Sneak preview

I've been working away on some pseudo goldwork which isn't yet finished (and won't be for a little while longer as I have more urgent things to concentrate on first), but thought I'd give a little sneak preview.

And yes, I have noticed that there isn't any gold ...

Silk shading

I'm trying to convince myself that I like the new technique we started learning last week: silk shading.  It's so tiny, ridiculously small, which means it takes forever, and then the finished piece is just ... flat.   

I know, the whole point is to create light and dark through shading, but it just does nothing for me.  I have consoled myself by choosing colours I like for this exercise (inspired by agave and echeveria plants), but I'm still not sure it makes up for the fact it took a day and a half. 

Peapods

This is from Day 2 of my print-making workshop, more lino-cutting. 

The image is from an Elizabethan design book: apparently peapods were a popular design motif at that time, in common with other plants and flowers. 

Plants were often used not just for their aesthetic appeal, but as metaphors for all elements of life.   In keeping with the more bawdy portrayals of Elizabethan society, peapods were reknown for their phallic symbolism.  I can almost hear the Blackadder theme music striking up. 

Print-making

Spent yesterday at a print-making workshop.  Covered mono-printing, dry-point etching, lino print and the theory of woodcutting.  I much preferred mono-printing and lino (dry-point etching is like someone dragging their fingernails down a blackboard, and woodcutting seemed like way more effort than lino).  And top tip for lino cutting - heat the lino with a hairdryer or on a radiator for five minutes.

Here is my first lino sample, design inspired by stuccoes at the Alhambra in Granada.

Blackwork

Tulip stitch using two threads of stranded cotton

New week, new technique: this time it's blackwork. 

Apparently it originated in Tudor times (frequently used to decorate collars and cuffs) but the technique the RSN teaches has evolved considerably.  It now includes lots of complex patterns and the use of different stitches and threads to vary light and shade.  It is stitched on linen, although any evenweave fabric would work (these samples are on Dublin linen with 25 threads per inch).

Interlocking Ys using two threads of stranded cotton

    Tulip stitch shading

Tulip stitch here is done with threads of varying thickness: starting at the left one strand of coton à broder, then one strand of stranded cotton and finally one strand of Gutterman's machine sewing thread.  The tricky part is blending the varying weights of stitches to avoid seeing a line where the threads change.

Crewel

Trellis stitch with French knots


For the last two weeks, I've been learning the basics of Crewel work.  It is named for the wool it is stitched in (Crewel wool) which is a 2-ply wool, and for stitching to be properly considered Crewel, it should be stitched on linen. 



Trellis stitch with satin stitch fill



I'd always thought that it was quite a chunky style of stitching, but as I am now fully aware, it's quite the opposite: some of the stitches are meant to be 2 or 3 mm long.  This presents quite a challenge when photographing: stitches which have been given the OK by my tutor, when photographed and blown up on screen look much less impressive.

Raised chain band

 

Guess it's back to the embroidery frame for some more practice.

Polos and pompoms

For the last two weeks I've been learning canvaswork (at the RSN, of which I'm sure I'll post more in the future, but I will try to limit mentions of how amazing it is to study in a palace).

I've learnt loads already, both technically but also about what constitutes canvaswork: cross stitch, Bargello,  and what I would have called tapestry (amongst other names/styles).  Apparently tapestry is a misnomer which stems from the 17th century when canvaswork hangings were made in imitation of the expensive tapestries which adorned palaces and country estates - they were meant to look like tapestries and the name persists, particularly in the expensive kits sold in stately home gift shops.

This is my first finished piece - it's tiny as it's a birthday card, the stitched section measures just 5cm square.  The stitches are Jessica stitch (they are the stitches which look sort of like polo mints around the Shisha mirrors), French knots (both within and between the polo mints) and in the very centre, velvet stitch (also known as plush work).  Velvet stitch is the most tactile stitch I've ever come across - even done in stranded cotton, it feels super soft and luxurious, and reminds me of making pompoms at home as a kid.  Only now I get to make them in a palace ...