Module 2: Metallic Magic

Ch 8 Purls and Bullion

This was a very quick section to complete as I already had materials to hand.  I have included recycled metals as well as florists wire, and wires used in jewellery and crafting.  My report shows the samples I made and how I used some of them in the samplers for chapter 2, uploaded previously.

Read the pdf of  Ch 8 Purls and Bullion here.

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Module 2: Metallic Magic - Metallic and Shi-Sha (part 3)

Ch 7 Contemporary Shi-Sha

In this section of the course I have explored using a variety of objects that can be applied to fabric using traditional patterns of shi-sha embroidery by hand and with sewing machine  stitches.  The outcome is four samples that are hand embroidered, machine embroidered, and a combination of both.

There have been some ups and downs with the machine embroidery, and in using some of the metallic threads for hand embroidery.  I enjoyed exploring the use of bleach marks to enhance the design and some different stitches to attach objects to the fabric.  

I set myself a target to complete this section within two full days.  I have achieved that goal with some pleasing results.  As always there are some ideas that didn't work as well as I thought, but they have been part of the learning curve.    

For the detail of my samples please look at the  pdf of Ch7  here.

Module 2: Metallic Magic - Metallic and Shi-Sha (part 2)

Ch 6: Decorative details from a shi-sha textile

The aim of this section is to create connections between the fine detail from the textile studied in the previous section and relief surfaces.  Printing blocks and rubbing plates are created and used to explore a range of textures and designs. 

As usual I found some techniques  to be mere successful than others.  I am still finding Markal sticks difficult to work with, but enjoyed the effects from using Treasure Gold and Treasure Pewter wax as well as embossing powder.  To see my samples   Read a copy of my report here

Module 2: Metallic Magic - Metallic and Shi-Sha (part 1)

Ch 5:  Decorative features of an Indian stitched textile

July 2020:  In this section of the course I was not able to study an Indian textile first hand instead I have used a photograph taken from the V&A museum site of a traditional highly decorated kediyun.  To compensate for lack of an original textile, I have created two pieces of stitched work.  One a stylised sample of the cuff design (in my report) and the other a selection of different ways of attaching shi-sha mirrors to fabric, an examaple below.

My work is now in a sketch book and all notes and photographs recorded in the attached pdf.

Click on this link to  read my report  in a pdf version.

 

Module 2: Metallic Magic - Relief Surface with Starch Paste

The aim of this section is to decorate a series of papers with a coloured starch paste.    I started this section in late April 2020, but for some reason all my samples were put to one side and I didn't get around to photographing them or mounting them in my sketch book.  So here we are in early July and I have managed to motivate myself to finish this section...

I made up the paste mixture as instructed and coloured about half of it with a gold coloured metallic fabric paint and the other half with a small amount of liquid Ultramarine silk paint.

Using a variety of different tools I created patterns and shapes into the paste.  The patterns were influenced by those seen in the Opus Anglicanum embroideries researched in section 1.

The attached pdf illustrate my samples.  Click here to read my report

I revisited this section in late July as I had not included the section on adding metallic effects to relief papers.

Having completed this final section, my favourite piece is a page painted with ultramarine spent dye, sprinkled with salt to create an interesting surface. A layer  of paste was marked with a pastry cutter in a circular motion to represent the swirls on medieval cloth. When that was almost dry, I sprinkled gold embossing powder on the relief, then heated it to create the shiny surface.

The attached pdf describes my additional samples.  Click here to open my revised report

I found this section interesting to complete, albeit very messy.  Some samples were more successful than others.  For intricate freehand patterns a very steady hand is needed, but more success can be achieved with the use of stencils and block stamps (both hand made and commercial products).