joining stitches into the body stitches. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO6ieQxncqHnuT_mujBqYV9E2Murb1x0ZPsS8WMPCGmBvUIK7t-2Dzns7AvZoKCRzGtvFCd9n5NEiEV8AhYwnRrAhSOf-_vup8RupMUNAXu9xtMftojAVHINkvwquk3bt8TccdRpX2ikU/s1500/KDiuguid-RedDragon-heads4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1157" data-original-width="1500" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO6ieQxncqHnuT_mujBqYV9E2Murb1x0ZPsS8WMPCGmBvUIK7t-2Dzns7AvZoKCRzGtvFCd9n5NEiEV8AhYwnRrAhSOf-_vup8RupMUNAXu9xtMftojAVHINkvwquk3bt8TccdRpX2ikU/w400-h309/KDiuguid-RedDragon-heads4.jpg" width="400" /></a><br /><div style="text-align: left;"><br /></div><div style="text-align: left;">Now, the Dragon needed a wing. I made it with a mix of Gilt Sylke Twist, silk gimp, and silk floss using Brussels and corded Brussels stitch. Once completed, it was released from the template fabric and secured into place on the Dragon's body.</div></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihKTLNeT61zbQ3jqgEirJGnS9vMn7xCpM9vcHhrnOc66T_1b4jMy2KMakoHjAGVNHm5TujYjQtnbwXhK6qqxWvBcjhwoM_wUiiBpS007dzpWlVvtjBUTRGKZUEFMQ9mNnIOHh3RVI8Dg0/s1663/KDiuguid-RedDragon-wing.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1663" data-original-width="1500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihKTLNeT61zbQ3jqgEirJGnS9vMn7xCpM9vcHhrnOc66T_1b4jMy2KMakoHjAGVNHm5TujYjQtnbwXhK6qqxWvBcjhwoM_wUiiBpS007dzpWlVvtjBUTRGKZUEFMQ9mNnIOHh3RVI8Dg0/w361-h400/KDiuguid-RedDragon-wing.jpg" width="361" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijxYt40p6Alg5waVwuJHA-gSVs0zPFsXWPek04FceE4JjTMNWG4FaQ42fdeNM9HeKlsWJVJBc-wERNSMBHI2OxJZ4gv0cQ2VNGkgEh9W5FUpFsfg9Xe2FR-2er3GdkP2IRTCjYxjC3jY4/s1500/KDiuguid-RedDragon-heads.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1266" data-original-width="1500" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijxYt40p6Alg5waVwuJHA-gSVs0zPFsXWPek04FceE4JjTMNWG4FaQ42fdeNM9HeKlsWJVJBc-wERNSMBHI2OxJZ4gv0cQ2VNGkgEh9W5FUpFsfg9Xe2FR-2er3GdkP2IRTCjYxjC3jY4/w400-h338/KDiuguid-RedDragon-heads.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif3L79uCFSIbjwJ-qxF1TUzndKHvelr1JkHAnuK3CfiKBFCW2dsBaGGYGLsJAFO15-7IQByuM5LAaQwOwuPhOUuxK0Q76OnyJkR0i8U6SlmqLz5xGN837zXUxryhMi2A5sg3ukz2x4IH8/s1500/KDiuguid-RedDragon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif3L79uCFSIbjwJ-qxF1TUzndKHvelr1JkHAnuK3CfiKBFCW2dsBaGGYGLsJAFO15-7IQByuM5LAaQwOwuPhOUuxK0Q76OnyJkR0i8U6SlmqLz5xGN837zXUxryhMi2A5sg3ukz2x4IH8/w400-h300/KDiuguid-RedDragon.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Next came drizzle stitch horns and french knot eyes before adding the final details of gilt crowns, tongues, and claws. Then my Red Dragon was ready to be appliquéd into place, so my attention turned to the ground fabrics. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyXQaHNToinuZ-LY3p-9pwaYXBZOHxXrYsEzfWa8k5D4E7VVvrzKpHmtReeS4embCNrb76jX4mzV6knramKTu7YeS4nVgNJmGL9jiZt5zOniC_qra5KY__hAyF-LqouNkrtTFA29CEyH8/s1500/KDiuguid-RedDragon-giltcrowns2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyXQaHNToinuZ-LY3p-9pwaYXBZOHxXrYsEzfWa8k5D4E7VVvrzKpHmtReeS4embCNrb76jX4mzV6knramKTu7YeS4nVgNJmGL9jiZt5zOniC_qra5KY__hAyF-LqouNkrtTFA29CEyH8/w400-h300/KDiuguid-RedDragon-giltcrowns2.jpg" width="400" /></a></div><br /><p>Next time-- the background....</p><p><br /></p><p><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><b><u><i>A Note About This Project: </i></u></b>This is not a project foretelling the end of the world. I am also not trying to start any theological debates. I created this embroidered panel inspired by a continuing education class I took this spring, "</span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Animals and Monsters at the End of the World in Medieval Art</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">," with </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Dr. Monica Walker</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;">. In this course, we compared depictions of animals and "monsters" in a selection of Medieval Apocalypse Manuscripts and Art. It was fascinating to approach the subject of the Book of Revelation from an art history perspective and compare how the various characters and narratives were depicted. This is my personal interpretation of the story inspired by a couple of the manuscripts studied. </span></p><p><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></span></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px;"><u><b>Referenced Sources:</b></u> (this is only a selection from my full bibliography)</p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">A. G. Hassall and W. O. Hassall, <i>The Douce Apocalypse: with an introduction and notes</i> (Faber, 1961). </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Bodleian Libraries, <i>Bodleian Library MS. Douce 180</i>, April 2021. </p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">David McKitterick, Nigel J. Morgan, Ian Short, and Teresa Webber, <i>The Trinity Apocalypse</i> (British Library: London, 2005). </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“MS. Douce 180,” <i>Medieval Manuscripts</i>, April 2021. </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Nigel J. Morgan, <i>The Douce Apocalypse: picturing the end of the world in the Middle Ages</i> (Bodleian Library, 2007). </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“Revelation 12: NLT Bible: YouVersion,” <i>NLT Bible | YouVersion</i>. </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“Revelation 21: NLT Bible: YouVersion,” <i>NLT Bible | YouVersion</i>. </p><div style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></div><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; text-size-adjust: auto;"></p><p style="background-color: white; color: #444444; font-family: Puritan; font-size: 13.2px; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Richard K. Emmerson, <i>Apocalypse Illuminated: the visual exegesis of revelation in medieval illustrated manuscripts</i> (The Pennsylvania State University Press, 2018). </p></div>Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com2tag:blogger.com,1999:blog-5930055630096707834.post-32287850067903312602021-06-10T11:06:00.004-04:002021-12-10T16:27:22.777-05:00 "The Woman and the Dragon" from Revelation 12: an Introduction<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaDOr8ea1CnRLvM2aWcKTqk4X3jAuanEyduEE1b36XpGy4QSHMvg7FNGuzrcFm80PZop9_VO91GrguKZ5q0mspM_Ss_jsX5uvD5ph9uLD8jjka4S56lXwxHmfnU77eEfqEeXDG62P4Y5k/s2048/KDiuguid-Rev12-WIP.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaDOr8ea1CnRLvM2aWcKTqk4X3jAuanEyduEE1b36XpGy4QSHMvg7FNGuzrcFm80PZop9_VO91GrguKZ5q0mspM_Ss_jsX5uvD5ph9uLD8jjka4S56lXwxHmfnU77eEfqEeXDG62P4Y5k/w400-h300/KDiuguid-Rev12-WIP.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div class="separator" style="clear: both;"><span style="font-size: x-small;">"The Red Dragon Lurks in Front of the Woman Clothed with the Sun" </span></div><div class="separator" style="clear: both;"><span style="font-size: x-small;">work in progress by Katherine Diuguid, 2021.</span></div><div class="separator" style="clear: both;"><span style="font-size: x-small;"><br /></span></div></td></tr></tbody></table><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">It does seem a bit appropriate to be stitching an Apocalyptic scene during a global pandemic, in a way, but that is not why I'm currently stitching this piece. I feel the need to put a disclaimer at the top that this is not a project foretelling the end of the world! Be at ease, my friend!</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">I created this embroidered panel inspired by a continuing education class I took this spring, "</span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Animals and Monsters at the End of the World in Medieval Art</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">," with </span><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><a href="https://www.mawalkerphotography.co.uk/" target="_blank">Dr. Monica Walker</a></span><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">. In this course, we compared depictions of animals and "monsters" in a selection of Medieval Apocalypse Manuscripts and Art. It was fascinating to approach the subject of the Book of Revelation from an art history perspective and compare how the various characters and narratives were depicted.</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">For our final paper, I chose to write about “The Woman and Dragon” of Revelation 12 as depicted in the </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Douce Apocalypse housed in the Bodleian Library</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">. I love that its illustrations survive at various states of completion, exposing the laborious nature of the work required to create such an exquisite piece. The story of the Woman Clothed with the Sun is beautifully depicted across three pages. Her story's complexity and portrayal of femininity were fascinating to explore, especially for modern women reading today. I will readily admit to being disturbed by the narrow portrayal of women and dismayed that, if we’re honest, not much has changed while searching for the hope that is the heart of Christian belief. As Dr. Walker repeated throughout the course, “This is not an easy story.”</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">For the panel, I drew inspiration from both the </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Douce Apocalypse</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> and the </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Trinity Apocalypse</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">. Both are beautiful examples of an Anglo-Norman Apocalypse manuscript; however, there are many differences between them. Over the next series of blog posts, I will discuss the different parts of my embroidered panel in more detail and how I drew inspiration from both the Douce Apocalypse and Trinity Apocalypse to create my piece. While both are Thirteenth Century Anglo-Norman manuscripts, there is a lot to compare between them. In this blog post, I thought I would introduce the two inspirational manuscripts and lay the groundwork for all the design decisions to come and all the many, many details intricately stitched to bring my embroidered Apocalyptic scene to life. </span></p><p><b>The Douce Apocalypse</b></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">A mixture of elegantly rendered and unfinished drawings, the </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Douce Apocalypse</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> is a beautiful example of an Anglo-Norman Apocalypse manuscript whose illustrations reveal the laborious work required to execute a manuscript of this caliber. The richness of the text and images are reflective of the assumed patrons Edward I and Eleanor of Castile before their ascension to the English throne and whose coats of arms are painted inside the beginning of the manuscript. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Rectangular illustrated miniatures rest atop two columns of Latin text in the Douce Apocalypse. The manuscript includes a commentary by Berengaudus and a commentary in French prose at the front of the text. It is part of the Westminster group of Anglo-Norman Apocalypse manuscripts that includes the </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Getty Apocalypse</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">, </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">MS 35166 at the British Library</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">, and </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">MC lat. 10474</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> at the Bibliothèque nationale de France (BNF) (Morgan, 12). This group of manuscripts was all written between 1255-70 and share many similarities in their visual execution of the various Apocalyptic narratives. The angels throughout the Douce Apocalypse mimic the rendering style of angels painted on the ceiling of Westminster Abbey and help to date the manuscript to 1265- 1270 when the then Prince Edward left for the Crusades (</span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Morgan</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">, 29).</span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"><br /></span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Though the specific artist(s) is unknown, it is believed that the </span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">BNF MC lat. 10474</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> is a sister manuscript to the Douce Apocalypse and was probably created by the same artist(s) at a different point in their career or artists that closely collaborated (</span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">Morgan</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">, 21). The miniatures in the Douce Apocalypse survive at various stages of completion from simple line drawing, line drawing with gilding, the addition of base color washes, and finally, compositions fully rendered with colored washes and gilding. The story of the Woman Clothed with the Sun is one of the narratives that has been fully rendered with colored washes and gilding.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGvI7_wY3upqw0d3plRaHo0E85fVx1Dvxruxi5OHY3piGbspLHsH0d9QWPCvmLTr5Shx54H71y51JE5tBM5h_-DZRcsLxbHQmwf1sTSlCx0K4HJbDdKgUv2tyilwOSZobhR167MKH6-v8/s1133/Douce-33v-full.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: xx-small;"><img border="0" data-original-height="1133" data-original-width="889" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGvI7_wY3upqw0d3plRaHo0E85fVx1Dvxruxi5OHY3piGbspLHsH0d9QWPCvmLTr5Shx54H71y51JE5tBM5h_-DZRcsLxbHQmwf1sTSlCx0K4HJbDdKgUv2tyilwOSZobhR167MKH6-v8/w314-h400/Douce-33v-full.jpg" width="314" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><a href="https://digital.bodleian.ox.ac.uk/objects/d8f4f265-b851-48a8-b324-4fc871f68657/surfaces/3b66a9a9-ff07-4d5c-b6d0-dd5b3c869340/" target="_blank">Douce Apocalypse, Bodleian Library, fol. 33v.</a></span></td></tr></tbody></table><p>Making her first appearance in the Douce Apocalypse on fol. 33v, the Woman Clothed with the Sun emerges wearing a red dress with blue sleeves as a halo containing 12 stars frames her face. She caresses her belly while standing atop a moon inside a series of concentric blue and gold undulating lines. John sits to the side on a grassy hill. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB7Xo_jZGw8yFBEbyHKywyOdpl3s9weYtP56NODKeKHDZmFcTMFXFFf4cZKAWxbkVgVg7EBuzRHshRPsQue5sH2hXLLUFzKcP-XpDl6pgs3ri_ezLS0Kb7LYvYCthkPw9qdOvfZoKphWs/s1154/Douce-34r-full.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1154" data-original-width="890" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB7Xo_jZGw8yFBEbyHKywyOdpl3s9weYtP56NODKeKHDZmFcTMFXFFf4cZKAWxbkVgVg7EBuzRHshRPsQue5sH2hXLLUFzKcP-XpDl6pgs3ri_ezLS0Kb7LYvYCthkPw9qdOvfZoKphWs/w309-h400/Douce-34r-full.jpg" width="309" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><a href="https://digital.bodleian.ox.ac.uk/objects/d8f4f265-b851-48a8-b324-4fc871f68657/surfaces/7b65cc40-6085-4590-982b-11276abc95d6/" target="_blank">Douce Apocalypse, Bodleian Library, fol. 34r.</a></span></td></tr></tbody></table><p>On fol. 34r, she shifts left of center inside the celestial lines as she hands her child, now born, up to heaven through a mandorla entering the frame. The seven-headed Red Dragon stands overlapping the heavenly lines, encroaching into the Woman’s space, yet distant enough to prevent its desired intent upon the Child. Progressing across the composition, the Dragon shares the grassy ridge as the Woman flees, reflecting upon her terror. Abstracted trees topped with clumps of oversized oak leaves and foliage fill the wilderness. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZs7o_W5oYC3RdwhqZfj8C7C9iqOTbxOX0KsT3Yu5n4mPoc1bkrDeDfp6LPI_V-JYUFEydEoEpLDALkJkUvpIgK60cDg2viToe5xhIt-XOxiz-5RpAz-p1HvvgbrvHp8Bkiz00omBNk6A/s1143/Douce-35v-full.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1143" data-original-width="894" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZs7o_W5oYC3RdwhqZfj8C7C9iqOTbxOX0KsT3Yu5n4mPoc1bkrDeDfp6LPI_V-JYUFEydEoEpLDALkJkUvpIgK60cDg2viToe5xhIt-XOxiz-5RpAz-p1HvvgbrvHp8Bkiz00omBNk6A/w313-h400/Douce-35v-full.jpg" width="313" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://digital.bodleian.ox.ac.uk/objects/d8f4f265-b851-48a8-b324-4fc871f68657/surfaces/7b65cc40-6085-4590-982b-11276abc95d6/" style="font-size: x-small;" target="_blank">Douce Apocalypse, Bodleian Library, fol. 35v. </a></td></tr></tbody></table><p>The Woman reappears in fol. 35v receiving wings and escaping as the earth swallows the water the Dragon spews towards her. This series of sequential images and the style of the compositions are very similar across the Westminster group of Apocalypse manuscripts that includes the <a href="https://www.getty.edu/art/collection/objects/1360/unknown-commentary-by-berengaudus-getty-apocalypse-english-about-1255-1260/">Getty Apocalypse</a>, <a href="http://www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_35166_fs001r">MS 35166 at the British Library</a>, and <a href="https://archivesetmanuscrits.bnf.fr/ark:/12148/cc72195c">MC lat. 10474 at the Bibliothèque nationale de France</a> (BNF) (Morgan, 12). </p><p><b><br class="Apple-interchange-newline" />The Trinity Apocalypse</b></p><p>The Trinity Apocalypse does not belong to a manuscript grouping and is set aside by itself amongst Thirteenth Century Anglo-Norman Apocalypse manuscripts. The tale of the Woman and the Dragon is depicted on two folios with two rectangular illustrations on each. The Trinity Apocalypse dispenses with all introductions of the characters. We jump straight into the story on folio 13r, where we meet the Woman as she lays in bed with the sun behind her and the moon at her feet. She has already given birth to the Child and is handing Him to an angel in Heaven. In the next scene, the illustration shows the Woman sitting in the wilderness. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAImxhsoJfbv30pkRNWOyulRBUPnpbNVBlODeGV6_AXJa_SdA0DryZDV33hYRBIPesMyVkKrbgziX9TBsDIGfv7x8aIaeMbbMSlvfD9SFP42NHdEREl7Np0rt3OILHG6G2eVdl9xgjO_U/s1340/Trinity-13r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1340" data-original-width="990" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAImxhsoJfbv30pkRNWOyulRBUPnpbNVBlODeGV6_AXJa_SdA0DryZDV33hYRBIPesMyVkKrbgziX9TBsDIGfv7x8aIaeMbbMSlvfD9SFP42NHdEREl7Np0rt3OILHG6G2eVdl9xgjO_U/w295-h400/Trinity-13r.jpg" width="295" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><a href="https://mss-cat.trin.cam.ac.uk/manuscripts/uv/view.php?n=R.16.2&n=R.16.2#?c=0&m=0&s=0&cv=28&xywh=-2575%2C0%2C8980%2C5216" target="_blank">Trinity Apocalypse, Trinity College Cambridge, fol. 13r.</a></span></td></tr></tbody></table><br /><div>In folio 14r, we find the war in heaven complete and the Dragon spewing water at the Woman attempting to drown her. She receives wings from heaven, escapes the Dragon’s persecution, and flees to the desert, leaving her children to defeat the Dragon. <br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiZq4zGhwVeCI73vaOA2oVJHBe83KB4EFSV3nYbzX2y7JRtc-GXThvWm3BnI2FzmHV6EruojC7UCruAcdiAm5Z9VmZ4L2QzzJgxtDOBCByv7tCSYV9PA_PhxI2uaRUcKpbYPURAXeRkRI/s1348/Trinity-14r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1348" data-original-width="993" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiZq4zGhwVeCI73vaOA2oVJHBe83KB4EFSV3nYbzX2y7JRtc-GXThvWm3BnI2FzmHV6EruojC7UCruAcdiAm5Z9VmZ4L2QzzJgxtDOBCByv7tCSYV9PA_PhxI2uaRUcKpbYPURAXeRkRI/w295-h400/Trinity-14r.jpg" width="295" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #0000ee; font-size: x-small; text-decoration-line: underline;">Trinity Apocalypse, Trinity College Cambridge, fol. 14r.<br /><br /></span></td></tr></tbody></table><div>When we look at the overall page composition, we can see that the format of each page does not fit into the straight template used in the Douce Apocalypse. The text is still split into two columns, but the illustrations are doubled and are not consistently at the top of the text. The text and Berengaudas commentary, both in Anglo-Norman, appear to be the work of one scribe. The choice to avoid a strict template may have been the artists attempt to compensate for the differing lengths between the Biblical text and commentary (McKitterick, 35 and 42). </div><div><br /></div><div>The illustrations of the Trinity Apocalypse are richly rendered without any bare space remaining. The full illustrations are each completely filled with color washes and gilding with the backgrounds filled with interesting geometric vignettes that frame the compositions and create a harmonious feel joining the compositions together. Delicate tiny patterns are used in the large areas to break up the solid spaces resulting in richly detailed compositions in which every area seems deeply special and considered. </div><div><br /></div><div><p><b>The Focus of My Panel</b></p><p>When considering which part of the narrative to depict in my embroidered panel, I was drawn to the section of the text which both of the manuscripts seemed to skip past--Revelation 12: 3 and 4 which describes the presentation of the Red Dragon. I decided to create an embroidered panel based on this section of the story. </p><div style="text-align: center;"><span style="font-family: times;"><span class="verse v3" data-usfm="REV.12.3" style="box-sizing: border-box; color: #444444; font-size: 16px; text-indent: 16px;"><span class="label" style="box-sizing: border-box; display: inherit; font-size: 14px; margin-left: 5px; padding: inherit;">3</span><span class="content" style="box-sizing: border-box;">Then I witnessed in heaven another significant event. <br /></span></span><span class="verse v3" data-usfm="REV.12.3" style="box-sizing: border-box; color: #444444; font-size: 16px; text-indent: 16px;"><span class="content" style="box-sizing: border-box;">I saw a large red dragon with seven heads and ten horns, <br /></span></span><span class="verse v3" data-usfm="REV.12.3" style="box-sizing: border-box; color: #444444; font-size: 16px; text-indent: 16px;"><span class="content" style="box-sizing: border-box;">with seven crowns on his heads. <br /></span></span><span class="verse v4" data-usfm="REV.12.4" style="box-sizing: border-box; color: #444444; font-size: 16px; text-indent: 16px;"><span class="label" style="box-sizing: border-box; display: inherit; font-size: 14px; margin-right: 5px; padding: inherit;">4</span><span class="content" style="box-sizing: border-box;">His tail swept away one-third of the stars in the sky, <br /></span></span><span class="verse v4" data-usfm="REV.12.4" style="box-sizing: border-box; color: #444444; font-size: 16px; text-indent: 16px;"><span class="content" style="box-sizing: border-box;">and he threw them to the earth. <br /></span></span><span class="verse v4" data-usfm="REV.12.4" style="box-sizing: border-box; color: #444444; font-size: 16px; text-indent: 16px;"><span class="content" style="box-sizing: border-box;">He stood in front of the woman as she was about to give birth, <br /></span></span><span class="verse v4" data-usfm="REV.12.4" style="box-sizing: border-box; color: #444444; font-size: 16px; text-indent: 16px;"><span class="content" style="box-sizing: border-box;">ready to devour her baby as soon as it was born. <br /></span></span><span class="verse v4" data-usfm="REV.12.4" style="box-sizing: border-box; color: #444444; font-size: 16px; text-indent: 16px;"><span class="content" style="box-sizing: border-box;">Revelation 12: 3 and 4</span></span></span></div><div><br /></div><div>In comparing the written story in Revelation to the depicted story in both the Douce and Trinity Apocalypse, it seemed like a large visual jump to leave out the presentation of the Red Dragon. And, I cannot lie. I got really excited thinking about how I could stitch a seven-headed dragon!</div><div><br /></div><div><br /></div><div><b>Why These Two Apocalypse Manuscripts?</b></div><div><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">So, why did I choose these two specific manuscripts? Well, it's not because they were my favorite. There are definitely aspects of each that I love, but if I had to pick a favorite it might be the</span><a class="editor-rtfLink" href="https://www.blogger.com/blog/post/edit/5930055630096707834/3228785006790331260#" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4a6ee0; margin-bottom: 0pt; margin-top: 0pt;" target="_blank"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> Silos Apocalypse</span></a><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;"> for its amazing use of pattern within the motifs. I chose these two manuscripts because there were enough similarities that comparing the two made logical sense and enough differences that I felt confident that I could create a piece that would give a nod to both while being distinctly mine. Also, the reasons that I love each are directly opposite each other. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">The plain background of the Douce Apocalypse is fabulous. It simultaneously feels like a sketchbook while also minimizing any distraction from the stories depicted. I also really enjoy the geometry present in the compositions--the concentric circles and their undulating lines reflected in the foliage boundaries. The movement of the narrative through the imagery is well developed. The foliage becomes more and more prominent as the Woman descends from Heaven and then is earthbound. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">The fully rendered background of the Trinity Apocalypse, on the other hand, I love too! The delicate diaper patterns soften the background vignettes' harsh rectangles and help harmonize the background with the foreground. It is also a lovely study in color placement. </span></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0e101a; margin-bottom: 0pt; margin-top: 0pt;"><span data-preserver-spaces="true" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin-bottom: 0pt; margin-top: 0pt;">I wanted to be able to incorporate my reflections on both the imagery and the complexities I found with the story itself. As a woman, the depictions of femineity in Revelation are troubling and I hold no judgment towards anyone that reads it and rejects that imagery as wholly misogynistic. The story of Revelation is far too frequently used for emotional and psychological subjugation by way of fear and shame. I wanted my piece to reflect the hope of the Christian story, not the condemnation. </span></p></div><div><br /></div>Watch this space for more :) <br /><p><br /></p><p><u><b>Referenced Sources:</b></u> (this is only a selection from my full bibliography)</p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">A. G. Hassall and W. O. Hassall, <i>The Douce Apocalypse: with an introduction and notes</i> (Faber, 1961). </p><div style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></div><p style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Bodleian Libraries, <i>Bodleian Library MS. Douce 180</i>, April 2021. </p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">David McKitterick, Nigel J. Morgan, Ian Short, and Teresa Webber, <i>The Trinity Apocalypse</i> (British Library: London, 2005). </p><div style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></div><p style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“MS. Douce 180,” <i>Medieval Manuscripts</i>, April 2021. </p><div style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></div><p style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Nigel J. Morgan, <i>The Douce Apocalypse: picturing the end of the world in the Middle Ages</i> (Bodleian Library, 2007). </p><div style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></div><p style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“Revelation 12: NLT Bible: YouVersion,” <i>NLT Bible | YouVersion</i>. </p><div style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></div><p style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">“Revelation 21: NLT Bible: YouVersion,” <i>NLT Bible | YouVersion</i>. </p><div style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></div><p style="-webkit-text-size-adjust: auto; text-size-adjust: auto;"></p><p style="-webkit-text-size-adjust: auto; margin-left: 1cm; text-indent: -1cm; text-size-adjust: auto;">Richard K. Emmerson, <i>Apocalypse Illuminated: the visual exegesis of revelation in medieval illustrated manuscripts</i> (The Pennsylvania State University Press, 2018). </p><p><br /></p></div></div>Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com1tag:blogger.com,1999:blog-5930055630096707834.post-87188341475065215122020-12-04T09:31:00.001-05:002020-12-04T09:31:47.315-05:00A Little Early Christmas Cheer<p>I had not really stitched in months. I know I am not alone in this. Though we find ourselves at home due to Covid-19, so much has turned topsy turvy. I had finally carved out some time to stitch and I wanted to stitch something frivolous and full of joy. Something that was a small project just purely for the joy of stitching. </p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3NlWaAA9hYufY3M-r-Ntelos8Vk7jQPVQmj0agl51cXMh2Y8zh_oXYUd4CGjAkemfs99yVpHNXBv6YqfrzH_PjqxHvE-oZ4hDTaQsQUUcci2Oua5y0x59VSHQ-OiI9fkZ03DlQtzBBIo/" style="margin-left: auto; margin-right: auto;"><img alt="Vintage Cerarmic Christmas Tree" data-original-height="1499" data-original-width="2000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3NlWaAA9hYufY3M-r-Ntelos8Vk7jQPVQmj0agl51cXMh2Y8zh_oXYUd4CGjAkemfs99yVpHNXBv6YqfrzH_PjqxHvE-oZ4hDTaQsQUUcci2Oua5y0x59VSHQ-OiI9fkZ03DlQtzBBIo/w400-h300/image.png" title="https://www.southernliving.com/christmas/decor/vintage-ceramic-christmas-tree" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://www.southernliving.com/christmas/decor/vintage-ceramic-christmas-tree" target="_blank">Vintage Ceramic Christmas Tree as shown on Southern Living</a></td></tr></tbody></table><br />I started thinking about my absolutely favorite Christmas decoration my Mom had when growing up-- her ceramic Christmas tree. I loved how the ornaments would light up and how you could move them around to different pegs. Recently, I looked them up and found that to my surprise <a href="https://www.southernliving.com/christmas/decor/vintage-ceramic-christmas-tree" target="_blank">these charming little tress were now "trendy"</a>! A find that both made me giggle and twinge with a bit of sadness. My mom had the traditional green one and there was a small chip in it that just made it more special to me. In my search for images of ones like my Mom's, I found <a href="https://www.countryliving.com/shopping/a25426583/retro-ceramic-christmas-trees/" target="_blank">this fun video </a>showing <a href="https://www.mollysanyourceramics.com/" target="_blank">Molly Sanyour,</a> a contemporary potter, creating her own modern versions. </p><p>I decided I wanted to stitch my own little tree reminiscent of my Mom's ceramic tree but in my beloved metal threads and wires. I wanted this piece to exude cheer and joy and embrace a slight wonkiness that so many Christmas heirlooms have. </p><p>The result was this little Christmas tree created with loops of colored metal purls and combining other metal work techniques with beads and crystals. </p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNqFdHOt_H0Xvag-BVGM5Te0MGfmyjbpkpKzwWsBXRZoqzATROsKWOWOGoi38j_j9gZjHa58AWUs63NMRr3TJ8q2NtAmznDzGuagcAzryye6X9qq69eM13kYBDiXF-RJzFMmR40slgpEs/s1442/KDiuguid-Christmas2020-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNqFdHOt_H0Xvag-BVGM5Te0MGfmyjbpkpKzwWsBXRZoqzATROsKWOWOGoi38j_j9gZjHa58AWUs63NMRr3TJ8q2NtAmznDzGuagcAzryye6X9qq69eM13kYBDiXF-RJzFMmR40slgpEs/s320/KDiuguid-Christmas2020-2.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7PrEwu1wXFcDlK_bBylMkhXmTr1nkCaTFLw4PsX31IEqDOFBvgZ6TtvbNJ0iuJfqYXW0spF3XjfiUfhIAy18eMMO4fLWNTc3ut62eSsikjnwFGFktZehId723FcLqUUgaA0fqh_zSMTM/s2048/KDiuguid-Christmas2020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1498" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7PrEwu1wXFcDlK_bBylMkhXmTr1nkCaTFLw4PsX31IEqDOFBvgZ6TtvbNJ0iuJfqYXW0spF3XjfiUfhIAy18eMMO4fLWNTc3ut62eSsikjnwFGFktZehId723FcLqUUgaA0fqh_zSMTM/s320/KDiuguid-Christmas2020.jpg" /></a></div><p>Then since it brought me so much joy and since my kids loved this piece, I made it into <a href="https://katherinediuguid.squarespace.com/shop">a virtual workshop and kit </a>to share with others. And, I stitched another one! This time I used a mix of emerald green and Grinch green purls. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOKgalL6fSQo_9lTc_l7JSc0S__WLnM1YO-I_dSy0V-eny1K26UaCU8QsXXVDDChnWuHg6b7P7Aj71NN0oAZmYdC_64UXExY9TFGF2YxhZp2wsBMX5aI0eO6Adim-geTC7aZBgzb53kDI/s2048/ChristmasTree-final2-KDiuguid-03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1284" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOKgalL6fSQo_9lTc_l7JSc0S__WLnM1YO-I_dSy0V-eny1K26UaCU8QsXXVDDChnWuHg6b7P7Aj71NN0oAZmYdC_64UXExY9TFGF2YxhZp2wsBMX5aI0eO6Adim-geTC7aZBgzb53kDI/w251-h400/ChristmasTree-final2-KDiuguid-03.jpg" width="251" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGG7051DfTTkzuHl1velS3aGfHMzlCvgDgbvDgsnIYz6KzTEhlJmjmzR3gnU5i5fBWZ5wwBUzBhDZikBeEtlOSUEoHlx5rd5HQ6NYjdtEvn4wPxoalRAR6fjokRNmIRAWXi9rNSm9dhyw/s1354/ChristmasTree-final-KDiuguid-06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1354" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGG7051DfTTkzuHl1velS3aGfHMzlCvgDgbvDgsnIYz6KzTEhlJmjmzR3gnU5i5fBWZ5wwBUzBhDZikBeEtlOSUEoHlx5rd5HQ6NYjdtEvn4wPxoalRAR6fjokRNmIRAWXi9rNSm9dhyw/w400-h333/ChristmasTree-final-KDiuguid-06.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik7ndELA2RodjcFoko0-e5ZnyzdT0_miJ-gMGI35JhS2gdmCdVA5T7d28RdmgJqtpuqorpRdUCaBaR9MnHDqXO3D_isSlRy3q5OTnRYv2cdIgKAb9eB65fae6Li5T58JMDoWb-PXjQ-mE/s1500/ChristmasTree-final-KDiuguid-13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik7ndELA2RodjcFoko0-e5ZnyzdT0_miJ-gMGI35JhS2gdmCdVA5T7d28RdmgJqtpuqorpRdUCaBaR9MnHDqXO3D_isSlRy3q5OTnRYv2cdIgKAb9eB65fae6Li5T58JMDoWb-PXjQ-mE/w400-h300/ChristmasTree-final-KDiuguid-13.jpg" width="400" /></a></div><br /><p>And because this one was so much fun, I kept stitching different versions to give to friends. These move fairly quickly and (and this detail is important) is something I can easily stitch for 5 minutes here and there between other responsibilities. I'll share those soon-- I don't want to spoil their surprise! </p><p>I wish everyone reading this post a safe, healthy and magical holiday season. As many of us find ourselves having to forgo our usual traditions, I hope we are able to find joy in the tiny details and new ways of celebrating together, and I look forward to when it is safe to gather again. Happiest of Holidays to everyone for whichever holiday you celebrate this season!</p>Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com2tag:blogger.com,1999:blog-5930055630096707834.post-21471718615209898582020-08-13T23:01:00.005-04:002020-08-13T23:14:46.035-04:00Pride & Prejudice: the Sample Book<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghSrnQxjI9R4YxthyTs5lapcD_IiHKMxrWQPHsbz2cElcm5ZHNPirt5C-ffJio0qX_A863RcGXUEjaNzMLv6jyx2W8_d-xl5ECStdXRLlPBW0zdR6OcuKjgYMXFxPkIweNfw9UUUOuky8/s1000/KDiuguid-PrideAndPrejudice.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="176" data-original-width="1000" height="71" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghSrnQxjI9R4YxthyTs5lapcD_IiHKMxrWQPHsbz2cElcm5ZHNPirt5C-ffJio0qX_A863RcGXUEjaNzMLv6jyx2W8_d-xl5ECStdXRLlPBW0zdR6OcuKjgYMXFxPkIweNfw9UUUOuky8/w400-h71/KDiuguid-PrideAndPrejudice.jpg" width="400" /></a></div><div style="text-align: center;"><br /></div><div>17th Century raised work has enjoyed a special place in my heart since I first saw photos of it in textile history books years ago. I love the dimension of the quirkily rendered characters and scenes. I find everything about them absolutely charming and cannot learn enough about the pieces, the history, and the techniques. I am very grateful to have seen many pieces of raised work in museum collections during research trips throughout the UK and USA. Their charm may have captured my attention in black and white photographs but seeing these creations in person, at scale-- it is truly something special. </div><div><br /></div><div>A few-ish years ago, I started the <a href="http://thistle-threads.blogspot.com/p/blog-page.html" target="_blank">Cabinets of Curiosity courses with Tricia Nguyen</a> as I have a deep desire to embroider a casket or cabinet of my own at some point in my life. Through her courses I have learned so much and have found many other embroiderers that share a passion for raised work embroidery and a desire to stitch their own casket. It is incredible to me to see how fellow participants use and interpret the 17th Century techniques for their own designs and to see the broad range of themes that are chosen.</div><div><br /></div><div>I have had this little wooden box in my studio since I first started the Cabinets of Curiosity courses. The course materials seemed so precious to me that I had wanted a box that was not too expensive to practice on first. I found one at a craft store and thought it would be a sample appropriate size and price point. This Spring, as I was closing in on finishing my <a href="https://www.stitchbusiness.com/site/city-and-guilds" target="_blank">City and Guilds Level 3 Certificate in Stitched Textiles with Tracy Franklin and Julia Tristan</a>, I had the deep desire to cover this box for my daughter for one of my final projects. However, a mix of looming deadlines and indecisiveness about the design direction led to me creating this sample book first. You see, I wanted to tell the story of Jane Austen's <i>Pride and Prejudice</i> in the embroidery but I could not decide what I wanted the aesthetic feel of the piece to be. I love 17th Century raised work, however, I found myself wanting to incorporate some contemporary techniques to help create a feel that would transport me to the misty mornings of an English Countryside. </div><div class="separator" style="clear: both; text-align: center;"><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfBeZTVXgWs7t4uap5j3W3MGtJG1hOZtGCKeY-fb0ac4ak6Hq5sDOoBo8gDbLJlR51J5VgKtE_fzO6gkVLwI-5tQIVjGo7FLkPApwShjS4YqZGK7sw_vcQL6oZ7Ixn7r-aGYvWx7fWkFg/s600/PandPvideo-KDiuguid.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="341" data-original-width="600" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfBeZTVXgWs7t4uap5j3W3MGtJG1hOZtGCKeY-fb0ac4ak6Hq5sDOoBo8gDbLJlR51J5VgKtE_fzO6gkVLwI-5tQIVjGo7FLkPApwShjS4YqZGK7sw_vcQL6oZ7Ixn7r-aGYvWx7fWkFg/w400-h227/PandPvideo-KDiuguid.jpg" width="400" /></a></div><div><a href="https://www.instagram.com/p/CCrYg7rnx3C/" target="_blank">Click here to view the video of the book</a> on Kat's Instagram</div></div><div><br /></div><div><u><b>Why Jane Austen's <i>Pride and Prejudice</i>?:</b></u></div><div>The beginning of Quarantine (as I am sure many reading will agree) was a bit stressful, full of changes coming from every direction, and filled with uncertainty. I found myself looking for a space that provided a quiet respite from everything going on around me. I started rewatching the various Jane Austen BBC miniseries adaptations while I stitched at night once everyone else in the house was fast asleep. Then, I fell down a Jane Austen rabbit hole. The beautiful writing, the happy endings, the subtle nuances of personal relationships and Regency Britain -- she provided the perfect escape. I started reading <i>Pride and Prejudice </i>at night before I fell asleep, listening to the audio book when I walked or stitched and continued rewatching all the different movie and BBC miniseries adaptations. It became a bit of a family joke. My very patient husband listened to my reasoning on which film version of <i>Pride and Prejudice </i>was "the best". Just as a personal note: my opinion still remains that the 1995 BBC miniseries of <i>Pride and Prejudice</i> is my favorite overall. However, the music, color, and pacing of the 2005 movie make it a very close second and I find its soundtrack playing in my head when I read and reread the book. </div><div><br /></div><div><u><b>The Landscape:</b></u></div><div>I started looking at a lot of different english landscape photographs and paintings online. I finally decided upon on using photos from my friend Denny's garden outside of York as reference for the compositions. Her garden is absolutely beautiful and there has always been something so peaceful about the time I have spent there with her over the years. </div><div><br /></div><div>I also found myself going back to David Hockney's Yorkshire Sketchbook. As I sketched and watercolored my landscapes, the question presenting itself was how detailed did I want the landscape to be on these compositions? I took a step back and relooked at Hockney's Yorkshire Sketchbook watercolors and his paintings from his exhibition <a href="royalacademy.org.uk/exhibition/david-hockney-a-bigger-picture" target="_blank"><i>A Bigger Picture</i> at the Royal Academy of Art</a> in London in 2012. I also started looking at<a href="https://www.nationalgalleries.org/art-and-artists/features/joan-eardley" target="_blank"> Joan Eardley's</a> landscapes. They are quite different work, but both captured the landscape in ways that intrigued me and that I thought could be interesting to interpret in stitch. </div><div><br /></div><div style="text-align: center;"><img height="146" src="https://www.hockney.com/img/gallery/sketchbooks/SB04002/SB04002-6970.jpg" width="400" /></div><div style="text-align: center;"><span style="font-size: small;"><a href="https://www.hockney.com/index.php/works/sketchbooks" target="_blank">David Hockney's Yorkshire 2004 Sketchbook (click to see full book)</a></span></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><img alt="Joan Eardley, Hedgerow with Grasses and Flowers" height="400" src="https://www.nationalgalleries.org/sites/default/files/styles/postcard/public/externals/54001.jpg?itok=BtTP0B8J" width="304" /></div><div style="text-align: center;"><span style="font-size: small;"><a href="https://www.nationalgalleries.org/art-and-artists/113678/54001/hedgerow-grasses-and-flowers" target="_blank"><i>Hedgerow with Grasses and Flowers</i>, 1962, Joan Eardley, National Galleries of Scotland</a></span></div><div><br /></div><div>My ultimate desire for the landscape was to create that misty, romantic, quiet of an English countryside setting that the 2005 movie captures so beautifully. As I sketched, I quickly transitioned to watercolor. The first sketches were fairly detailed and as I continued to sketch, and re-sketch, and try it again, the compositions became looser and closer to the feel that I was after. I was drawn to how they both abstracted areas of the landscape and balanced the composition with specific areas of more defined detail.</div><div><br /></div><div>While I was watercoloring in my sketchbook, I remembered this casket that is part of the University of Albert collection. When opened, the casket reveals panels that have been painted with stitched outlines. I would love to one day see it in person! This combination of watercolor and minimal stitching was very intriguing. </div><div style="text-align: center;"><img alt="Image 2" height="268" src="https://sites.ualberta.ca/~museums/mimsy/CLTX/_full/1992/1992-015-001_s01d01v03.jpg" width="400" /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><img alt="Related Item Image 1" height="286" src="https://sites.ualberta.ca/~museums/mimsy/CLTX/_full/1992/15-1-a_46.jpg" width="400" /></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div><div style="text-align: center;"><span style="font-size: small;"><a href="http://collections.museums.ualberta.ca/cltx/details_item.aspx?key=42284" target="_blank">Stumpwork Box, 1645, University of Alberta collection, accession #<span face="" style="background-color: white; font-family: verdana, tahoma, helvetica; text-align: left;">1992.15.1</span>.a</a></span></div></div></blockquote><p>I decided to try watercolors on silk and linen. On page 1 of the Sample Book, I tried different scenes watercolored on silk dupion with various levels of detail. Then on page 2, I painted the same scene using watercolors on different linens (28 count, 32 count, 40 count and a metallic linen blend). I really enjoyed painting on the silk. It was so lovely how you could build up the layers of colors. By contrast, the watercolor on the linen visibly wicked away. I should note too that two of the linens (32 and 40 count) were "raw" linen and I found that a bit dark to work on with the watercolors. The ivory of the 28 count was better, however, I still really did not enjoy how the watercolor moved on the linen. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-hBuX4huPabXqkRlzWGdKAuLpCx7Z1Z_3VUU4zPJTXx5Nz1gwc5jiy92hDM-ckoPXpBeCjuhdEGDWfFQPrgCL4m36Oph5zOENcaoPSizTBkDARYni41virZ7Kkm5jRLeti85TUI19J3o/s1486/KDiuguid-JaneSamples-final-04.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1486" data-original-width="1400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-hBuX4huPabXqkRlzWGdKAuLpCx7Z1Z_3VUU4zPJTXx5Nz1gwc5jiy92hDM-ckoPXpBeCjuhdEGDWfFQPrgCL4m36Oph5zOENcaoPSizTBkDARYni41virZ7Kkm5jRLeti85TUI19J3o/w377-h400/KDiuguid-JaneSamples-final-04.jpg" width="377" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg90n4gWraPh-OORKXHm3VvlDIx2lwrLiIZXzAob84YQgKlkkeap2oPgcofwib3zYKQDOsMXT9gu6y0Z5cPWfLUMo1TKBy8U2jL89YUxiU28oaKrbnO-In5RnwyWS6WK8Fi_4j5RVAKR0/s1409/KDiuguid-JaneSamples-final-05.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1409" data-original-width="1400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg90n4gWraPh-OORKXHm3VvlDIx2lwrLiIZXzAob84YQgKlkkeap2oPgcofwib3zYKQDOsMXT9gu6y0Z5cPWfLUMo1TKBy8U2jL89YUxiU28oaKrbnO-In5RnwyWS6WK8Fi_4j5RVAKR0/w398-h400/KDiuguid-JaneSamples-final-05.jpg" width="398" /></a></div><p>I was not convinced in any of the painted samples, so I decided to do a set of samples with embroidered landscapes using a cotton/linen background that was digitally printed with a very loose watercolor I had done a few years ago for my <a href="http://katherinediuguid.blogspot.com/2016/10/lighthouse-landscapes.html" target="_blank">Lighthouse Landscapes </a>class (taught at EGA National Seminar in Louisville). For these samples (page 3), I also experimented with how much or how little detail to stitch. </p><p>Square 1 (top left)- most detailed, uses straight stitch, seeding and chain stitch, lots of layering in the bushy and leafy areas.</p><p>Square 2 (top right)- uses only straight stitch, any direction, but lots and lots of layers of straight stitch</p><p>Square 3 (bottom left)- completely flat, only horizontal straight stitch, no overlapping</p><p>Square 4 (bottom right)- not all flat, grass is completely flat with horizontal, non-overlapping straight stitches, hills in distance are layers of vertical straight stitch</p><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgodMPfiNdXIpCP_To7BIueT3yVfU79mdjqJFuQTn2uufhz8y5DdM52oJs07ISCkJty1_roqxc-kfITLxEeOBoTfWm1DqstfEd3_H-CqJxiU1Cg871sL76QE0niMQ-KfBhy0z-aK2b8VrM/s1407/KDiuguid-JaneSamples-final-06.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1407" data-original-width="1400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgodMPfiNdXIpCP_To7BIueT3yVfU79mdjqJFuQTn2uufhz8y5DdM52oJs07ISCkJty1_roqxc-kfITLxEeOBoTfWm1DqstfEd3_H-CqJxiU1Cg871sL76QE0niMQ-KfBhy0z-aK2b8VrM/w398-h400/KDiuguid-JaneSamples-final-06.jpg" width="398" /></a></div><div style="text-align: center;"><br /></div><div>Not convinced of the embroidered samples either, I pondered the possibilities of free motion embroidery. Page 4 shows a few samples created using solvy and free motion embroidery. The middle sample is created with many layers of just free motion (it is pretty thick, thick enough that I was concerned it would be too thick). The samples on the sides combine different combinations of silk, cotton and wool threads hand stitched in long floats onto the solvy and then lightly free motioned on top. I do not think the combination of the long hand floats and free motion are right for this project, but I will be saving this idea for future purposes! </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhut5oAWJwhzahgiHuWj5730fKBso3oEQsHk8gFS3B1fOjK0NE_F5L-PfUr-oEkEpGKLUX-PIqebayGYIZZx2f7qMXi6MYSM0IkZwzLX3q8XsS8nlkYMUZpynOgEFFgrW_nxeqH5ki6lC0/s1400/KDiuguid-JaneSamples-final-08.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="663" data-original-width="1400" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhut5oAWJwhzahgiHuWj5730fKBso3oEQsHk8gFS3B1fOjK0NE_F5L-PfUr-oEkEpGKLUX-PIqebayGYIZZx2f7qMXi6MYSM0IkZwzLX3q8XsS8nlkYMUZpynOgEFFgrW_nxeqH5ki6lC0/w400-h189/KDiuguid-JaneSamples-final-08.jpg" width="400" /></a></div><div><br /></div><div><br /></div><div>And, still......none of the samples felt "right". I wanted something softer. Something misty. Something ethereal. Something that also would complement and not compete with the figures. I did not want lots of contrast or relief or any hard edges. I went to my scrap drawer and found strips of silk organza. I decided to watercolor over the organza and then try layering the painted strips in different ways (page 5). Layering the organza felt very organic and had the same relaxed feeling of some of the looser watercolors in my sketchbook. This felt like it was going in the direction I wanted, so I did a larger sample (page 6) and created the composition for the front cover. </div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm0PH2yqI-yiyJOksPGQQ24OxcMoPjzl65x0NSbXI0GvbntlG_YtFHn5dkJRwYAcLDOZueulSHt1_DKWWVJWgts6lKZBhsYOMRNyOt9aZ6chh9sYYu1kckVRIifqtyNRWIF-YedVs69Xs/s1400/KDiuguid-JaneSamples-final-10.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1342" data-original-width="1400" height="383" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm0PH2yqI-yiyJOksPGQQ24OxcMoPjzl65x0NSbXI0GvbntlG_YtFHn5dkJRwYAcLDOZueulSHt1_DKWWVJWgts6lKZBhsYOMRNyOt9aZ6chh9sYYu1kckVRIifqtyNRWIF-YedVs69Xs/w400-h383/KDiuguid-JaneSamples-final-10.jpg" width="400" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpeKaPRs75Pj8GjjzAnNxzwhzkV5PkM_-cWfDroKnG16gt6ttWO6PtOamOjXW812QWfqkABx_mD3Ckk9iRjbyS2tE3uI7qxrr8mveJBaGwjpVyS1y4xdI6ym93JW5dliEyn8JtL6dPdQY/s1004/KDiuguid-JaneSamples-final-11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1004" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpeKaPRs75Pj8GjjzAnNxzwhzkV5PkM_-cWfDroKnG16gt6ttWO6PtOamOjXW812QWfqkABx_mD3Ckk9iRjbyS2tE3uI7qxrr8mveJBaGwjpVyS1y4xdI6ym93JW5dliEyn8JtL6dPdQY/w398-h400/KDiuguid-JaneSamples-final-11.jpg" width="398" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1bkRFEY7J41vx4N53pWiZMEJHZIwAg7tkTd6Ba7TZl1NMKAvWGqEGDHtgMNIcui33SwdAyIgRqN6F9yVL0SWvT1DCoG_0vuPoBu_m1nPrD4kqUqRhFqt0sgxnbABs-20lFta1NAjbLzc/s1677/KDiuguid-JaneSamples-final-02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1677" data-original-width="1400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1bkRFEY7J41vx4N53pWiZMEJHZIwAg7tkTd6Ba7TZl1NMKAvWGqEGDHtgMNIcui33SwdAyIgRqN6F9yVL0SWvT1DCoG_0vuPoBu_m1nPrD4kqUqRhFqt0sgxnbABs-20lFta1NAjbLzc/w334-h400/KDiuguid-JaneSamples-final-02.jpg" width="334" /></a></div><div><br /></div><div>As I reread Austen's description of Elizabeth visiting Pemberley, I felt that my desire for a soft background reflected Austen's approach to the landscapes that felt so important to the story but were defined so vaguely. The reader is provided with just enough detail of the landscape as is needed to create space for the drama between her characters. </div><div><br /></div><div><u><b>The Clothing for the Characters:</b></u></div><div>My next hurdle that I wanted to sample was the clothing for the characters. After experimenting with the free motion for the landscape samples, I thought it could be interesting to test out free motion embroidery on solvy for the clothing. I wanted to see and feel the difference between that and the hand needlelace or appliqué techniques that I have tried before. </div><div><br /></div><div>I did a deep dive into Regency fashion and found a pattern for one of Jane Austen's silk pelisse written by Hilary Davidson and published in <i>Costume: The Journal of the Costume Society, </i><a href="https://www.tandfonline.com/doi/full/10.1179/0590887615Z.00000000076?scroll=top&needAccess=true" target="_blank">"Reconstructing Jane Austen's Silk Pelisse, 1812-1814" </a>. I used this pattern for the long jacket sample and adapted it to create patterns for a spencer jacket, day dresses and a waistcoat for Mr. Darcy. For scale reference, these clothes are about the size of finger puppets. </div><div><br /></div><div>Pages 7 and 8 of the Sample Book show the pattern and the machine free motion samples for Mr. Darcy's waistcoat (right half) and for Elizabeth Bennet, a long pelisse and a couple dress variations. Dressmaking at this scale was so much fun! It was extremely fiddly, but I was fascinated that I could still ease the sleeve into the armhole, and it was fascinating to watch the tiny pieces take shape into tiny pieces of clothing. </div><div><br /></div><div>From these samples, I found (as I was afraid it would) that the free motion on sovly resulted in a piece that was stiffer than I wanted for the dresses and pelisse. For Mr. Darcy's waistcoat- I think it might work, but will probably choose the technique chosen for the female clothing for cohesiveness. I did try both the translucent and the mesh solvy types and neither was "perfect". On the first batch of samples, I had some skewing issues that caused the pattern to shrink up in the direction of the stitching. That issue was fixed with some patience and being very conscious to make a grid first and then, at the right speed for my machine so the correct stitch length was achieved, filling in the piece. I also made sure before putting anything together to true the stitched pieces to the pattern. </div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwbwpoUrqoW0qWEIAy6FY6eswVOoUzbhyBOLsAYXquK3d3HnfVTnKGJSLpfDKAUI2EZv-1ZT2AleEn04NQxSZ-5xWvG-de8JbHqfj8z8O05npqyz9ahbrvvzBHcIpiY6fsmmAKlTiJXkM/s1000/KDiuguid-Jane-Pelisse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="623" data-original-width="1000" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwbwpoUrqoW0qWEIAy6FY6eswVOoUzbhyBOLsAYXquK3d3HnfVTnKGJSLpfDKAUI2EZv-1ZT2AleEn04NQxSZ-5xWvG-de8JbHqfj8z8O05npqyz9ahbrvvzBHcIpiY6fsmmAKlTiJXkM/w400-h249/KDiuguid-Jane-Pelisse.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixD0FEEI6V6FVFs0y07KEhMuOi-oVADzlNPLdkuZtmWWNHj2Ez_yugwU_C_XccHVCW-wLervvhPubxSEVWlSHKeIy8MJ8x9Kl7ukvkSXX0J0-6xEkqazVe7yIyp2pBPupwohzrEoHd_z4/s1000/KDiuguid-JaneSamples-final-12.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="913" data-original-width="1000" height="365" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixD0FEEI6V6FVFs0y07KEhMuOi-oVADzlNPLdkuZtmWWNHj2Ez_yugwU_C_XccHVCW-wLervvhPubxSEVWlSHKeIy8MJ8x9Kl7ukvkSXX0J0-6xEkqazVe7yIyp2pBPupwohzrEoHd_z4/w400-h365/KDiuguid-JaneSamples-final-12.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4WPMpYU0NB4tRFNuNL26jGPMF2Q72eVhyphenhyphenlCzjAc4OLpQ5CGf3eQrc5vcGM2RtTLZVoQc85TwGHb35rSoKACP7NRpkWF-G_QfMJ6zo3Y5aFL4G-DN5LZJcUUtjREpwRC3u8rQxsWvUf4g/s1000/KDiuguid-JaneSamples-final-14.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="1000" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4WPMpYU0NB4tRFNuNL26jGPMF2Q72eVhyphenhyphenlCzjAc4OLpQ5CGf3eQrc5vcGM2RtTLZVoQc85TwGHb35rSoKACP7NRpkWF-G_QfMJ6zo3Y5aFL4G-DN5LZJcUUtjREpwRC3u8rQxsWvUf4g/w400-h259/KDiuguid-JaneSamples-final-14.jpg" width="400" /></a></div><div><br /></div>The thread that I found worked the nicest was the Sulky rayon thread. It was thinner and the final piece was drapier (see yellow above). The green is Sew All cotton wrapped polyester and the resulting pieces were noticeably thicker and stiffer. </div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX0CkuXhWhEzzdl4Q6GWb3ixwr-Iu-YirmLXI4z6SIbd2el4Na03Ixl4n_2Kh0EEKpRvNAymIVjBZEk1UPsr5mMM-5DwNvTEJmAyAZgXXiNa8cHLyyf2N5ZjVqygr_rHFntbt4CZOOwAA/s1355/KDiuguid-JaneSamples-final-13.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1355" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX0CkuXhWhEzzdl4Q6GWb3ixwr-Iu-YirmLXI4z6SIbd2el4Na03Ixl4n_2Kh0EEKpRvNAymIVjBZEk1UPsr5mMM-5DwNvTEJmAyAZgXXiNa8cHLyyf2N5ZjVqygr_rHFntbt4CZOOwAA/w295-h400/KDiuguid-JaneSamples-final-13.jpg" width="295" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxVvJJJuGOgSBkoHe73z4NHI51Rv5qeOIfhEi-mNW11g0AG2MheOCs8Ztihg3Lgkndtjg7lxfwnPWj46szekDncyjS4Krg3w9fXRuRt978FZYlzlvzcpP2tjT9lA7TS9cmq1IVw_RYKWo/s1000/KDiuguid-Jane-DarcyJkt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="984" data-original-width="1000" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxVvJJJuGOgSBkoHe73z4NHI51Rv5qeOIfhEi-mNW11g0AG2MheOCs8Ztihg3Lgkndtjg7lxfwnPWj46szekDncyjS4Krg3w9fXRuRt978FZYlzlvzcpP2tjT9lA7TS9cmq1IVw_RYKWo/w400-h394/KDiuguid-Jane-DarcyJkt.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><br /></div><div>After satisfying my questions of free motion on solvy's suitability for this project, I turned to hand needlelace. On page 9, I created a sampler of different needlelace techniques using different threads (each shade of pink is a different thread). I tried various silks by Au ver a Soie, Cotton machine thread by Valdani and Gilt Sylke Twist. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ9UNGcH80O3lRRKEqFwSqH1m2w_E36dU42rgKl2KnDg4uTQmO9zCr1rZevUILa76Jpj_CXeO2gPaqIti-QqzYt2LGZqV54sjhsOz_DKai0oCFYkqr5f8vwpc3dXgXJmB4kY1J-T4RrzI/s1496/KDiuguid-JaneSamples-final-15+copy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1496" data-original-width="1400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ9UNGcH80O3lRRKEqFwSqH1m2w_E36dU42rgKl2KnDg4uTQmO9zCr1rZevUILa76Jpj_CXeO2gPaqIti-QqzYt2LGZqV54sjhsOz_DKai0oCFYkqr5f8vwpc3dXgXJmB4kY1J-T4RrzI/w374-h400/KDiuguid-JaneSamples-final-15+copy.jpg" width="374" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLh-140tnBPak3KsvSUZOWd6bk02mQak8fSNA4DGHlSgfjWsI17OwptMQy81eV2lU3Vj0klcuinX4nCAm69GSZNOw6azFNN0i6FVj5pyxEe1p6qzGwTtKAiJLtuSygEoE5DG6q9lVobGs/s1400/KDiuguid-JaneSamples-final-16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="1400" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLh-140tnBPak3KsvSUZOWd6bk02mQak8fSNA4DGHlSgfjWsI17OwptMQy81eV2lU3Vj0klcuinX4nCAm69GSZNOw6azFNN0i6FVj5pyxEe1p6qzGwTtKAiJLtuSygEoE5DG6q9lVobGs/w400-h300/KDiuguid-JaneSamples-final-16.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div>The final clothing sample on page 10 is a small handmade needlelace spencer jacket and day dress. The spencer jacket was made with Soie de Paris using a corded Brussels stitch. The day dress is made with Soie Gobelin and mixes corded Brussels stitch, double Brussels stitch, pea stitch, and Hollie point. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaX5EydcV3j-0Roe_Mp01ZVvtxOANJ7BvOmTILp66bkk6mS5un1TVnxiukZhnoAJYbs1wOP5Vc9Tz5Fyqug0cUY1WpzDOa7T3GXBRMzFaOo56dIdyeaA1Jub1oUDKNPw6Ijft2Xe429Cs/s1200/KDiuguid-Jane-spencer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="592" data-original-width="1200" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaX5EydcV3j-0Roe_Mp01ZVvtxOANJ7BvOmTILp66bkk6mS5un1TVnxiukZhnoAJYbs1wOP5Vc9Tz5Fyqug0cUY1WpzDOa7T3GXBRMzFaOo56dIdyeaA1Jub1oUDKNPw6Ijft2Xe429Cs/w400-h198/KDiuguid-Jane-spencer.jpg" width="400" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif09rTu5aAykn89mPcctmA_ieco_5Rlj85AjP3OTNt7ldyGixMzBHGbZ4x1Zs-nwEFvCcQBfu_9zwTSjL3GnIyPWNgdOXfuX66oDe88nsXuz7_AZ2GdQOZJjhpH_jMY3kWocubAmyN57o/s1000/KDiuguid-JaneSamples-final-19.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="972" data-original-width="1000" height="389" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif09rTu5aAykn89mPcctmA_ieco_5Rlj85AjP3OTNt7ldyGixMzBHGbZ4x1Zs-nwEFvCcQBfu_9zwTSjL3GnIyPWNgdOXfuX66oDe88nsXuz7_AZ2GdQOZJjhpH_jMY3kWocubAmyN57o/w400-h389/KDiuguid-JaneSamples-final-19.jpg" width="400" /></a></div><div><br /></div><div><u><b>Final Thoughts:</b></u></div><div>Ultimately, the pieces in this book are samples, just explorations, for the small wooden trinket box that I plan to cover in embroidery for my daughter, but it felt very rewarding binding them all together in cloth book form. I purposely chose to mount the samples to the pages in a more informal way to preserve the sample quality for each exploration. I did not want them feeling "too serious". In hindsight, I am so glad that I took the time to make this sample book, and it excites me that now I have a book to go with the eventual trinket box. Creating this sample book allowed me to focus on developing alternatives and trying a few techniques that I had not tried before. It slowed me down freeing me up to further challenge myself to find the technique that I felt best suited the project not the timeline. It was a reminder of how sampling provides such a wealth of knowledge as a project develops and is invaluable when trying to sort out those tricky design questions. And, I will admit that not all of the samples created made the cut to be in the final book. </div><div><br /></div><div><br /></div><div><br /></div><div><u><b>Further Looking, Reading, Listening, and Watching:</b></u></div><div>I also thought I would share some of the wonderful resources that I have found or that have been shared with me since starting this project. </div><div><br /></div><div>An audio book of <i><a href="https://stories.audible.com/pdp/1094121339?ref=adbl_ent_anon_sc_pdp_pc_0" target="_blank">Pride and Prejudice</a></i> is available for <i>FREE</i> via the Audible Stories website!</div><div><br /></div><div><a href="https://mintmuseum.org/events/art-of-reading-public-tour-pride-and-prejudice-9-2020-05-17-2020-11-04/" target="_blank">Art of Reading Public Tour at the Mint Museum: Pride and Prejudice Tour</a></div><div><br /></div><div><a href="https://www.janeaustenandco.org/recorded-events" target="_blank">Jane Austen and Co's Recorded Lectures page</a> (check out the most recent with Jennie Batchelor and Jane Austen and Regency Needlework-- it was fabulous!!!!)</div><div><br /></div><div><a href="https://www.amazon.com/Jane-Austen-Embroidery-Authentic-embroidery/dp/1911624407/ref=sr_1_1?dchild=1&keywords=jane+austen+embroidery&qid=1597339032&sr=8-1" target="_blank">Jane Austen Embroidery</a> by Jennie Batchelor and Alison Larkin</div><div><br /></div><div><a href="https://www.amazon.com/Hilary-Davidson/dp/0300218729/ref=sr_1_1?dchild=1&keywords=jane+austen+fashion&qid=1597339113&sr=8-1" target="_blank">Dress in the Age of Jane Austen: Regency Fashion</a> by Hilary Davidson. She also wrote an excellent article <a href="https://www.tandfonline.com/doi/full/10.1179/0590887615Z.00000000076?scroll=top&needAccess=true" target="_blank">"Reconstructing Jane Austen's Silk Pelisse, 1812-1814" </a>published in <i>Costume: The Journal of the Costume Society, vol. 49, issue 2</i> . I used her jacket pattern from Jane Austen's silk Pelisse jacket as the basis for the needlelace clothing that I've been creating for this project. </div><div><br /></div><div><a href="http://sewwhatpodcast.buzzsprout.com/" target="_blank">Sew What Podcast </a>by Isabella Rosner</div><div><br /></div><div><a href="https://www.jstor.org/stable/44662296?seq=1#metadata_info_tab_contents" target="_blank">"Jane Austen and the English Landscape School" by Elsa Rehmann</a> from <i>Landscape Architecture Magazine</i>, April 1935, vol. 25, no. 3, pgs. 127-135. Accessed via Jstor.<br /><div>
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Other videos that were great to stitch to while I work on this:</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/tSW4u6uA8Cw" width="320" youtube-src-id="tSW4u6uA8Cw"></iframe></div><div class="separator" style="clear: both; text-align: center;"><i>Jane Austen: Behind Closed Doors</i> with Lucy Worsley</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span face="" style="background-color: #f9f9f9; color: #030303; font-family: roboto, arial, sans-serif; font-size: 14px; text-align: start; white-space: pre-wrap;"><a href="https://www.youtube.com/watch?v=2PvLreiBN20" target="_blank">BBC Elegance and Decadence The Age of the Regency E 1 with Lucy Worsley</a></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span face="" style="background-color: #f9f9f9; color: #030303; font-family: roboto, arial, sans-serif; font-size: 14px; text-align: start; white-space: pre-wrap;"><a href="https://www.youtube.com/watch?v=5RIRfAbFgok" target="_blank">BBC Elegance and Decadence The Age of the Regency E 2 with Lucy Worsley</a></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span face="" style="background-color: #f9f9f9; color: #030303; font-family: roboto, arial, sans-serif; font-size: 14px; text-align: start; white-space: pre-wrap;"><a href="https://www.youtube.com/watch?v=tl64wk8i78k" target="_blank">BBC Elegance and Decadence The Age of the Regency E 3 with Lucy Worsley</a></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><p class="MsoNormal" style="font-family: calibri, sans-serif; font-size: 12pt; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";"><u><b>Contemporary Embroiderers Who Have Stitched Caskets:</b></u></span></p><p class="MsoNormal" style="font-size: 12pt; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";"><a href="https://www.janetbrandt.com/" target="_blank">Janet Brandt </a>(she's even done multiple caskets!!!)</span></p><p class="MsoNormal" style="font-size: 12pt; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";"><a href="https://www.instagram.com/kstrachanembroidery/" target="_blank">Katie Strachan</a></span></p><p class="MsoNormal" style="font-size: 12pt; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";"><a href="http://thistle-threads.blogspot.com/2014/07/janices-design-story.html" target="_blank">Janice Gail</a></span></p><p class="MsoNormal" style="font-size: 12pt; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";"><br /></span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; font-size: 12pt; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";"><u><b>Selected Bibliography:</b></u><o:p></o:p></span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";">“Pride and Prejudice” by Jane Austen (read book and listened to audiobook)<o:p></o:p></span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";">“Pride and Prejudice”, 2005 movie with Keira Knightley and Matthew MacFadyen<o:p></o:p></span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";">“Pride and Prejudice”, 1995 BBC Miniseries with Jennifer Ehle and Colin Firth<o:p></o:p></span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";">Online Collections referenced: MET, V&A, National Gallery of Victoria, Museum of London<o:p></o:p></span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";">“Caskets of Curiosity: Stumpwork” course materials by Tricia Wilson Nguyen<o:p></o:p></span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";">“Needlelace: Designs and Techniques Classic and Contemporary” by Catherine Barley<o:p></o:p></span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "ø]`â˛\7f ";">Hilary Davidson (2015) Reconstructing Jane Austen’s Silk Pelisse, 1812–1814, Costume, 49:2, 198-223, <span> </span><span> </span>DOI:</span><span face="" style="font-family: "ø]`â˛\7f "; text-indent: 0.5in;">10.1179/0590887615Z.00000000076</span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";">Jane Austen & Co.: </span><a href="https://janeaustensummer.org/" style="color: #954f72;">https://janeaustensummer.org/</a><o:p></o:p></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";">My Pinterest Board for Raised-work Embroidery: </span><a href="https://www.pinterest.com/katdiuguid/stumpwork/" style="text-align: center;">https://www.pinterest.com/katdiuguid/stumpwork/</a></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";">My Pinterest Board for Jane: </span><a href="https://www.pinterest.com/katdiuguid/jane/" style="text-align: center;">https://www.pinterest.com/katdiuguid/jane/</a><span face="" style="font-family: "aaux promedium";"> </span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";"><br /></span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";"><br /></span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";">Raised-work Caskets with Watercolor Detail:<o:p></o:p></span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";">University of Alberta Collection: </span><a href="http://collections.museums.ualberta.ca/cltx/details_item.aspx?key=42284" style="color: #954f72;">http://collections.museums.ualberta.ca/cltx/details_item.aspx?key=42284</a><span face="" style="font-family: "aaux promedium";"><o:p></o:p></span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;">Museum of Fine Arts, Boston Collection: <a href="https://collections.mfa.org/objects/122969/cabinet?ctx=dbaaaa37-dd7d-4660-81c4-6d9ebebc1cef&idx=0" style="color: #954f72;">https://collections.mfa.org/objects/122969/cabinet?ctx=dbaaaa37-dd7d-4660-81c4-6d9ebebc1cef&idx=0</a><o:p></o:p></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in; text-align: start;"><span face="" style="font-family: "aaux promedium";">V&A, London: </span><a href="https://collections.vam.ac.uk/item/O136433/embroidered-casket/" style="text-align: center;">https://collections.vam.ac.uk/item/O136433/embroidered-casket/</a> (not watercolor, but love the inside)</p></div><div><br /></div>
</div></div>Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com8tag:blogger.com,1999:blog-5930055630096707834.post-1196929093183541232020-08-05T14:24:00.001-04:002020-08-05T14:25:02.813-04:00Upcoming Virtual Workshop: Good as Gold Earrings Through the NC Museum of ArtIt is with excitement that I can announce that I will be teaching a few virtual workshops over the following months! The registration for the first of these workshops just opened. It is an introductory goldwork workshop inspired by the exhibition <i><a href="https://africa.si.edu/exhibitions/current-exhibitions/good-as-gold-fashioning-senegalese-women/" target="_blank">Good as Gold: Fashioning Senegalese Women</a></i> which showed at the Smithsonian Museum of African Art last fall and was scheduled to travel to the <a href="https://ncartmuseum.org/" target="_blank">North Carolina Museum of Art </a>this summer. <div><br /></div><div>In this workshop, students will design their own pair of earrings (or could easily be made as a brooch) that will then be embroidered using couched metal threads and metallic leather kid. All supplies needed to complete this workshop are included within the kit as well as a coordinating instruction booklet. Various design motif templates inspired by the pieces in the <i>Good as Gold: Fashioning Senegalese Women</i> exhibition are included within the instruction booklet. </div><div><br /></div><div>The workshop will take place via Zoom over two 90 minute workshops on August 15 and 22 from 1:30-3pm. With the following outline:</div><div><br /></div><div>August 15: Design motif, transfer design to ground material, padding, leather appliqué and couching.</div><div><br /></div><div>August 22: Wiggle couching, chain stitch, and finishing</div><div><br /></div><div>You can register for the upcoming workshop <a href="https://ncartmuseum.org/calendar/event/2020/08/15/ncma_virtual_studio_golden_embroidery_two_part_class_august_2020/1330/1500" target="_blank">at this link</a>. I hope to see you there!</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidIEbDimUE96lrCVueQChboCJD1aLNWWBd_uiQwFcGuRvZ9cWn1ST8KAZWHjaqVKBYrEoL53jSfvJ3dkf4oVSxwleArOeG8cC1gjeZQcpLSZ9WsMQZEVZV-H9H0pKCXC8CgXHf3C-m5zQ/s1500/KDiuguid-NCMA-earrings.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="1500" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidIEbDimUE96lrCVueQChboCJD1aLNWWBd_uiQwFcGuRvZ9cWn1ST8KAZWHjaqVKBYrEoL53jSfvJ3dkf4oVSxwleArOeG8cC1gjeZQcpLSZ9WsMQZEVZV-H9H0pKCXC8CgXHf3C-m5zQ/w400-h300/KDiuguid-NCMA-earrings.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLNAcOamUB9k-6B0WU1LyC25IKyUF2lDXpNHZUl3b5UHqJ8dmVzBT0aoCtiQ-OCiypCBc4LJUsnaMoOroZ_73FyZjYUbV7hglOPjhueBsCyVRTtS25szLj5UYObvP8sykZj1YSDyt0VTA/s1500/KDiuguid-NCMA-earrings-details.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1181" data-original-width="1500" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLNAcOamUB9k-6B0WU1LyC25IKyUF2lDXpNHZUl3b5UHqJ8dmVzBT0aoCtiQ-OCiypCBc4LJUsnaMoOroZ_73FyZjYUbV7hglOPjhueBsCyVRTtS25szLj5UYObvP8sykZj1YSDyt0VTA/w400-h315/KDiuguid-NCMA-earrings-details.jpg" width="400" /></a></div><div><br /></div>Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com2tag:blogger.com,1999:blog-5930055630096707834.post-52632415813557501422020-05-01T14:14:00.000-04:002020-05-01T14:14:24.825-04:00Community Stitch Challenge: Weeks 4 - 6These Challenges just kept getting more and more fun!<br />
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<u><a href="https://www.textileartist.org/community-stitch-challenge-week-four-richard-mcvetis">Week 4 with Richard McVetis</a>: </u> Fill 4 shapes with couching.<br />
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<a href="https://www.richardmcvetis.co.uk/">Richard McVetis </a>uses minute stitches in his work to create abstract compositions. I was able to see one of his pieces in person last year when I visited the 62 Group's <a href="http://www.62group.org.uk/exhibitions/construct-exhibition-sunnybanksmills/">"Construct" exhibition</a> at Sunny Bank Mills. I love his play with negative and positive space and his minimal color use.<br />
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For this challenge, Mr. McVetis presented the idea of filling 4 shapes with different couching techniques. I love, love, love couching, so when given the challenge to fill shapes with couching I shrilled with excitement!<br />
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Over the past few years, I have been working with <a href="https://katherinediuguid.squarespace.com/longing-to-belong">weeds </a>in my creative work as a way to process my observations and thoughts about the human need to belong. During this Quarantine, I have been taking almost daily walks with my kids and have started documenting the different flowering roadside flora as I see them. A couple weeks ago, I started collecting dandelion stems without a plan but a feeling that they would be useful. I have used pressed flowers in my work before and have had the desire to do more of that recently. My kids and I made a game of picking all the spent dandelions. There were a few that still had wishes on them that they picked, but almost all of them were totally spent. They had been drying in my studio and when the challenge came to couch something I knew I had to couch my dandelion stems!<br />
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The dandelion stems dry out fairly quickly and I have not done anything to them so some have twisted and curved slightly. This does make them a bit brittle and needing some care when you stitch with them. Some of the stems were very purple and some had a really nice light green- purple gradation. I loved comparing the color gradations between all the stems. <br />
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When I went to couch them down, I knew I wanted to use fairly traditional techniques to contrast with the dried natural material. I chose silk floss for my threads as I thought the subtle sheen of the silk would be nice against the raw linen and dried stems. I also plied the silk with a thin metallic machine thread in a couple places for additional glitter. <br />
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The squares are each a different couching technique: burden stitch, basic lattice, and open basketweave. Each one is then outlined in overstretched gilt pearl purl. I stitched the burden stitch in a very closed way, concealing much of the stems as they pad the burden stitch. To contrast, I stitched the basketweave in an open way so that the dandelion stems are left more visible. <br />
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The lattice is created with mostly stem remnants leftover from trimming the stems to length for the right and left squares. The cross stitches over the intersections are alternating silk floss and silk floss plied with metallic. <br />
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I had a handful of stems with seed heads on them that surprising still had seeds even after drying in my studio. I knew I had to work these into this piece as they were so lovely dried. I couched the grouping between square 1 and 2 with cross stitches and couched the grouping between square 2 and 3 with straight stitches. The fallen dandelion seeds are couched below the squares.<br />
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In his challenge video, Richard McVetis spoke about the importance of the concept of time to his work and challenged us to consider time as we stitched our couching. As I stitched this piece, it became more and more clear to me how perfectly relevant the concept of time was to this piece. Dandelions, to me, are a great representation of time as they change so much. They grow invisibly at first and slowly dot the landscapes with dots of yellow and promises of wishes to come true. I have many memories of time spent as a child finding these plant genies and making wishes into the wind with them and now enjoy watching my children do the same thing. As I stitched this piece, seeds continued to fall off in slow motion. A gentle dance was created as the tiny seeds shifted and then fell off with each ping of the needle passing back and forth through the fabric. I felt like I was stitching the music the dandelion seeds were dancing to. <br />
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There was a delicate beauty to the seed shedding that reminded me of one of the characteristics of goldwork that I love so much--the metals age, tarnish and change right before your eyes. These dandelions looked differently when I first started couching them on. They were fuller with seeds. They continually lost these seeds as it was stitched. Thats a record of my stitching this piece. In goldwork, the metals tarnish. Living in North Carolina, the tarnishing happens more quickly due to the humidity. I have always loved the tarnishing of the metals, which is why I usually take obsessive photos during the process of stitching my pieces. They look so shiny when using new metals freshly stitched. Then they darken in unexpected ways that you cannot control no matter how hard you may try. It is the letting go of control and acceptance of this process that has provided so much love for me with goldwork pieces.</div>
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As I was photographing this piece, I thought that the shadows, especially from the seed heads, were really beautiful as I moved it around and the direction of the light changed.</div>
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<u><a href="https://www.textileartist.org/community-stitch-challenge-week-five-emily-jo-gibbs">Week 5 with Emily Jo Gibbs</a>: </u>Create an appliqué composition.</div>
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I have long been a fan of <a href="https://www.emilyjogibbs.co.uk/">Emily Jo Gibbs</a> work. I love the visual simplicity of her pieces created through her use of silk organza and appliqué. They seem to innately embody a quiet stillness in their subtle beauty. I have a special fondness for her still life compositions of glasses or vases with leaves and her pin cushions. </div>
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For Week 5, Ms. Gibbs challenged us to create a textile composition using her preferred technique of appliqué. In her Challenge Video, she demonstrated how she utilizes silk organza for her appliquéd pieces and suggested that we find a stick to use as inspiration.<br />
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I started this piece by playing around with different compositions on my desk. I know she used a stick in her challenge but I wanted to do more of a composed composition. I usually keep weeds from recent walks in a milk glass vase on my desk and I thought that would be a nice subject. I photographed it with a few different groupings of weeds. I did not dislike them, but none of the compositions were feeling particularly special.<br />
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Taking a break from composition iteration, I got my bin of eco-printed off-cuts out to pick out some fabrics to use. I grabbed a piece of raw silk that I have over-eco-printed a number of times, most recently with marigold petals. I wondered if I could use this piece in a way that I could make it feel like petals falling on the table like I did the previous week by couching the fallen dandelion seeds down. I decided to use this piece for the bottom portion of the ground and pair it with a piece of raw linen (40 count).<br />
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Having basted my two ground fabrics to a muslin backing, I returned to sketching and playing with the composition with fresh inspiration. Since the main eco-printed piece I was using was from marigolds, I decided to place a marigold from my garden in the vase and sketch it. The vase holds a lot of special meaning to me. I have long collected vintage green and milk glass, and when my husband and I got married, his grandparents gave us their collection of milk glass. I also thought this would be an interesting challenge to interpret the relief on the vase with just simple stitching.</div>
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Finding fabrics to render each part of the composition was quite fun. I chose silk charmeuse for the vase for its shine. The silk for the leaves was off cut silk dupion bits that I watercolored over as I could not find a good green in my bin. The fabric for the marigold blossom was tea-stained silk organza, and the shadow was created using some silk organza that I had eco-printed with rose leaves. All the threads I used were variegated cotton flosses. </div>
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<a href="https://www.textileartist.org/community-stitch-challenge-week-six-anne-kelly">Week 6 with Anne Kelly</a>: Create a folk art inspired fiber collage.<br />
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<a href="http://www.annekellytextiles.com/">Anne Kelly</a>'s folk art inspired textile and mixed-media pieces are whimsical and filled with many beautiful details. She also makes really lovely mixed media books. She has authored a number of books, which I highly recommend (<a href="https://www.amazon.com/Textile-Nature-techniques-inspiration-natural-ebook/dp/B01GQVE5I4/ref=sr_1_1?dchild=1&keywords=textile+and+nature&qid=1588350762&sr=8-1">Textile and Nature</a> is one that I especially love). <br />
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I find Ms. Kelly's work really interesting as it combines simplified shapes with a covering of stitching that creates a complex web of motifs and imagery. I had never tried the technique of machine topstitching over the entire surface like this before and was very intrigued to try it. I had no clue how different the before topstitching v. after topstitching compositions would look.<br />
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So I have to admit that at first glance, I did not know what to do with this challenge. I sketched a lot of different ideas in my sketchbook ranging from fairly simplified to more filled with different motifs--more directly folk art inspired compositions. Originally, I thought I would use my birdfeeder as inspiration as I love Ms. Kelly's birds and birdwatching is something my kids and I really enjoy. As I sketched and laid scraps of fabric out, though, I decided that since this was a new technique to me, I would try to reinterpret the same vase from Week 5 and combine that with the Dandelion motifs from Week 4. <br />
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Once I had an idea for the composition, I got my bin of scraps back out. I have a lot of scraps from eco-printing that have these lovely lines in them from the strings used to bind the bundles. The very outside fabric of the bundle takes the color of the boil water and the string that binds the bundles acts as a resist. The background of this piece is a collage of string resisted habotai silk pieces. The habotai has a lovely sheen and is slightly sheer so when the pieces overlap it creates darker areas. </div>
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I used satin and Chantilly lace for the vase and layers of dotted tulle for the dandelion seed heads. After I had everything pinned, I machine topstitched the entire surface. This part was so cool as I did not realize how different it would look after the topstitching! Then I added extra details with machine free motion embroidery. I wanted this piece to be completely machine stitched. </div>
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I have already started another experiment with this technique-- I am so intrigued by it right now! It is a similar background but a different composition and I think I'm going to embellish it with a mix of hand and machine. <br />
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I have really enjoyed participating in the Community Stitch Challenge hosted by <a href="http://textileartist.org/">TextileArtist.org</a> . I want to say a thank you to them for organizing such a wonderful project and such a great mix of artists to challenge us each week. <br />
<br />Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com2tag:blogger.com,1999:blog-5930055630096707834.post-29264806146964898392020-04-16T13:40:00.001-04:002020-04-16T13:41:13.052-04:00Community Stitch Challenge 2020 by TextileArtrist.org : Weeks 1-3I decided to join <a href="https://www.textileartist.org/category/stitch-challenge">TextileArtist.org 's Community Stitch Challenge</a> as I thought it would be nice to have a given prompt each week while we are all on Stay at Home orders. The projects are smallish and I felt like I could accomplish them while still doing everything else needed right now. We are currently on Week 4 and I have so enjoyed both the prompts provided by each different artist and most especially seeing all the different interpretations by everyone else stitching. If you get a chance, you should check out what everyone is stitching here at: <a href="https://www.instagram.com/explore/tags/communitystitchchallenge2020/">https://www.instagram.com/explore/tags/communitystitchchallenge2020/</a><br />
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<u>Week 1 with <a href="http://womanwithafish.com/">Sue Stone</a>:</u> Pick 1 stitch and explore it in 4 squares.<br />
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I have admired and followed Sue Stone's work for years and would love to take a workshop with her at some point. I love her focus on exploration of simple stitches used in very effective ways to render and create texture. For her Week 1 Challenge, she suggested that we pick 1 stitch and explore it in 4 squares. I picked Running Stitch as I feel it is the most amazingly versatile stitch.<br />
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I began my Running Stitch Sampler by cutting 4 squares from some old eco-print off cuts. These bits are from a batch of eco-prints using rose leaves on raw silk that I did while teaching at <a href="https://www.arrowmont.org/">Arrowmont</a> in 2017. I wanted to take 2 squares and explore stitching the negative space of the rose leaves and explore stitching the positive space in the other 2 squares. I also wanted to play with color mixing using colors that complemented the eco-prints and for the most part were of a similar value to the fabric.<br />
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<u>Week 2 with <a href="https://casholmes.wordpress.com/">Cas Holmes</a>:</u> Create a fiber collage.<br />
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Cas Holmes' work combines drawing, watercolor, hand stitch, free motion embroidery, and appliqué to create beautiful fiber collages. For her Week 2 Challenge, she suggested that we look at objects that are currently around us and blend that with the exploration and memories of place.<br />
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With this collage, I wanted to challenge myself to again incorporate bits of my eco-print off cuts and I also wanted to challenge myself to get my watercolors out and experiment with them. I have to admit that I had forgotten how much I love to use watercolor! The collage part was daunting to me, partly because I could not decide if I wanted a formal composition or something that felt less formal and more sketchbook-like. I want to do more of this as I found that as I stitched I wanted to be looser with the composition.<br />
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The green glass is one that has sat on my desk for years. I love green glass and collect it and this is part of a set I found at a Goodwill years ago. I have watercolored it on just normal mixed media sketchbook paper. It was interesting stitching the paper onto the fabric and thinking about the stitch placement on the watercolor. The weed is one that I pressed last summer that I found in a parking lot. It is layered with a bit of Chantilly lace that I had that had a floral pattern that was a similar shape to the pressed flower.<br />
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The clover was another old eco-printed bit. I had hammered it into the linen a couple years ago and did a bit of whitework into the negative space. The other bits are bits of eco-prints of rose leaves on raw silk and Appalachian ragwort on silk charmeuse.<br />
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<u>Week 3 with <a href="https://www.emilytull.co.uk/">Emily Tull</a>:</u> Stitch an eye.<br />
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Emily Tull is a textile artist in the UK and you should check out her <a href="https://www.emilytull.co.uk/needle-paintings.html">needle painted portraits</a>. I love her play with negative and positive space and her choices of which areas to embroider.<br />
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For Week 3, Emily challenged us to stitch an eye-- that statement sounds so simple. So, I must admit when I first watched her challenge video, I was a bit daunted by it. I started back in my sketchbooks before I stitched anything-- I needed a bit of time. I looked through old photographs and sketched some eyes and then my kids graciously and enthusiastically modeled different poses. (My daughter got so into this that I found about 50 selfies of her eyeball on my phone shortly after this-- I will readily admit their excitement was contagious.) After sketching, I moved to a bit of colored pencil and then to watercolor. The watercolor was really interesting as it satisfied my love of color with intense study of these eyes and provided the extra bit of courage I needed to jump in with my needle.<br />
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For the first eye I stitched, I chose to use an acid green and 2 purples. I originally made this decision because I wanted to play with color. Looking back now, I think it actually gave me a bit of distance from the pressure of making the eye look too realistic. After that pair of eyes was finished, I just kept stitching more and more eyes. I stitched some eyes with just 1 color, some with just 2, some with just 3 and some with as many colors as I felt necessary. I stitched the same pair of eyes in a single color three different times to see how just that change of color affected the emotion of the eyes. I stitched some in 1 strand and some with 2 strands. I wanted to explore how much I needed to stitch to communicate an eye and how much I could stitch to make it feel more realistic. With each eye, I posed a separate question to myself to address. I may go back and add some more eyes to this, but for now, I'm calling it finished.<br />
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A note about the ground fabric of my Eye Sampler: These are all bits of different eco-print off cuts that I appliquéd to a cotton muslin base. There is some raw silk, silk charmeuse, silk matka, silk dupioni, and linen. I worked this piece all in hand (no hoop) to allow the natural hand tension to add more texture. </div>
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A note about the threads: The threads are mostly Weeks Dye Works and Valdani cotton floss but I also stitched a little using Valdani's sewing thread 35wt. There is no black on this piece. I wanted the added challenge of using color mixing and color theory principles (value and complementary colors) to create the contrast needed to render these eyes. </div>
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Now back to my studio to stitch Week 4 with <a href="https://www.richardmcvetis.co.uk/">Richard McVetis</a>.Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com3tag:blogger.com,1999:blog-5930055630096707834.post-37794815586650711662020-03-25T12:26:00.000-04:002020-03-25T12:26:12.697-04:00Crewel Lily of the Valley: I think it's finished :) After smoothing out a couple of the leaf outlines and making the top fillings in the leaves slightly darker, I think it's finally finished. I've stitched this piece with <a href="https://www.appletons.org.uk/">Appletons Wool</a> on Linen with a bit of <a href="https://www.dmc.com/us/diamant-thread-9001249.html">DMC Diamant</a>. Below are a few photographs of the finished piece. Now, to the sketchbook to plot the next piece!<br />
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<br />Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com8tag:blogger.com,1999:blog-5930055630096707834.post-48655872508006025942020-03-17T22:56:00.001-04:002020-03-17T22:56:53.293-04:00Back to Blogging and Back to an Old Project!After I finished my RSN Crewelwork piece, I was dying to start a new piece of crewel, so <a href="http://katherinediuguid.blogspot.com/2014/03/a-new-crewel-piece.html">I had started this piece back in 2014</a>. I wanted to combine the traditional crewel feel and techniques with a motif that was a bit more modern and designed this Lily-of-the-Valley design. I had almost finished the filling in the leaves when I needed to take it off the slate frame to start another piece. It sat in my studio cabinet and I'd get it out periodically to consider finishing. However, there was always another piece that was moved ahead of it. So there it sat until a few weeks ago. I had been working on finishing my City and Guilds Level 3 Certificate when I just needed something to stitch- no big decisions, something that was ready to go and just pure pleasure. And, from the depths of my cabinet this piece emerged! I framed it back up, got my ziploc baggie of threads back out and started stitching on it again.<br />
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Since I thought the filling on the leaves were complete, I started back with the stem stitch on the stem. I have to admit that the methodical packed stem stitch is a technique I find incredibly satisfying. It looks so lovely on the surface and it really enjoyable to stitch. <br />
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I chose to use darker greens because if you study the leaves of lily of the valley, you will see that the leaves are mainly fairly dark green with faint lines of lighter/more yellow green. I wanted that darkness reflected in this piece. <br />
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<span style="text-align: start;">After I finishing the stems, I felt that the fillings on the leaves needed a bit of darkening. The darkness of the darkest green in the stem seemed to dull the subtle shading of the lighter greens in the fillings. I decided to go ahead and add in some darker greens while following the subtle gradient already defined in the lighter colors. </span></div>
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Part of the reason that this piece had sat in my cabinet for so long is that I had started stitching two of the blossoms and I was not convinced about the techniques I had chosen. They felt flat and just "not right", so I ripped it all out and started anew. I also decided to add in a bit of gold so the white would stand off the cream of the linen more. I thought the gold would help to break up the white in a way that may help to highlight some of the subtle blanc to cream shading I was exploring. And, let's be honest, I like to gild the lily when I can.<br />
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<span style="text-align: start;">For the gold, I am using one of my current favorite metallic thread--<a href="https://www.dmc.com/us/diamant-thread-9001249.html">DMC Diamant</a>. </span><a href="http://www.tracyafranklin.com/" style="text-align: start;">Tracy Franklin</a><span style="text-align: start;"> introduced me to it when I took her <a href="http://katherinediuguid.blogspot.com/search/label/williamsburg">Silk and Gold class in Williamsburg</a> a few years ago and I love this thread! In all the metallic threads that I have used I think this one shreds the least. It is also a similar (though not exactly the same) line weight as the <a href="https://www.appletons.org.uk/">Appletons Wool</a> I was using for the rest of the piece when it is stitched. It is also very helpful that it is pretty easy to get my hands on now too as a number of online stores stock it as well as Hobby Lobby. </span></div>
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There are a couple minor tweaks I'd like to make before I reveal the full final piece. I will post it shortly. In the meantime, I hope everyone is staying safe and healthy!</div>
Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com3tag:blogger.com,1999:blog-5930055630096707834.post-38798101535985052742017-12-12T13:06:00.003-05:002017-12-12T20:35:36.597-05:00NC Museum of Art: Designer in Residence This Fall!I currently have the exciting opportunity to be a Designer in Residence for the <a href="http://ncartmuseum.org/exhibition/inspiring_beauty_50_years_of_ebony_fashion_fair">"Inspiring Beauty: 50 Years of Ebony Fashion Fair"</a> at the <a href="http://ncartmuseum.org/">North Carolina Museum of Art</a> during the running of the exhibition from 28 October 2017- 21 January 2018. My colleague, <a href="https://www.youtube.com/watch?v=HTQLfULzR1o&feature=youtu.be">Precious Lovell</a>, is the other Designer in Residence. <br />
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<b>What will we be doing as Designers in Residence?</b><br />
On the weekends and for special events (Members Mondays, College Night, etc), one of us will be inside the Designer Studio in the exhibition working. We are each designing and creating a piece in response to the exhibition that utilizes hand dressmaking and embroidery skills. Our time in the Designer Studio will allow visitors to see some of the techniques used to create the garments that the exhibition so beautifully displays.<br />
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<a href="https://www.instagram.com/p/BbW5BmelrSs/?taken-by=ncartmuseum"><span class="author notFaded" data-width=""><b>CLICK here for video about Kat by the NC Museum of Art</b></span></a><br />
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<b>What will my piece be?</b><br />
Through this Designer in Residence, I wanted to highlight the work of the African American fashion designer, Ann Lowe. Ms. Lowe created beautiful evening and social gowns for high society women starting in Montgomery, Alabama and moving her way up to a studio on Madison Avenue. Her clientele included the highest of American society of the mid-20th Century including the Post's, the Vanderbilt's, the Auchincloss' and the Dupont's. Sadly few people have heard of Ms. Lowe and her beautiful gowns, many incorporating exquisite handmade flower and embroidery embellishments. <br />
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<tr><td style="text-align: center;"><a href="https://thenypost.files.wordpress.com/2016/10/ann_lowe.jpg?quality=90&strip=all&w=443" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="689" data-original-width="443" height="400" src="https://thenypost.files.wordpress.com/2016/10/ann_lowe.jpg?quality=90&strip=all&w=443" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://nypost.com/2016/10/16/jackies-wedding-dress-designer-is-finally-recognized/">NY Post: Why Jackie Kennedy's Dress Designer Was Fashion's Best Kept Secret</a></td></tr>
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For this project, I will be taking inspiration from the piece that introduced me to Ann Lowe’s work—the gown that she created for Jacqueline Bouvier for her marriage to John F. Kennedy. Growing up with a love for all things fashion, especially bridalwear, Jackie Kennedy’s gown was always one of my favorites. Sadly though, little was written about the designer and maker. Many articles left out Ms. Lowe’s name all together or only described her as a “colored woman dressmaker” or “negro dressmaker”.<br />
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<tr><td style="text-align: center;"><a href="https://www.vogue.com/article/jackie-kennedy-wedding-to-john-f-kennedy" style="margin-left: auto; margin-right: auto;"><img alt="Jackie Kennedy’s Wedding to JFK" class="_mi _3k _2j _3w" height="400" src="https://i.pinimg.com/564x/9d/92/0b/9d920b66b72f8fb71d110c48f828b3a6.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vogue: "Everything You Ever Wanted to Know About Jackie Kennedy's Wedding to JFK" with a slideshow of photos</td></tr>
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Though Ms. Lowe does not have a piece in this exhibition, she is an integral part of fashion history and was an inspiring African American designer who should not be forgotten. In reflecting about Mrs. Eunice Johnson's goal of Ebony Fashion Fair, to empower African American women through fashion, I felt that Ann Lowe was a beautiful example of this goal. She was empowered both by wearing her beautiful fashions, as were her clients, and she was empowered by making fashion. <br />
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<tr><td style="text-align: center;"><a href="https://i2.wp.com/hiddenfashionhistory.com/wp-content/uploads/2016/05/lowe_flowers_ebony.jpg?w=446" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="372" data-original-width="446" height="332" src="https://i2.wp.com/hiddenfashionhistory.com/wp-content/uploads/2016/05/lowe_flowers_ebony.jpg?w=446" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ann Lowe from <i>Ebony</i> December 1966</td></tr>
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<b>Resources About the <i>Inspiring Beauty </i>Exhibition:</b><br />
<a href="http://ncartmuseum.org/exhibition/inspiring_beauty_50_years_of_ebony_fashion_fair">Website for the Exhibition</a><br />
<a href="https://www.npr.org/2014/02/15/276987206/the-ebony-fashion-fair-changing-history-on-the-catwalk">NPR: The Ebony Fashion Fair: Changing History on the Catwalk</a> (great article, photo and audio!) <br />
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<b>Resources About Ann Lowe:</b><br />
Margaret Powell's <a href="http://hiddenfashionhistory.com/category/ann-lowe/">Blog about Ann Lowe </a><br />
<a href="https://www.amazon.com/Fancy-Party-Gowns-Fashion-Designer/dp/1499802390/ref=sr_1_2?ie=UTF8&qid=1510345351&sr=8-2&keywords=ann+lowe">Fancy Party Gowns: The Story of Fashion Designer Ann Cole Lowe </a>children's book<br />
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<tr><td style="text-align: center;"><a href="https://images-na.ssl-images-amazon.com/images/I/61awW7kOieL._SX401_BO1,204,203,200_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="403" height="320" src="https://images-na.ssl-images-amazon.com/images/I/61awW7kOieL._SX401_BO1,204,203,200_.jpg" width="257" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.amazon.com/Fancy-Party-Gowns-Fashion-Designer/dp/1499802390/ref=sr_1_1?ie=UTF8&qid=1513101889&sr=8-1&keywords=ann+lowe">Here's the Amazon link</a></td></tr>
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<b><span class="author notFaded" data-width="">Examples of Ann Lowe's Gowns:</span></b><br />
<span class="author notFaded" data-width=""><a href="https://www.metmuseum.org/art/collection/search#!/search?artist=Lowe%20Ann$Ann%20Lowe">At the Metropolitan Museum of Art</a></span><br />
<span class="author notFaded" data-width=""><a href="https://nmaahc.si.edu/explore/collection/search?edan_q=*:*&edan_fq[]=p.edanmdm.indexedstructured.name:%22Lowe,+Ann%22&edan_local=1&op=Search">At the National Museum of African American History & Culture</a></span><br />
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More to come on my piece soon! <br />
<span class="author notFaded" data-width=""><b> </b> </span>Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com0tag:blogger.com,1999:blog-5930055630096707834.post-61998097430470870992017-07-30T17:13:00.003-04:002017-07-30T17:13:46.945-04:00A Single Cornflower<div style="text-align: center;">
My newest weed (though technically an invasive wildflower) is my Cornflower. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZj9-bLEDJADWdCgq5ennLy0RIXR4QYqWNxMwrRvhi_SL1dO5rgupNzCeP9ddHljMD72zv648hfeRye7usc0a3G4BMDEu1YysQH9vbaVCQoiLjHUX9miIoou-LHOAIcjuFe67MMicJB9k/s1600/KDiuguid-cornflower2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="406" data-original-width="750" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZj9-bLEDJADWdCgq5ennLy0RIXR4QYqWNxMwrRvhi_SL1dO5rgupNzCeP9ddHljMD72zv648hfeRye7usc0a3G4BMDEu1YysQH9vbaVCQoiLjHUX9miIoou-LHOAIcjuFe67MMicJB9k/s400/KDiuguid-cornflower2.jpg" width="400" /></a></div>
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It is based off of some photos of cornflowers that I took last spring around Iredell County, NC. The cornflowers in one of the fields along the road was just absolutely beautiful. The tiny touches of the bluish purple popping through the greens I find very lovely. It was also really interesting to see how they aged as they were the most saturated in color right after blooming and slowly turned almost white. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTurFlweoM-FqLDSbKQF29Sqfg-UJvaU35kcRPrTZr4xoqfiw3vpMkMbTATr4-VD3bERYphsfTFFFN4wONH37VZvDT-SEcpLRnYF_AfFGSDLk3xPdBHrwZRLnufSKlsNpBoXt5XZ6nRbI/s1600/IMG_9923+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTurFlweoM-FqLDSbKQF29Sqfg-UJvaU35kcRPrTZr4xoqfiw3vpMkMbTATr4-VD3bERYphsfTFFFN4wONH37VZvDT-SEcpLRnYF_AfFGSDLk3xPdBHrwZRLnufSKlsNpBoXt5XZ6nRbI/s400/IMG_9923+%25281%2529.jpg" width="266" /></a></div>
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This will be my newest kit that I submit to teach! It is a beginner level contemporary goldwork kit. I used cotton embroidery flosses from Weeks Dye Works and a silk embroidery floss from Valdani on a 40 count linen ground.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj34CnYRiV54wIi1aiVd2awkZ8fLrmM5fIY8tV4DflNuqB0fZvaw-HZ6Msf0ckcF-2-igvCg1fE6yOlf-0oQ0thaIYIwqsYhfHjUvfaKYGdTbiqIWJNesXUbxEui1IiDEbeGjLmXAPMbUA/s1600/KDiuguid-cornflower.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="669" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj34CnYRiV54wIi1aiVd2awkZ8fLrmM5fIY8tV4DflNuqB0fZvaw-HZ6Msf0ckcF-2-igvCg1fE6yOlf-0oQ0thaIYIwqsYhfHjUvfaKYGdTbiqIWJNesXUbxEui1IiDEbeGjLmXAPMbUA/s640/KDiuguid-cornflower.jpg" width="265" /></a></div>
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It is interesting that as I read about cornflowers, I found out that the
state of North Carolina actually prohibits the planting of cornflowers
(though since I can find the seeds I'm going to assume it's not terribly
enforced). This small tidbit has really captured my attention and I
want to learn more about weeds v. invasive wildflowers. </div>
Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com7tag:blogger.com,1999:blog-5930055630096707834.post-52704410898562390732017-07-24T16:28:00.003-04:002017-07-24T16:28:57.971-04:00Experimental Canvaswork Lily of the Valley : 2 New Pieces<div style="text-align: center;">
For part of my City and Guilds course, I needed to complete an experimental canvaswork piece. I decided that I wanted to see how metal threads reacted when stitched using canvas ground fabric and canvaswork stitch patterns. I ended up doing two of these instead of one for a couple reasons. Originally, I was going to do the first piece with much more experimental techniques on the floral motif. However, as I started stitching the piece I became more interested in the idea of challenging the stitch pattern with naturalistic shading. Could I get the shading to override the geometry of the stitch pattern? After I finished that piece, I felt that it was not experimental enough to turn in for that module so I decided to go back to my trusty trial motif and execute it with the metal materials. Again, sticking with the traditional stitch patterns and allowing the materials to illustrate the different concepts being explored. </div>
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My first piece (which is now off to be displayed as part of the <a href="http://www.surfacedesign.org/events-exhibits/conferences/conference2017/events-opportunities/#small-works">Small Works: SDA at 40</a> exhibition): </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpebA4S_wgqZ01CS4UH11AIxhumEb-tNHJLBBU4lwiJLyytDFkr9HthvV_R4U3SI2zuQ8A8jyFKYQHCswqvyqB77WtUKjoJq9fd16bsStpIHx5rsX4Zu63zhTlLAD95zVBtryYSEeQkF8/s1600/KDiuguid-CG-contempCanvas-finished-6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="727" data-original-width="750" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpebA4S_wgqZ01CS4UH11AIxhumEb-tNHJLBBU4lwiJLyytDFkr9HthvV_R4U3SI2zuQ8A8jyFKYQHCswqvyqB77WtUKjoJq9fd16bsStpIHx5rsX4Zu63zhTlLAD95zVBtryYSEeQkF8/s400/KDiuguid-CG-contempCanvas-finished-6.jpg" width="400" /></a></div>
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At my old house I had a wonderful garden that I planted as stress relief from my corporate America job. I always had something in bloom and it felt so wonderful to get dirty and nurture the plants that I then ended up photographing, sketching and finally stitching. It is a very intimate process I think when you grow the plants that then lend inspiration. I had a wonderful patch of Lily of the Valley that I planted around the time I got married that I continually studied as they are my favorite! This was actually a design from some of the observatory photography that I did for my <a href="http://katherinediuguid.blogspot.com/search/label/RSN%20Silk%20Shading">RSN Silk Shading </a>piece. I have always loved the odd angle that I took this photograph and the fact that though it is recognizably lily of the valley it lacks the delicacy that most lily of the valley motifs posses. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnSy3z1bgHXI9Lxt7cRPXusa-2aLUw5Ld80GQaGCgVqf-cqeu8bwJfSRLCI1zhiA2kKLL7MlfkhPnQWT5IDMCCPWItzsxCvaCKf615sLnUnSfcBAKzmfkuO3JyNX_BDS2Q-5Hvhxi-igs/s1600/KDiuguid-CG-contempCanvas-finished-5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="750" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnSy3z1bgHXI9Lxt7cRPXusa-2aLUw5Ld80GQaGCgVqf-cqeu8bwJfSRLCI1zhiA2kKLL7MlfkhPnQWT5IDMCCPWItzsxCvaCKf615sLnUnSfcBAKzmfkuO3JyNX_BDS2Q-5Hvhxi-igs/s400/KDiuguid-CG-contempCanvas-finished-5.jpg" width="400" /></a></div>
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I began this piece by goldleafing the background. I thought it would be interesting to turn this photograph into an icon of the flower I love so much. I was thinking a lot of the Byzantine icons and the ecclesiastical embroidery that I love so much. Why should gold only be used for saints in this way? I was originally going to go back and lightly stitch the background with 1 strand of cotton to give it a similar feel as that repeat like you see on copes. However, I decided against that in the end as it felt a bit too busy and I had a deadline for the SDA exhibition. I think I will probably do this in another piece in the future as I think the idea does have some potential. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFrkknHgHAF6dKvdB4wHTuxGL42KLq59kjiJxayWQJNLwljGIufSfa7daBDmSnX8yWlUkAMQ2SCF6bWeTpmkqGQAE0HmiF0Mr_crB-Ve5qLGhEjsHiJqM3ihV0GiCRdNhmNe-I_Qrkwlk/s1600/KDiuguid-CG-contempCanvas-finished-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="750" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFrkknHgHAF6dKvdB4wHTuxGL42KLq59kjiJxayWQJNLwljGIufSfa7daBDmSnX8yWlUkAMQ2SCF6bWeTpmkqGQAE0HmiF0Mr_crB-Ve5qLGhEjsHiJqM3ihV0GiCRdNhmNe-I_Qrkwlk/s400/KDiuguid-CG-contempCanvas-finished-3.jpg" width="400" /></a></div>
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For the canvas stitching on this piece I wanted to translate the naturalistic shading like you see in silk shading but through canvas stitches. I thought it would be really interesting as upclose the piece feels very different as the shadow of the stitch pattern highlights the geometric nature of the stitch patterns. While from a distance, the stitch pattern is lost and the shading of the thread colors becomes the focus.I used a mixture of cotton and silk flosses. </div>
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The second piece was another iteration of the same Lily of the Valley
design that I've been using for to experiment with for other techniques:<br />
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I painted the entire canvas on this piece. The main background has been goldleafed and then stitched with 1 strand of cotton. The blossoms were silver-leafed and the leaves were painted with color concentrate pigments. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPTzYUdXZvkHC4pbQlF-mUw0E1hzEbbAn98uKfVBhb3Aa-6JAgNpZwys8HIpJo4v6-B90H7b4t0L4kcBg5gw1fP-RMedZudwVmv1A7-XFq9V-8a47r6SLyEAFuGq8vWy9xYXwBouPe-Ok/s1600/KDiuguid-CG-contempCanvas2-final-4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="750" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPTzYUdXZvkHC4pbQlF-mUw0E1hzEbbAn98uKfVBhb3Aa-6JAgNpZwys8HIpJo4v6-B90H7b4t0L4kcBg5gw1fP-RMedZudwVmv1A7-XFq9V-8a47r6SLyEAFuGq8vWy9xYXwBouPe-Ok/s400/KDiuguid-CG-contempCanvas2-final-4.jpg" width="400" /></a></div>
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All the stitching on the Lily of the Valley is executed with metal threads, the blossoms in 90% silver both using passing and smooth purl and the leaves and stem in gilt smooth passing. All the stitch patterns are traditional canvaswork stitch patterns that have not been manipulated. I wanted the change in materials to be very evident as I have also stitched <a href="http://katherinediuguid.blogspot.com/2017/01/i-finished-ufo-unfinished-object.html">this piece in fibers with canvas stitches</a>. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvXzqtAq3jfXhle5xi6kGz0-TTGb10vtry2IvsQAB0pVceFbgyzq8Iynlmkddq9bo9I5ZXbgvFuPVzZIg8LiBQfunut_ahaqNhogBcB0T6fvHQhInWmJh3thsMft8A_LmnzhX3ES2HSrI/s1600/KDiuguid-CG-contempCanvas2-final-8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="750" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvXzqtAq3jfXhle5xi6kGz0-TTGb10vtry2IvsQAB0pVceFbgyzq8Iynlmkddq9bo9I5ZXbgvFuPVzZIg8LiBQfunut_ahaqNhogBcB0T6fvHQhInWmJh3thsMft8A_LmnzhX3ES2HSrI/s400/KDiuguid-CG-contempCanvas2-final-8.jpg" width="400" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipZeq7DHSgSQ_hqTFDeg0KMC-9_vTedaKj-UcxpJkpLi6qmxQW-jJKxrl9bXETI9WMOHKEtdfwfpyqhKfem0S7X6zG8VF0DY7MCn14b15RysJ_9RBsQrgcOUx_Tn-xhAhEVYXGwNDfDHk/s1600/KDiuguid-CG-contempCanvas2-final-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="593" data-original-width="750" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipZeq7DHSgSQ_hqTFDeg0KMC-9_vTedaKj-UcxpJkpLi6qmxQW-jJKxrl9bXETI9WMOHKEtdfwfpyqhKfem0S7X6zG8VF0DY7MCn14b15RysJ_9RBsQrgcOUx_Tn-xhAhEVYXGwNDfDHk/s400/KDiuguid-CG-contempCanvas2-final-3.jpg" width="400" /> </a><br />
I have to admit that both seeing this piece while stitching and photographing this piece have proven difficult. Between the reflections of the metals and the large open holes from the canvas and stitch pattern, this piece is a bit of a hypnotic maze to look at (especially for hours at a time!). </div>
Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com2tag:blogger.com,1999:blog-5930055630096707834.post-23269804624365771492017-06-13T11:45:00.001-04:002017-06-13T13:23:56.057-04:00Research Trip: Stitching with Monet at the Art Institute of Chicago<div class="separator" style="clear: both; text-align: center;">
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Last summer I began to focus my research of Monet to his repetitions and most specifically his Grainstacks series. This decision was in part due to my experience of seeing his <a href="http://www.musee-orsay.fr/en/collections/index-of-works/resultat-collection.html?no_cache=1&zoom=1&tx_damzoom_pi1%5Bzoom%5D=0&tx_damzoom_pi1%5BxmlId%5D=001178&tx_damzoom_pi1%5Bback%5D=en%2Fcollections%2Findex-of-works%2Fresultat-collection.html%3Fno_cache%3D1%26zsz%3D9"><span class="dam_lg_titre">Meules, fin de l'été at the </span><span class="dam_lg_lieu">Musée d'Orsay</span></a> in Paris and how it glowed off the wall in their Impressionist Gallery and stole my attention from everything else. In this series, it is interesting to see how he has broken up time and rendered the same motif(s) in such numerous iterations. This idea of an artistic series like this was quiet a novel idea for the time, unlike today where artists fairly regularly will address a similar motif and topic in a series format. </div>
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By choosing a simplified landscape and the fairly simplistic shape of a Grainstack, Monet focused his attention to capturing the color and experience of light and atmosphere and removed narrative as an artistic element. Removing this narrative was important, as that forced the viewers to be seduced into these snapshots of time, experiencing the subtle changes of light and color of each moment of day and season. As the field with grainstacks was located right behind his house in Giverny, it was easily accessible and very familiar to Monet, allowing the subtle details of the changing light to be evident to him. </div>
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<b>In the Art Institute:</b></div>
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On Wednesday, after my time in the Textiles Collection, I visited the Impressionists Gallery to view the 5 Grainstacks that they have on public view. I had arranged with the European Painting department to have time to stitch before the museum opened on Thursday and Friday so this time on Wednesday afternoon allowed for some preparatory observation of color and photographing the paintings. </div>
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I chose to focus on studying Monet's <a href="http://www.artic.edu/aic/collections/artwork/100191?search_no=5&index=0"><i>Stack of Wheat (Thaw, Sunset)</i>,1890/9<span style="color: #0000ee;">1, (Art Institute of Chicago, </span>gift of Mr. and Mrs. Daniel C. Searle, 1983.166)</a>. Why this one you may be wondering? Honestly I chose to focus on this one as it had 1 grainstack, a fairly abstracted background and colors that I found both interesting and challenging. There was a nice mix of smooth gradation in the sky with more textural optical mixing in the ground. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRsyGotc_R1pCr7aD5Waf5RczzD2UwOC7Ofh_sY018iE6BDe14iHLwEO-9nLfj6Y79l8IYOtz1dcSRyZTPS6HldEI67THXQeX7vcTpbVyZg2bP_jbIdS9596mtyXlk_GRAYOzGhyVlQuo/s1600/Kat-atArtIC-monet.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="518" data-original-width="750" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRsyGotc_R1pCr7aD5Waf5RczzD2UwOC7Ofh_sY018iE6BDe14iHLwEO-9nLfj6Y79l8IYOtz1dcSRyZTPS6HldEI67THXQeX7vcTpbVyZg2bP_jbIdS9596mtyXlk_GRAYOzGhyVlQuo/s400/Kat-atArtIC-monet.jpg" width="400" /> </a></div>
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<b> Materials: </b></div>
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I
contemplated a number of different approaches to this. I landed on 18
count monocanvas with cotton embroidery floss. I chose specifically to
use cotton embroidery flosses (from Weeks Dye
Works and Valdani) as they have a fairly dull sheen or matte finish.
Monet and most of the Impressionists chose not to varnish their
paintings so their paintings do not have a glossy finish to them and are
fairly matte in appearance. I thought since he made that conscience
sheen decision that it was important to match it with a thread that also
had a matte finish to it. </div>
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I
have also deliberately decided to utilize all variegated thread
colors. This was a decision that was the result of all the square
samples I have stitched the past few years. Solid colors do not blend
as well together and can many times result in a stripey appearance. The
variegated colors blend beautifully together and create a more
painterly result. It is also a good challenge that I cannot fully
control where the variegation lands on the piece so there is a natural
spontaneity and looseness that results. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsTxIXlEk0z4Ot5BvvsRYtvMaW8fzdhV_VfoWppUVdJsxPfEti3wvcAJONrCUcXriu78VKN-xdaTrO6oES9FIM-7S0PYLgYVoOfRx4X-TSNiMpZOK9WUhELOXqpL8-eleDRu9L5zQ2CK0/s1600/Kat-Monet-progress2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="750" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsTxIXlEk0z4Ot5BvvsRYtvMaW8fzdhV_VfoWppUVdJsxPfEti3wvcAJONrCUcXriu78VKN-xdaTrO6oES9FIM-7S0PYLgYVoOfRx4X-TSNiMpZOK9WUhELOXqpL8-eleDRu9L5zQ2CK0/s400/Kat-Monet-progress2.jpg" width="400" /></a></div>
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Just
a side note on the floss: The <a href="http://weeksdyeworks.com/">Weeks Dye Works </a>cottons have a really
beautiful sheen to them, almost like a semi-gloss. The Valdani cottons
are very
matte. I am assuming there is a difference in finishing processing,
though I have absolutely no clue - just my guess. Why is this
important? Well, it makes a difference when mixing your colors and it
makes a difference within the composition. The shinier flosses come
forward visually and can jump up in dominance within both the thread
mixture and overall composition. If you are cognizant of it, you can
use this to your advantage when stitching pieces. Sometimes the shine can make a thread read lighter than it actually is and sometimes it can reflect the surrounding colors. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyFhgXR8Fly71YZVTcpwReAf4K69RMGPO9Om2egeeZsh13cLsp28X3IW4ZP6xe9AA7bVwhnten8kMmz2tjzcxtd_xB9GjaGuqvR0rIPXD-op4MMp9co0roAI5fkGnmeZD7o124PfQ7-SQ/s1600/Kat-Monet-progress3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyFhgXR8Fly71YZVTcpwReAf4K69RMGPO9Om2egeeZsh13cLsp28X3IW4ZP6xe9AA7bVwhnten8kMmz2tjzcxtd_xB9GjaGuqvR0rIPXD-op4MMp9co0roAI5fkGnmeZD7o124PfQ7-SQ/s400/Kat-Monet-progress3.jpg" width="300" /></a></div>
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<b>Now to the Stitching!:</b></div>
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On the first day of stitching, I focused primarily on getting the colors to
match. After photographing the painting and creating a number of different sketches that recorded notes on composition and brush stroke direction, I started mixing my threads. I only had 1.5 hrs. each morning before the museum opened to stitch so I had to be very deliberate about my time. The <a href="http://www.artic.edu/">Art Institute of Chicago</a> has an amazing online publication on their Monet collection, <i><a href="https://publications.artic.edu/monet/reader/paintingsanddrawings/section/135470/135470_anchor">Monet: Paintings and Drawings at the Art Institute of Chicago</a>. </i>I knew that the hardest aspect to do from a distance would be to match the colors as digital and printed colors are never the same as what they are in person with the actual painting. Brushstroke direction and overall composition were something that I could reference from their online publication. Color was the trickiest part and therefore had to command the use of my time.</div>
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<img border="0" data-original-height="1000" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGCyAh64aYNSFTjGaEpHnE7ABzklziliYWqfx4EUOnL1iyokacSEmIkvUOQLbrj_p9-wyfeWlJuJ7kFFlGPYRwlqorDWo75pBwqBHoBepJN8-feywD7FgJHJFPByYKHGroJgBRyqeB9fo/s400/Kat-atArtIC-monet2.jpg" width="300" /></div>
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I decided to stitch the color mixtures like paint swatches instead of my normal grid of squares. The "paint swatches" are created with 8-9 strands mixed together. I have recorded each color recipe on a matching map in my sketchbook (it looks a little bit like a crazy mind map!). Each color mixture is stitched twice--once with cross-hatched or overlapping stitches and once with a smooth diagonal satin stitch. I thought it was important to record and compare the same thread combination with different textures. It is very interesting to me the difference that just the stitch direction and type makes on the perceived color. It's not dramatic but it is a noticeable difference and one that needs intentional observation. On Day 1, I focused on the colors in the sky and on Day 2, I focused on the colors in the grainstack. These were the two areas that were the hardest to see "true to color" in photographs or from digital or print resources. They were also the anchor areas in that the sky had the highest value colors and the haystack had the lowest value colors in the composition.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieqfcTA4q5Zie-Ln-l1jpkNLnK81n22E3Iql9n9Wsk1OcKcfqSh26dA2ILjYtv6I2A_1ayln30t1arWGvuU4US5A1Z5sKZzizglQmslitX6TY2rrR1TANKwJruKNOaWsnlkfn4NiMopM0/s1600/Kat-Monet-progress4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1093" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieqfcTA4q5Zie-Ln-l1jpkNLnK81n22E3Iql9n9Wsk1OcKcfqSh26dA2ILjYtv6I2A_1ayln30t1arWGvuU4US5A1Z5sKZzizglQmslitX6TY2rrR1TANKwJruKNOaWsnlkfn4NiMopM0/s400/Kat-Monet-progress4.jpg" width="273" /></a></div>
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On Day 2, I used the last part of my time to stitch quick directional stitches that matched Monet's brushstroke directions. I did these stitches in the highlight or key colors of each section. On the canvas, I am using two different techniques. The paint swatches are 8-9 strands mixed together in the needle. The stitching on the composition is stitched with 1 strand at a time but utilizing the same mixture of colors that are in the paint swatches. I intend to stitch this composition both ways to compare the finished results both for final appearance and speed. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYrQKtFVwY7r7l8t9xtQBvOi0YmpFZLgB5FpoO5EPypdzYqzSJ8fV4EP__PFph1IXM-iWONx0dGu5lMQFgM72Qc5q1tjyxog7vlScdL-cfS03DmaiYF_8JwpfcfjLnJWvqMfgq8zdRSa8/s1600/Kat-Monet-progress.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="968" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYrQKtFVwY7r7l8t9xtQBvOi0YmpFZLgB5FpoO5EPypdzYqzSJ8fV4EP__PFph1IXM-iWONx0dGu5lMQFgM72Qc5q1tjyxog7vlScdL-cfS03DmaiYF_8JwpfcfjLnJWvqMfgq8zdRSa8/s400/Kat-Monet-progress.jpg" width="308" /></a></div>
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Overall, the experience of stitching a Monet while looking at the actual painting was an unimaginable treat. While talking to my Dad on the phone while walking back to my hotel, he asked me what made the Monet's so special. All I could say is that it couldn't be verbalized. You have to see a Monet to understand. The most beautifully printed books still pale in comparison. The greatest digital resource still feels flat. But standing in the middle of a <a href="http://www.artic.edu/aic/collections/artwork/gallery/Gallery+243">gallery </a>with 5 <i>Stacks of Grain</i>, a few scenes from London (<i>Charing Cross Bridge, Houses of Parliament), </i>a couple scenes from <i><span class="italic">Vétheuil</span>,</i> and a few <i>Waterlilies</i>, that experience cannot be distilled into a few sentences or descriptive words. </div>
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<b>Many, many thanks</b> to Devon from the European Painting department for arranging this stitching time up for me and to Isaac in the Textiles department for connecting me with Devon and arranging the time in the Textiles collection. </div>
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<tr><td style="text-align: center;"><a href="https://www.blogger.com/goog_392932700" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="557" data-original-width="800" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE9e83eMyPyHeKhvTk9WCwBsw6Oz9YtdBXbrcCsxnG09xXaSMbRG4BwITBsLePHXD_VrSz3Ewy-uWnhJpfrBv4M4bQXnsr_eE_8MQbktCtSk0JLZQYsLMABu61gIC9M3uQ44lp1wi1OC4/s400/183570_4220626.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.blogger.com/"><span class="italic-or-bold">Stack of Wheat (Thaw, Sunset)</span><span class="hide-on-mobile">, </span>1890/91, Claude Monet, Art Institute of Chicago, Gift of Mr. and Mrs. Daniel C. Searle, 1983.166.</a></td></tr>
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<b>Selection of Resources and Further Reading:</b></div>
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<span class="citationtext"><span style="font-family: "times new roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Brettell,
Richard R. "Monet's Haystacks Reconsidered." <i>Art Institute of
Chicago Museum Studies</i> 11.1 (1984): 4-21. <i>JSTOR [JSTOR]</i>. Web.</span></span></div>
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<span class="citationtext"><span style="font-family: "times new roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="citation_text" id="_148211442">Callen, Anthea. <i>Techniques of the Impressionists</i>. Secaucus, NJ: Chartwell, 1982. Print. </span></span></span></div>
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<span class="citationtext"><span style="font-family: "times new roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="citation_text" id="_148211442"></span>Holmes,
Caroline. <i>Monet at Giverny</i>. Woodbridge, Suffolk: Garden Art, 2011.
Print.</span></span><span class="citationtext"><span style="font-family: "times new roman"; mso-bidi-font-family: "Times New Roman";"></span></span></div>
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<span class="citationtext"><span style="font-family: "times new roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Shaw,
Jill. "Cats. 27–33. Stacks of Wheat, 1890/91." <i>Monet Paintings and
Drawings at the Art Institute of Chicago</i>. Art Institute of Chicago, n.d.
Web. May-June 2016.</span></span></div>
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<span class="citationtext"><span style="font-family: "times new roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="citation_text">Schaefer, Iris, Caroline Von. Saint-George, and Katja Lewerentz. <i>Painting Light: The Hidden Techniques of the Impressionists</i>. Milano: Skira, 2009. Print. </span></span></span></div>
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<span class="citationtext"><span style="font-family: "times new roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span class="citation_text"></span>Smith,
Paul. <i>Impressionism: Beneath the Surface</i>. New York: Harry N. Abrams,
1995. Print.</span></span></div>
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<span class="citationtext"><span style="font-family: "times new roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Thomson,
Belinda. <i>Impressionism: Origins, Practice, Reception</i>. New York, NY:
Thames & Hudson, 2000. Print.</span></span></div>
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<span class="citationtext"><span style="font-family: "times new roman"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Wildenstein,
Daniel. <i>Monet, the Triumph of Impressionism</i>. Köln: Taschen, 2015. Print.</span></span></div>
<br />Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com1tag:blogger.com,1999:blog-5930055630096707834.post-57008091576861540642017-06-12T14:28:00.002-04:002017-06-12T15:22:24.180-04:00Research Trip: Textiles Department at the Art Institute of Chicago<div style="text-align: center;">
Last week I had the amazing opportunity to take a research trip to the <a href="http://www.artic.edu/">Art Institute of Chicago</a>. It was an amazing 3 days and I am now trying to reflect and process all I saw and studied. I already am hoping to go back again! <br />
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I met Isaac Facio (in the <a href="http://www.artic.edu/">Art Institute </a>Textiles Department) at the <a href="https://textilesocietyofamerica.org/tsa_symposium/symposium2016/">TSA Conference in Savannah</a> when I presented <a href="https://katherinediuguid.squarespace.com/color-research-1">my research poster</a>. He graciously offered to coordinate a visit for me to see some of their pieces in the textiles collection and connected me with the European Paintings department to arrange some stitching time with Monet. If you are interested in weaving, I highly recommend looking at Isaac's website for his research, <a href="http://www.fabricoftheuniverse.org/"><i>The Fabric of the Universe</i></a>, combining 3-d weaving techniques and astrophysics. <br />
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<u>At the Art Institute Day 1: </u><br />
I spent the first part of the day with the Textiles Deparment and Isaac. They had pulled a number of pieces of stumpwork and ecclesiastical embroidery for me to study. I've put the links to of a couple of the pieces that I was able to view below. In addition to the embroideries I studied, I was able to look at 2 tapestries as well that incorporated a good bit of metallic threads in them. I was excited that they had left these pieces out for me as I have been interested in extending my research into comparing the color interactions in embroidery to those in tapestries since my trip to France a couple years ago and reading some of Michel Eugène Chevreul's writings on color theory.<br />
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<tr><td style="text-align: center;"><a href="http://www.artic.edu/aic/collections/citi/images/standard/WebLarge/WebImg_000345/272604_4083226.jpg" style="margin-left: auto; margin-right: auto;"><img alt="http://www.artic.edu/aic/collections/citi/images/standard/WebLarge/WebImg_000345/272604_4083226.jpg " border="0" src="http://www.artic.edu/aic/collections/citi/images/standard/WebLarge/WebImg_000345/272604_4083226.jpg" data-original-height="768" data-original-width="471" height="400" width="245" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.artic.edu/aic/collections/artwork/143679">Opus Anglicanum Fragment, 1400-1450, Art Institute of Chicago, Grace R. Smith Textile Endowment, 1995.385</a></td></tr>
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<a href="http://www.artic.edu/aic/collections/artwork/143679">English Opus Anglicanum Panel, 1995.385</a><br />
I have to say I was particularly taken by this Opus Anglicanum piece and kept coming back to it and taking more detailed photos. The split stitch was just stunning and tiny, tiny, tiny. The color in person of the threads was really well preserved and there was a rich example of different techniques in this "small" piece. It allowed for some wonderful study of the shading techniques.<br />
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It was interesting to observe how the metals and the stitched techniques were blended on this piece. For example, Christ's hair and beard were rendered in stripes of modeled split stitch in yellow and green, a technique often seen in Opus Anglicanum. Mary's hair, however, is rendered in stripes of yellow split stitch alternating with stripes of couched passing with a yellow couching thread. Both faces and crowns were stitched in similar fashion allowing the difference in hair rendering to be both subtle (due to the repetition of yellow used) and easily comparable due to the anchors of similar surrounding techniques. Observing from a small distance, it created a slight visual bounce and lightness (or feminine quality) to Mary's hair while Christ's hair was much more static feeling. <br />
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This piece also offered a wealth of opportunities to study colored threads interacting with metals. The background was created with areas of metal passing couched with red to create an interesting diamond pattern that changed in scale inside each connected area. The bottoms of the columns had areas of red and blue couching and areas of colored laid work with a trellis of metal over the top. The garments, rendered in modeled bands of split stitch, had a scattered pattern of metal crosses formed with couched passing and tips of metal purl and metal twists and passing trims. <br />
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<tr><td style="text-align: center;"><a href="http://www.artic.edu/aic/collections/citi/images/standard/WebLarge/WebImg_000003/46707_361252.jpg" style="margin-left: auto; margin-right: auto;"><img alt="http://www.artic.edu/aic/collections/citi/images/standard/WebLarge/WebImg_000003/46707_361252.jpg" border="0" src="http://www.artic.edu/aic/collections/citi/images/standard/WebLarge/WebImg_000003/46707_361252.jpg" data-original-height="598" data-original-width="800" height="298" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.artic.edu/aic/collections/artwork/15152">Picture Depicting the Queen of Sheba before King Solormon, 1601-1650, Art Institute of Chicago, Gift of Mrs. Laurance H. Armour, Sr. in memory of her mother, Mrs. Henry Malcolm Withers, 1962.773</a></td></tr>
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<a href="http://www.artic.edu/aic/collections/artwork/15152">Stumpwork <span class="italic-or-bold">Picture Depicting the Queen of Sheba before King Solomon</span><span class="hide-on-mobile">, </span>1962.773</a><br />
This piece of stumpwork had some really incredible sculptural qualities and some wonderful trims on the character's garments. Specifically, there was a hammered metal trim that I have seen before in little details but not in this quantity of use. These garments were really covered in metals including the hammered trim, spangles, purls, and smooth passing. I kept imaging how "blingy" it must have been before the metals had tarnished!<br />
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The way the crowns on the King and Queen were created was also very interesting as it mixed smooth purl with sead pearls in a looping technique that made the crown both pop off the surface and poses a kind of electric, mangled quality that created an overall charming feeling.<br />
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The scale of people to composition of this piece was also interesting. There were 2 buildings in the background and a couple floral and fauna motifs, however the characters, due to their size and intricacy of detailing, were by far the stars of this panel and commanded the viewers attention. In most of the stumpwork panels I have seen, the size of the people is not quite so dominant. <br />
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<tr><td style="text-align: center;"><a href="http://www.artic.edu/aic/collections/citi/images/standard/WebLarge/WebImg_000151/3403_1616981.jpg" style="margin-left: auto; margin-right: auto;"><img alt="http://www.artic.edu/aic/collections/citi/images/standard/WebLarge/WebImg_000151/3403_1616981.jpg" border="0" src="http://www.artic.edu/aic/collections/citi/images/standard/WebLarge/WebImg_000151/3403_1616981.jpg" data-original-height="681" data-original-width="800" height="340" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.artic.edu/aic/collections/artwork/10503">Casket Depicting Scenes from the Old Testament, 1668, Art Institute of Chicago, Restricted gift of Mrs. Chauncey B. Borland and Mrs. Edwin A. Seipp, 1959.337</a></td></tr>
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<a href="http://www.artic.edu/aic/collections/artwork/10503">Stumpwork <span class="italic-or-bold">Casket Depicting Scenes from the Old Testament</span><span class="hide-on-mobile">, </span>1959.337</a><br />
This casket was huge and had tons of different techniques (especially needlelaces) on it. It was so intricate and honestly so much fun to look at! One of my favorite techniques in stumpwork (and I know this is an odd one) is how the shadows of the needlelace flowers and butterflies are stitched in a matching satin stitch behind the needlelace. This casket was covered in examples of this on the flowers, leaves and butterflies.<br />
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Another technique that I paid particular attention to was the use of pistol stitch (a french knot at the end of a long straight stitch done simultaneously) in some of the leaves. It was noteworthy in the density of use and the banded shading that it was used for. It is interesting to me that the banded shading was still used in a technique that could have easily not been banded. With the needlelace, couched colored purls and satin stitch, I understand the use of banded shading is much easier/kind of the default required as it would be very difficult to have multiple needles going. With the pistol stitch I think it is interesting that this visual banding is maintained as it would not have been difficult to swap out needles. Same goes for the areas of cut colored purl, I wonder why they chose to align the cut bits in linear color formation. This is something that I have seen a number of times in my different research trips and that I have been pondering for a while and this large casket has rekindled this curiosity in my mind.</div>
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<tr><td style="text-align: center;"><a href="http://www.artic.edu/aic/collections/citi/images/standard/WebLarge/WebImg_000360/289794_4279492.jpg" style="margin-left: auto; margin-right: auto;"><img alt="http://www.artic.edu/aic/collections/citi/images/standard/WebLarge/WebImg_000360/289794_4279492.jpg" border="0" src="http://www.artic.edu/aic/collections/citi/images/standard/WebLarge/WebImg_000360/289794_4279492.jpg" data-original-height="768" data-original-width="599" height="400" width="311" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.artic.edu/aic/collections/artwork/41449?search_no=1&index=0">Retable (Depicting Madonna and Child, Nativity, and Adoration of the Magi; Altar Frontal Depicting the Resurrection and Six Apostles), c. 1468, Art Institute of Chicago, Gift of Mrs. Chauncey McCormick and Mrs. Richard Ely Danielson, 1927.1779a-b</a></td></tr>
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<a href="http://www.artic.edu/aic/collections/artwork/41449?search_no=1&index=0">Spain, El Burgo de Osma Retable, 1927.1779a-b</a><br />
This piece is on public view inside the Medieval Gallery. Just a note if you want to go see it, it is only lit for 5 minutes at the top and half of each hour. And yes, if you are wondering, I totally stalked it and returned multiple times to the point that the security guard finally came up to me and asked if I was a researcher and what I was looking at! Thankfully the day I stalked it, the museum was fairly quiet and not too crowded. The Thursday and Friday I was there, the museum was very packed, so just a note for future viewing!<br />
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Isaac also sent me the link to this video about this piece as it was just recently conserved: <a href="http://abegg-stiftung.ch/en/das-altarbild-aus-chicago/">The Retable from Chicago . </a>The video offers some great detail shots, so I highly recommend watching it!<br />
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<u>Further links of Interest:</u><br />
I also met Dr. Erica Warren, Assistant Curator in the Textiles Department, who will be speaking on <i>Embroidery and the Arts and Crafts Movement</i> at the <a href="http://www.egausa.org/index.php/events/international-embroidery-conference">International Embroidery Conference</a> presented by the EGA in Chicago next spring. </div>
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Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com0tag:blogger.com,1999:blog-5930055630096707834.post-46920689553785050252017-06-01T10:34:00.000-04:002017-06-01T10:38:07.446-04:00City & Guilds: Counted Thread<div style="text-align: center;">
For the longest time I avoided counted thread techniques. I don't know if I was afraid of their constraints or what it was. I totally underestimated how much fun they are. My intense attention to detail loves the constraints of these techniques. It is so much fun having the patterns and then figuring out how to manipulate them. When I did my <a href="http://katherinediuguid.blogspot.com/search/label/RSN%20Canvaswork">RSN Canvaswork</a> piece, I fell in love with the texture of the counted technique and the larger scale of the stitches and threads used. </div>
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For this module, we had to do samples experimenting with blackwork, pattern darning and canvaswork techniques. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv0xGeqfXo5K6Zf3iImkbPWVm96g41h2URQs1nE-O8nWS-KtxnNUv3iTQB6kOnuU_5e12TNgyWFpioBOP7tzYyeRm1g6oQN75e1Yhi9ywGyL2TYbrigwgCFvs_G-F6mmR9hbJ21JQ-g_8/s1600/KDiuguid-CG-blackwork-lily-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="750" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv0xGeqfXo5K6Zf3iImkbPWVm96g41h2URQs1nE-O8nWS-KtxnNUv3iTQB6kOnuU_5e12TNgyWFpioBOP7tzYyeRm1g6oQN75e1Yhi9ywGyL2TYbrigwgCFvs_G-F6mmR9hbJ21JQ-g_8/s400/KDiuguid-CG-blackwork-lily-3.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOJx1TUDU7zl5knHI-yGH-8IGRlU-V6AlMJ64_tpzuuTD9X_K6aJFm9y4Qdqrgex0dZCYxTbfx-RiJhOOv4LwWIMX33EQrby9-1m_M8ej6la7gag8YdseCvJFNirNB_gj0hKEVrA3Fqp4/s1600/KDiuguid-CG-blackwork-lily-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="985" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOJx1TUDU7zl5knHI-yGH-8IGRlU-V6AlMJ64_tpzuuTD9X_K6aJFm9y4Qdqrgex0dZCYxTbfx-RiJhOOv4LwWIMX33EQrby9-1m_M8ej6la7gag8YdseCvJFNirNB_gj0hKEVrA3Fqp4/s400/KDiuguid-CG-blackwork-lily-1.jpg" width="303" /></a></div>
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Blackwork Lily: </div>
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Ground: linen</div>
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Threads: silk 6-strand embroidery floss, super fine silk<br />
I'm pretty happy with this piece. I still need to work on getting my shading better but for the first try at a motif, I was pretty happy. It's only about 5"x7". I think I would like to try this again but at a larger scale to allow more room for shading. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZlzycB1VQmeLcnQiXwWfu3H3zzL-Nv57RzzvW9GUqCkJ4BDPCGiTqcOyp5W5w6hMdg3lJHSIdifgogNf0xtzYZf1sjDdGf7uyFwp9NbSn0mvY9KO0IA9Plfhz7vBkXxWfkqGMuyx-5Qk/s1600/KDiuguid-CG-patternDarning-contemp-final-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="750" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZlzycB1VQmeLcnQiXwWfu3H3zzL-Nv57RzzvW9GUqCkJ4BDPCGiTqcOyp5W5w6hMdg3lJHSIdifgogNf0xtzYZf1sjDdGf7uyFwp9NbSn0mvY9KO0IA9Plfhz7vBkXxWfkqGMuyx-5Qk/s400/KDiuguid-CG-patternDarning-contemp-final-3.jpg" width="400" /></a></div>
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Contemporary Pattern Darning</div>
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Ground fabric: burlap</div>
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Leaves: ribbon, yarn, wool roving, silk floss, gimp</div>
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Buds: lace hem tape, ribbon, metallic + white braiding, baking twine, gilt smooth passing + ostrich feathers</div>
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Stem: ribbon</div>
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Canvaswork Sampler:</div>
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Ground fabric: 14 count canvas</div>
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Blue Straight Stitches: threads used include cotton, silk, rayon, wool and </div>
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Yellow Cross Stitches: threads used include</div>
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Red Diagonal Stitches: threads used include cotton, silk, rayon, wool and </div>
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Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com3tag:blogger.com,1999:blog-5930055630096707834.post-4848318713213091552017-05-31T10:12:00.001-04:002017-05-31T10:12:49.939-04:00City & Guilds: My Newest Adventure<div style="text-align: center;">
After finishing my RSN Certificate, I was looking for a new challenge and I was hessitant to jump into the RSN Diploma (right now). I regularly follow Kathy Andrew's blog <a href="http://www.theunbrokenthread.com/blog/2016/09/25/coming-unbroken-thread/">The Unbroken Thread</a> and saw she was starting the City and Guilds course through <a href="http://www.stitchbusiness.com/site/">Stitchbusiness</a>. I had talked about this option with <a href="http://www.tracyafranklin.com/">Tracy</a> before I had started my RSN Certificate but I decided to do the Certificate instead. Now, it seems like the right time for City and Guilds. </div>
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Around Thanksgiving, I received my acceptance and have been working on samples slowly. I have to admit that I love sampling so this is right up my alley and I am finding all the sampling very gratifying. The hardest part is the fact that I want to keep experimenting with each technique. I am looking forward to working through all these assignments and having a great reference notebook afterwards. I am super excited about the mix of traditional technique and contemporary interpretation. </div>
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For the first module, we focused on fabric manipulation. Here's a selection of some of the samples that I have created. I have done a whole range of techniques including tucks, pleats, fraying, quliting, layering and slashing. One of the constraints I've given myself on this course is that I am trying (successfully so far) to not purchase any new materials and force myself to use up some of the odd bits in my stash. </div>
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Fraying:</div>
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Fabrics: I mixed strips of lots of different scraps. They included some funnky metallics, gold silk tissue and natural silks. </div>
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Stuffing: </div>
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Ground fabric: silk habatai that I tea stained</div>
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Thread: Valdani Sewing and Quilting thread 35 wt. </div>
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Note about the tea staining: I have tea stained a lot, however none of the different teas that I have tried have given such a beautiful rust-like color and such a nice and clear marbling effect on the fabric. The tea is from a small tea tin from <a href="https://www.bettys.co.uk/cafe-tea-rooms/locations/york">Betty's in York</a> that they give you after you have Afternoon Tea there. Last summer I had tea there with a few of my wonderful stitching friends from York and saved the tea for a special time. You will be seeing lots more of this soon as I loved it so much that I dyed a how range of different fabrics with it. Also- it tastes wonderful too so I wouldn't use it all to stain materials! </div>
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Suffolk Puffs or Yo-Yo's: these are stitched to ground fabric with needlelace filling for the centers and a sprinkling of whipped wheels, picots and french knots</div>
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Ground Fabric: cotton muslin</div>
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Thread: Valdani Sewing and Quilting thread 35 wt. </div>
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I decided it would be interesting to use my design from my <a href="http://katherinediuguid.blogspot.com/2014/06/rsn-goldwork-im-finished.html">RSN Certificate Goldwork</a> to work samples in each technique. These are the first ones I've completed. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhunTfWb7MsBFh9XfTzZiUxJ-duECKg6H6pPHZeEDUaP-FdEmJ9QjSLVdiRO4OWNKuL75ScBj1NzjbbeH5tXQJT3vkGyvVH5RaCoYl6o5_hLbpelTo69sjxwKnalrnMy522qAQ5a_2EWpE/s1600/KDiuguid-CG-QuiltingRunning-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhunTfWb7MsBFh9XfTzZiUxJ-duECKg6H6pPHZeEDUaP-FdEmJ9QjSLVdiRO4OWNKuL75ScBj1NzjbbeH5tXQJT3vkGyvVH5RaCoYl6o5_hLbpelTo69sjxwKnalrnMy522qAQ5a_2EWpE/s400/KDiuguid-CG-QuiltingRunning-1.jpg" width="300" /> </a></div>
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Traditional English Quilting with running stitch.</div>
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Ground fabric: cotton osnaburg</div>
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Threads: <a href="http://www.weeksdyeworks.com/index.php">Weeks Dye Works </a>cotton embroidery floss</div>
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Italian Corded Quilting and Trapunto</div>
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Ground fabric: silk dupioni</div>
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Thread: Valdani Sewing and Quilting thread 35 wt. </div>
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Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com1tag:blogger.com,1999:blog-5930055630096707834.post-34633308382674177542017-04-25T16:18:00.000-04:002017-04-25T16:18:08.988-04:00A New Mini Clover<div style="text-align: center;">
I've been working on a number of these so more to come shortly! My goal is to have at least 20 of them if not more. They all fit into 2"x3" Victorian metal frames. They are all pretty similar (and in some cases the exact same) size as actual clover that I've picked and dried from my yard. </div>
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I'm experimenting with different techniques and materials. I want the group of them to work from very traditional stitching to non-traditional collage-stitching.</div>
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Here is the latest finished one:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPrVfwvFnI7Eteu6RVoz4nVmIOw93bs24BzDecalTvDRB6aY8noIDggmm7czWEqFIXlyXj5FChbV-2IpI9MRSMDgQoKTOsygRgHCtId2WF9Z4f94jpvvb9bauA5nyL7X02W9gbk6McngY/s1600/Mini-clover2c-kdiuguid.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPrVfwvFnI7Eteu6RVoz4nVmIOw93bs24BzDecalTvDRB6aY8noIDggmm7czWEqFIXlyXj5FChbV-2IpI9MRSMDgQoKTOsygRgHCtId2WF9Z4f94jpvvb9bauA5nyL7X02W9gbk6McngY/s320/Mini-clover2c-kdiuguid.jpg" width="320" /></a> </div>
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Details: Valdani 6-strand cotton flosses on 18 count cotton Aida cloth. Cross-stitch leaves with a stretched gilt pearl purl outline and stem. Blossom is composed of bullion knots in natural silk floss and Gilt Sylke Twist.</div>
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Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com3tag:blogger.com,1999:blog-5930055630096707834.post-48965085557828261162017-03-28T22:26:00.000-04:002017-03-28T22:26:05.351-04:00Penland On a Foggy Morning: finished !<div style="text-align: center;">
I'm shipping it off tomorrow for the <a href="http://penland.org/support/annual_auction.html">Penland School of Crafts Annual Benefit Auction</a>. Now, I just hope it sells 😁!</div>
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Title: Penland On a Foggy Morning</div>
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Size: 5"x7"</div>
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Materials: Digitally printed cotton, marigold (from Penland) ecotransfer on silk gauze, gilt metal purls, Gilt Sylke Twist, Valdani variegated cotton floss and metallic machine thread.</div>
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More on the process in my previous post here: <a href="http://katherinediuguid.blogspot.com/2017/01/penland-on-foggy-morning-work-in.html">Penland Process</a></div>
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Here are some photos of the final piece: </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Pptdcwff_cn6xIQbJRAmQfebz8hzCbx866lyVvg1m253rrOnZbGS8Yz7cofnpKFgHkumNm_OxIpBzftRYl8Hg51JgqOiaQQQ1_U7PCUIOrirqQBh9ZZP3QuAmVTW4602RCBh2FUq9Zo/s1600/Kdiuguid-Penland.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Pptdcwff_cn6xIQbJRAmQfebz8hzCbx866lyVvg1m253rrOnZbGS8Yz7cofnpKFgHkumNm_OxIpBzftRYl8Hg51JgqOiaQQQ1_U7PCUIOrirqQBh9ZZP3QuAmVTW4602RCBh2FUq9Zo/s320/Kdiuguid-Penland.jpg" width="250" /> </a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjML-8RnlZQXZ6XXLwwIlfrUMA0ymuPdwAFiYUX4croWvi0zd7dDnyHp2YJ0KTwSAYWe77QtewIjbgdP32mCcjhUeSLni9R-tC_N9MATes4ndrUm_Wrtb3QNFcELI4_IYaFxXbfiLS_Fko/s1600/Kdiuguid-Penland2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjML-8RnlZQXZ6XXLwwIlfrUMA0ymuPdwAFiYUX4croWvi0zd7dDnyHp2YJ0KTwSAYWe77QtewIjbgdP32mCcjhUeSLni9R-tC_N9MATes4ndrUm_Wrtb3QNFcELI4_IYaFxXbfiLS_Fko/s400/Kdiuguid-Penland2.jpg" width="400" /></a> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4yHjQsMBO60Rjd7tTC9TnErPV4m5SX6EkA8-xn9RWH7uT3D1-PrRsZngdszPPzQpuLDZ3YIeQJSzgiF5vwnRqMoDRolIvG4v-IYszP7AS5GItAH94NLceuJrW89orHu7cmMZNJNOGMaw/s1600/Kdiuguid-Penland1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4yHjQsMBO60Rjd7tTC9TnErPV4m5SX6EkA8-xn9RWH7uT3D1-PrRsZngdszPPzQpuLDZ3YIeQJSzgiF5vwnRqMoDRolIvG4v-IYszP7AS5GItAH94NLceuJrW89orHu7cmMZNJNOGMaw/s400/Kdiuguid-Penland1.jpg" width="400" /></a></div>
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Finished but not framed yet: </div>
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And a process picture:</div>
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Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com4tag:blogger.com,1999:blog-5930055630096707834.post-44551150890747780612017-03-20T23:46:00.000-04:002017-03-20T23:55:37.885-04:00Two Mini Clovers <div style="text-align: center;">
Here are a few small experimental pieces I finished recently. I am using the motif of a small single clover and mixing goldwork and other embroidery techniques. I'm hoping to do a little grouping of these clovers and am pretty excited the intuitive freedom that I'm giving myself to try different combinations of techniques in these. </div>
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They are a small size, which provides its own trickiness. I am just playing with combining different techniques. All are on the 18 count Aida rustico. I am purposely using this Aida rustico fabric for its contrast to the goldwork techniques (I feel like it's a "weedy" fabric). All the metal threads are still castoffs--using my weeds to stitch weeds! These will be mounted in the same kind of small metal Victorian frames as my <a href="http://katherinediuguid.blogspot.com/2017/01/white-clover.html">White Clover</a>. </div>
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Mini Clover 2: Cross stitch with metal cutwork and stretched metal s-ing<br />
I really loved mixing the cross stitch with the goldwork but it kind of feels a bit disjointed to me as is. I think it's a good first trial run of the technique mixing but I have some other ideas I want to try to see if I can refine or challenge it a bit more. I thought the solid metal cutwork would be an interesting combination with the cross stitch since I thought it would complement the graphic quality of the cross stitch well. I am very bothered by the flatness of the cross stitch though so would like to experiment with padding it up next time or something to blend the height difference of the techniques more. </div>
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Mini Clover 3: Silk shading with 1 strand but mixing cotton floss with silk floss (you can very subtly see the difference in shine), stretched cutwork, stem stitch and bullion knots using metal threads<br />
Stitching the 1 strand of cotton next to the 1 strand of silk was actually really interesting. They are slightly different widths and have a slightly different coverage feel to them too. I ripped each leaf out numerous times because it seemed to get a bit ropey, overworked or dimpled on me. Just need more practice I think. The texture difference was really something I liked a lot though. </div>
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I think the blossom is a bit boring. I used some leftover silver passing to do some bullion knots and they just didn't mix with the cut work like I wanted them to. I try adding in some bullion knots using the Silke Gilt Twist and I think that helped but I'm just not terribly excited or annoyed by it. Happy I tried it but want to try something a bit more adventurous I think :)!</div>
Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com1tag:blogger.com,1999:blog-5930055630096707834.post-9151737481831475672017-01-27T00:26:00.002-05:002017-01-27T00:26:50.772-05:00Penland On a Foggy Morning: work in progress<div style="text-align: center;">
I've started a new piece, <i>Penland On a Foggy Morning</i>. I'm using a photograph that I took at Penland last fall when walking to class from my cottage. I digitally printed the image on linen canvas. Then I layered it with a piece of silk gauze that I "dyed" using an eco-transferring technique with marigolds from Penland. On the bottom third of the composition where the area in the image is covered in moss and ferns, I have gone in and removed areas of warp or weft in the silk gauze and moved some of the warp and wefts around to graduate the opacity. I wanted to play around with changing the transparency of the gauze and trying to capture the fog through the fluffier silk threads of the gauze and how the tension changes as you stitch it. By moving the remaining threads around after I removed surrounding ones, it created a really interesting texture and reduced the visible grainlines of the gauze.</div>
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For the stitching, I am only using basic stitches--straight, chain and back stitch. I'm focusing on color mixing and really trying to use my stitches in a looser and more expressive way. The threads are all Valdani variegated quilting threads so they have a nice sheen to them. I cannot quite figure out if I like the quilting thread or the embroidery floss better for thread mixing. I love the sheen of the quilting thread and it seems to sit on the fabric more proudly. However, the embroidery floss blends a bit smoother as the strands stick together more and work more cohesively together. The jury is still out and I think it may just be a situation where one is better for some projects and the other is better for the rest. It is definitely something that I'm wanting to test more. </div>
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I will be adding in some metals and lots more stitches so this piece is just in progress!</div>
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Before any stitching or fabric manipulation. Here you can see the imprints from the marigold eco-transfer and I've overdyed it with a tea stain so it's not too white.</div>
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These are some of the colors I'm using and the stitching so far. </div>
Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com2tag:blogger.com,1999:blog-5930055630096707834.post-73100320097174236502017-01-25T22:43:00.002-05:002017-01-25T22:43:40.120-05:00Article About the UK: Stitching a Cultural Identity Study Abroad Program that I Developed <div style="text-align: center;">
NC State's Office of International Affairs wrote an exciting article about the UK: Stitching a Cultural Identity study abroad program I led and the Internationalization Seed Grant that I received to develop the program.<br />
Here's a link to it if you'd like to check it out:<a href="https://international.ncsu.edu/ukstitching/"> https://international.ncsu.edu/ukstitching/</a></div>
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I am still reflecting on this trip even 5 months after our return. Developing it and collaborating with the Royal School of Needlework was an absolutely amazing experience in itself. I cannot say enough wonderful things about the student's RSN tutor, Mandy Ewing. If you get a chance to take a class with her I highly recommend it!!! Curating the different studio and museum visits, coordinating the different cultural activities and introducing students to London is something I will cherish. They are a very special group of girls!<br />
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The students wrote blog posts for the College of Design while we were in the UK. You can check out there posts here at the <a href="https://design.ncsu.edu/designlife/category/study-abroad/summer-in-london/">DesignLife Blog</a>.</div>
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At Hampton Court Palace with Henry VIII</div>
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Final dinner with Mandy (our wonderful, wonderful RSN tutor)</div>
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Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com0tag:blogger.com,1999:blog-5930055630096707834.post-56405054030282291932017-01-19T16:09:00.001-05:002017-01-19T16:14:13.343-05:00White Clover<div style="text-align: center;">
I love clover and I wanted to do a white clover after I finished my <a href="http://katherinediuguid.blogspot.com/2015/08/red-clover.html">Red Clover piece</a>. This clover is tiny. The frame opening is only about 3.5" tall! </div>
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I used similar techniques as the Red Clover, mixing Valdani variegated embroidery flosses in long and short and bullion knots with stretched gilt purls. The ground fabric is even weave linen. I wanted to keep the techniques fairly simple on this piece since it was so small. Mounting this piece was quite fiddly with it being such a small oval. Overall I'm pretty happy with it. The variegation did not fall quite as nicely on the leaves as on the Red Clover but I did not let myself plan which area of the variegation to use. I did a couple of the leaves multiple (multiple) times so I guess I kind of cheated that way a little bit. Also, I used a plain stem stitch on the stems on this piece instead of the stretched pearl purl on the Red Clover piece. <br />
On to the next weed! </div>
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Katherinehttp://www.blogger.com/profile/04973610576615059067noreply@blogger.com2