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024 diploma module 1 opus anglicanum inspired embroidery first very clumsy tries i must admit in split stitch and gold thread couching this was inspired by the fishmongers pall however i didn t want to copy it exactly but gave it a more modern haircut i only had one silk thread which used mainly adding regular dmc embroidery floss 3 plies for the face for the hair i used dmc diamant grandé the gold thread is couched i filled the spaced in between with green dmc floss things i ve learned apart from how tedious this kind of embroidery is gold is hard to photograph changing the direction of the split stitch allows for more contrast as the light hits it differently i should have used more contrasting threads for the face a little sample with brick stitch for the couching of the gold thread when i did the stitching i didn t have the dmc diamant grandé which is recommended in the domestika video by elena ciarrocchi instead i used packaging thread one technique i learned in this video came very useful the teacher used a looped thread to pull the gold thread to the back this avoid having to thread the tiny ends through a needle i must admit that i failed when i tried to to the underside couching i guess i didn t use the right background fabric so the thread used for the couching kept on coming to the front posted by pascale putz at 08 54 no comments diploma module 2 opus anglicanum research opus anglicanum a historical study resources some of the books on the list are not available anymore or are simply to expensive even as used books my sources for study both for the historical background as well as for the techniques used are the following english medieval embroidery opus anglicanum embroidery in religion and ceremon ial beryl dean secondhand book opus anglicanum a practical guide tanya bentham as download youtube demos sarah homfray underside couching domestika introduction to gold embroidery elena ciarrocchi gold embroidery for beginners talisa may opus anglicanum english work is the name used for the embroidery in great britain it reached its peak in the second half of the 13th century to the 14th century the high quality of the work was greatly appreciated in britain as well as abroad in fact there was a lively international market in english embroideries especially to the papal court at rome to avignon and the rest of europe rich textiles were among the most important signifiers of wealth and status and members of society s elite were marked out through the quality of their clothing and accessories costly pieces were embroidered to an individual s requirements and acted as status symbols and international gifts of great value consequently medieval patrons were the higher clergy throughout europe but also kings noble men and wealthy members of the society who could afford such expensive embroideries english embroideries were also offered as diplomatic gifts or used as donations to cathedrals or mendicant churches but even for mendicant orders wearing richly embroidered vestments was not sinful as this was attributable to the excellence of the sacred ministry a secondhand trade developed over time and by the second half of the 14th century english embroideries were now inherited rather than commissioned main features of opus anglicanum english embroideries survives mainly on ecclesiastical vestments but was also used for secular items like banners wall hangings cushions it flourished under the patronage both of the court of wealthy citizens and owed its existence to a stream of imported materials the pieces in opus anglicanum consist of a combination of embroidered figural scenes gold backgrounds pearls rich decoration o a is famous for the beauty of its workmanship its inventiveness and expressiveness of the designs the imagery used on embroidered vestments reflects both their function within the services of the church as well as the particular interests of the patrons for whom they were made the devotion to particular saints heraldic shields or badges of their families examples will follow later on the embroidery trade merchants mercers were the most powerful figures specialized in selling cloth of all sorts as well as goods made from them very often the wifes had the role of silkworkers the merchants had the money to provide for the costly raw maoterials as well as the financial backing for the embroiderers foreign merchants especially italians seem to have been involved in the export of luxury embroideries broderers in tghe 13th and early 14th century were mostly women but the outward facing portion of the trade was conducted by men monks and nuns would also work as embroiderers textile workers of london tended to congregate in small areas of the city and by 1431 the guild of broderers presented its rules to the mayor and alterman of london in 1431 patrons the higher clergy was one on the major patrons for opus anglicanum works and could be found throughout europe the clergy was powerful and obviously wealthy like kings costly pieces were embroidered to an individual s requirements and acted as status symbols and international gifts of great value english embroidery pieces were offered as diplomatic gifts but even mendicant orders wearing richly embroidered vestmentswas not sinful as this was attributable to the excellence of the sacred ministry by the second half of the xiv century english embroideries were inherited rather than commissioned raw materials and techniques ground fabrics used were linen silk and wool the upper layer consisting of fine linen or silk the backing of coarser linen on linen the thread entirely concealed the ground whereas on silk the embroidery was more widely spaced showing off the expensive fabric silk was imported into england both in its raw state and as finished threads silk threads use were floss silk silk twist gold thread filé or wrapped thread damask gold cheaper metal threads were also available copper gold and counterfeit gold additional ornaments pearls small enamels garnets in gold settings and gemstones these greatly increased the prestige of the work techniques metal threads were almost never sewn through fabric it was normally couched either in brick stitch where stitches appear on the face of the embroidery or with a technique called underside couching here the couching thread travels on the reverse of the fabric and is brought to the front only to secure the embroidery threads pulling them through to the reverse this technique renders the surface more flexible and makes it less susceptible to abrasion split stitch was used in the embroideries executed with silk working in different directions allowed to play with light appliqué work was produced throughout the later middle ages for instance in heraldic designs or nué shaded gold it is an imported method of surface couching with this technique the gold thread is laid over the entire ground and decoratively couched in coloured silk to create a design it is first documented in the 14th century and might originate from france an early example of english or nué can be seen in the orphrey of the butler bodwon chasuble interest in three dimensional effects arose in the second half of the the 14th century satin stitch eventually replaced split stitch as the predominant stitch for figurative embroidery changes from the mid fourteenth century embroidered ornament was increasingly concentrated in the orphreys the use of applied motif was increasing in the 15th century a combination of directly embtroidered and applied elements was used the artistic context of opus anglicanum the imagery used in opus anglicanum was closely related to images produced in other media like paintings stained glass or manuscripts logically the figure compositions clearly illustrated incidents from the bible the tree of jesse figures of saints their martyrdoms angels the life of the virgin mary the crucifixion for the instruction of the unlettered laity the earliest type of design was based upon the tree of jesse and single figures of saints were enclosed in the spiralling vine the copes usually had an orphrey and sometimes a small triangular hood towards the end of the thirteenth century for about forty years the type of design changed the field of the cope being divided into quatre foils syon cope circles ascoli piceno squares steeple aston this was made in the 14th century and later cut into fragments and rearranged as an altar frontal and dossal in these shapes were placed saints and six winged angels until about 1350 the background was formed into foliated architectural arcading framing figure subjects butler bowdon cope the drawing of animals and birds is both fantastic and meticulous frequently based upon the bestiaries of the time steeple aston cope horse trapper later made into a chasuble it shows the three great leopards or lions of england the fishmongers pall details showing plants the motifs were often taken from herbal model books general thoughts i certainly could have gone on and on with my text here i spent a lot of time in the research of the subject and i did enjoy it i was so much impressed with the work of opus anglicanum mainly thinking of the craftmanship of the people who did these embroideries all day long with bent heads and in rooms that were not as lit as ours are today not for fun as we do with our work for them it was a way to earn their lives i also imagine the clergy wearing these golden robes in large churches and cathedrals only lit by candles it must have looked impressive from afar for all the simple people making the priests look like half gods these must have felt superior displaying all their wealth and power the symbolic meaning of the copes for instance suddenly changes it is not meant to protect but display it stands for pride and a desire for admiration posted by pascale putz at 07 31 no comments monday 5 august 2024 chosen artist sally hirst sally hirst sally hirst is an artist based in norwich uk creating works on paper and mixed media paintings informed by the textures colours and structures of the urban environment her work is influenced by the japanese aesthetic of wabi sabi reflecting the patina of time and the decayed qualities of the urban environment for her collages sally hirst uses opaque and translucent papers she printed herself using various techniques like gelli printing collagraph printing as she writes in her artist s statement by choosing processes that allow the interplay of both formal and contingent elements i create a tension in the work between intention and chance control and accident past and present concealing and revealing sally hirst is also a qualified teacher and runs a series of online courses for artists of all levels although she is not a textile artist i chose her because of the theme she works in and the colours she uses in her work her work is abstract but i can easily make a connection with industrial environment in it would i have to choose a non textile artist to reproduce the work in textiles i think i would choose her all pictures copies from sally hirst s website posted by pascale putz at 09 41 no comments finished little piece from tsg summer school i really loved stitching this little piece i wanted to translate some of that urban industrial feel of decay using red to add some contrast and zing was i think the right choice posted by pascale putz at 08 42 no comments stage 6 proposal for resolved embroidered item experiment with copper mesh i n luxembourg it is difficult to get hold of copper mesh i still had some which is a bit stiffer than the one i ordered later both of the qualities were ordered with etsy and come from china i always loved these impressive long tubes if i was talking about people i would say they stand proud and strong it is quite a simple shape that lends itself perfectly for producing a vase for instance maybe a series in different sizes i did a mock up with copper mesh using some of the techniques of this first module stitching directly onto the copper wasn t so successful so i first embroidered a piece of polyester organza and applied the wavy shapes produced earlier with a simple running stitch the organza was then applied onto the copper mesh with handstitch using a blue perlé coton thread and running stitch this adds additional contrast to the piece the organza got then zapped back partly revealing more of the copper mesh i used photocopies for the shapes meandering around the tube the original shapes were too big and didn t have the right proportions i probably would have to use more of the colour blue for these as there isn t enough contrast with the colours of the tube i like the way the shapes add dimension to the tube of course they could be positioned in a different way like in the pic below to form a decorative edge they could possibly be inserted through a slot in the tube like shapes being transformed on a conveyor belt for the bottom i could use a coiling technique like shown below this can be easily attached with stitching another possibility would be to use a piece of circular cardboard and cover it with fabric posted by pascale putz at 08 33 no comments wednesday 24 july 2024 more inspiration the following pictures were taken during my last trip to the esch belval site while this is a new building and hasn t really anything to do with the steel industry though in the same area i was fascinated by the different apertures and the torn plastic sheets which all show different shapes and textures i love this picture because of its composition which was a deliberate choice the mixture of old and new the squares and the curved yellow shape as well as the bright green plants in the foreground posted by pascale putz at 09 05 no comments older posts home subscribe to posts atom esch belval blog archive 2024 9 october 2 diploma module 1 opus anglicanum inspired embroidery diploma module 2 opus anglicanum research august 3 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