Diploma Module 4 Chapter 2 - Traditional Stitch Samples

My traditional stitch samples have been inserted into line drawings of slips of varying scales, postcard size. They are displayed in my sketchbook using transparent photo corners, as in a photo album, but here are shown individually in the order they appear in my sketchbook with the actual sketchbook pages shown at the end.

Traditional Stitches 

4-30    Counted thread shape using water soluble 'canvas'.  I used this as I didn't have any waste canvas.  The tent stitch shapes created were outlined in black back stitch.  The water soluble comes with holes. It was easy to use and dissolving the water soluble 'canvas' didn't distort the stitches.

4-31    Kantha shape II.  Kantha is very flexible and can be stitched in many different ways.  Having now stitched many kantha projects it remains one of my favourite techniques as is so portable.  I stitched the leaves in two ways.

4-32    Kantha shape I

4-33    Speckled shape

4-34    Chain stitch filled shape

4-35    Long and short stitch solidly stitched shape with split stitch outline

4-36    Felt-padded shape solidly covered in satin stitch

4-37    Wired shape filled with single Brussels stitch and wire covered in buttonhole stitch

4-38    Needlelace shape in single Brussels stitch

4-39    'Slip' shape in tent stitch.  The question was, how many stitches to the inch?  I picked up a piece of fine linen for this sample and on completion realised I had 42 stitches to the inch. Jaqui Carey in her book Elizabethan Stitches suggests 'many of the opulent examples are so fine, with the linen equating to at least 35-count canvas' .  Perhaps mine is rather extreme stitching  (1764 stitches to the square inch) - with such fine linen there is no problem forming the curves on the pansy! Yes, it took hours!

4-40    'Flap' shape filled with Hollie Stitch.  The petal is open at the top.

4-41    Pattern darned shape, with pattern darning in different directions

Stitches from North African Embroidery research

4-42    Astrakan Stitch

4-43    Eastern Stitch

4-44    Algerian Eye Stitch

4-45    Musabak Stitch and Turkish Triangular Stitch

These two stitches are show together here as they are both based on a triangular structure.  However, the Turkish stitch is not pulled and the diagonal is worked last and is therefore dominant giving it a different appearance to the Musabak stitch which is worked in a frame and pulled tight, giving it a very different look.  Mary Thomas describes Three-sided Stitch/Bermuda Faggoting/Lace Stitch/point turc/Turkish Stitch but she doesn't work it on the diagonal as it is done in Ottoman Embroidery - see Beginner's Guide to Ottoman Embroidery by Joyce I Ross - which is closer to the way of working this stitch in North African embroidery.

4-46    Sorbello Stitch

4-4, 4-5 and 4-7 are sketchbook pages showing the traditional stitches.

Diploma Module 4 - FOREVER FLOWERS - Chapter 1 - Historical and Foreign Embroidery Study

This module is presented in a square, 30cm x 30cm Seawhites ring-bound sketchbook, with both black and white pages, the same format used for Module 3.  I find it works well, being more flexible and useful than the more traditional large design board.

Historical Study

The historical research covers the Elizabethan Period, that of Queen Elizabeth I's reign, 1558-1603.    As flowers were the theme, I chose to focus on:

• the slips from Traquair House - lived in since 1491, Traquair is Scotland's oldest inhabited house.  The history of the House is told in 50 Objects and these slips come in at No 10 - after Napier's Bones and before the Oak Carvings in the chapel.  The story behind them is a remarkable one which is related on Traquair House's website.  I was fascinated by the fact that they were never used (they had UFOs in those days too!) and were only rediscovered in the 1950s.
• the Geneva Bible of 1583, a present to Queen Elizabeth I, one of the finest books of the time in terms of design and decoration.  When I came to research it, it was also much larger than I thought  being 17"x12".  Even the border is exquisite - a wavy line of gold cord and green silk alternately containing pairs of leaves and pairs of shapes filled with seed pearls. 
• excerpts from The Praise of the Needle by John Taylor published in The Needles Excellency, 1631.  It gives a flavour of the time.
•  line drawings to present typical designs of the time.

OPTION 1 - An Area of the World

For this section I looked at North African embroidery concentrating on Morocco, Algeria and Tunisia.  This is a mainly a pictoral study mainly of embroidered textiles with floral designs.  Though when you think of North Africa you think of woven textiles there is also a rich history of embroidered works.  I also include stitch samples for more usual stitches used in this area.  Floral motifs are often used in this part of the world as they are exempt from the ban on portraying living things.  However, they are generally stylised rather than representational.

'Moroccan embroiderers do not seek to imitate nature.  Their decorations consist entirely of either abstract motifs or stylized derivations.'  Isabelle Denamur, Moroccan Textile Embroidery 2003.

An interesting discovery in my research was that Matisse had collected North African embroideries on his travels and some appear in his pictures.  Indeed, in his paper cuts I see inspiration from the stylised flora of some of the North African embroideries I have studied.  One quote from the Royal Academy of Arts website for the Matisse in the Studio exhibition really caught my attention:

'I have worked all my life before the same objects...The object is an actor.  A good actor can have a part in ten different plays; an object can play a role in ten different pictures.'  Henry Matisse, 1951

The following are the North African pages from my sketchbook (apologies as not the easiest thing to photograph as there are smaller page inserts and pull outs):

Diploma Module 3 Chapter 11 - Developing an Idea for your Second Assessment Piece

Criteria

Specified

• wall hanging or panel based on design evolved from my Personal Research Topic - 'gulls with an emphasis on shadows'

For this I choose to make a wall hanging - a suspended, 2D textile which drapes softly.

Sources, Stages of Thinking

I have been making these small boro inspired pieces since Module 1, first in layered papers, evolving with three layers of cloth and now with a net backing (see 11-1) after Merill Comeau's workshop at the TextileArtist.org Stitch Club.  

These new pieces are small - approximately 14.5cmWx29cmH.  In Module 3, I started adding knitted sections to them which had relevance to my research subject using stitches reflecting the Manx and Aran knitting traditions - leaf edging, seashore edging, Aran stitch patterns, little birds, berry stitch, grain of wheat stitch, etc. alongside my favourite wonky blocks from one of the cushions in Harry Kelly's cottage at Cregneash, Isle of Man.

11-1    Net backing.

Image 338 - paper lamination with cut out gulls.

Image 250    Design exercise Module 1.

11-2    Cut away design exercise from Module 1 (new)

2-11    Printing from large stitched blocks in Module 2.

12-9    Air dried clay with impressions of stitch from knitted paper sample.

Whilst on the Island I saw an exhibition BC20 FK17 at the Sayle Gallery by four artists, including Ian Coulson.  I kept thinking about his work and found that it had been filmed and was on YouTube, the link of which is given. Ian Coulson's work is all about the fishing out of Peel.

A Cas Holmes workshop inspired MM219.  It incorporated music into my piece, 'A walk to Peel'.  The music is from The King of the Sea, with words by Fred Gill, a Manx National Song.  This is also about Manx herring fishing and contains the line, ' The gannets plunge, the gulls keep watch', a line that I would like to incorporate here.

Proposed Hanging

 I would work as for a small boro inspired piece, scaled up and including,

• design ideas developed in Module 1, design exercises from my research topic 'gulls with an emphasis on shadows' and further development of these ideas in Modules 2 and 3
• neutral/limited palette, with little splashes of colour - blue, natural, grey, rust, white
• use of hand knitted construction techniques alongside more traditional techniques
• gelli printing using hand made blocks from knitted construction techniques, including Aran knitting patterns, playing with scale
• heavily textured hand knitted sections
• cut-out gull sections selected from Image 250 and 11-2
• text (see above)
• use of recycled material, painted or plain
• net backing
• quiet space
• hanging away from the wall on bulldog clips
• handstitched using kantha technique
• non-symmetry
• layers of pattern and shape
• ripped/cut edges
• changes in scale
• quiet space in design - keep it simple
• influence from Japanese boro textiles
• 50cmWx100cmH.