Module 2 - Opus Anglicanum Study
Research pages from sketchbook
1. Worksheet giving overview of opus anglicanum design structures
2. Worksheet detailing fabrics, stitches and patterns with samples of the underside couching and split stitches.
3. Written Illustrated Study of the Butler-Bowden Cope
4.1 Conventional Metallic Threads
a. A selection of traditional metallic threads which are available nowdays for goldwork and metallic embroidery.
b. A selection of readily available more contemporary metallic ribbons and threads suitable for embroidery. These include machine thread, goldfingering, Kreinek threads which are available in many colours. The two large reels in the upper right are a flat thread I found at a Japanese store in Wellington. I used the gold for one of the samples in my underside couching sample stitched on a piece of canvas. It worked well when care was taken to ensure it lay flat.
4.2 Unconventional Metallic Items
A collection of wire, chocolate and icecream wrappers, metallic card, Asian gold paper, ground coffee wrapper ribbed tops, strips of tomato paste tubes and hand-made cords,
5. Stitched Samples
5.1 Couching with Metallic Threads - Hand Stitching
a. Clockwise from top left: Strips of silver card held by a lattice of silver thread held in place by gold cross stitches, Pearl purl couched in rows, a double row of gold twist cord couched at each end to hold in place before further thread woven through to form a basket weave design, a variety of threads couched in straight rows with gold and maroon threads.
b.Clockwise from top left: Parallel rows of gold twist cord couched closely together with the couching thread creating a pattern (or nue style), groups of thread held in place by further threads couched over them, gold twist cord couched in a spiral, rows of thread couched over padded areas.
5.2 Couching with Metallic Threads - Machine Stitching
a.Two different threads wound around a cardboard frame in opposite directions then machine zig-zag used to hold the mesh in place. My attempt at wavy lines was only partly successful.
b. Several different machine/fine threads were wound closely around a cardboard frame. After the straight row of zig-zag stitch I selected a slightly narrower width and managed to do a relatively even zig-zag design to hold the threads in place.
c. Gold and bronze goldfingering were wrapped in one direction around a frame and then stitched in place with rows of straight stitching. I was attempting to have the wrapped threads held down in a wavy design but this was only partly successful.
d. On this sample I attempted to hold the intersecting threads in place with bunches of zig-zag which was not overly successful so I ended up zig-zagging down each of the bronze rows of threads.
e. Wrapped threads held in place with varying groupings of rows of gold zig-zag stitching.
f. Bundles of threads held in place by zig-zagged machining. Varying stitch lengths were used in the upper sample, while the lower sample was more about creating an or nue like design with the stitching.
5.3 Underside Couching - Hand Stitching
Top to bottom: fine black and gold thread, mixture of DMC and machine threads, gold cord, gold fingering, flat thread from Japanese store. Patterns for stitching were observed in research. Canvas coloured with Markel Oil Sticks.
Reverse of above sample.
5.4 Underside Couching - Machine Stitching methods
Goldfingering in bobbin, machine thread in needle. Straight stitch with different stitch lengths, zig-zag stitch (different widths) and both combined were used in the samples. It is easier to see the stitch changes on the reverse (image b)