The first part of this study concerns working couched metallic threads by hand. Using both classical and contemporary approaches.
2/2/1
The above image is a composite of small worked examples, where I've explored various different methods of couching down a selection of metallic threads and metallic look materials. The BG is crushed velvet with no stabiliser and the whole was worked in a circular hoop.
2/2/2
The couched thread is a silver 'Passing' thread, - silk core wrapped with flat metal/or modern equivillant. The couching thread is hand dyed silk.
2/2/3
This is Perlé used double and couched down with silk thread making a basket weave pattern.
2/2/4
The purple metallic look thread was couched down in a spiral and overlaid with a shiny acrylic yarn to form the spiral spokes. All couching threads were silk.
The fourth classical sample is worked using underside couching which is covered in the next chapter.
2/2/5
This contemporary sample is worked over silver wrapping paper with metallic look thread using silk thread to couch it down.
2/2/5
This is my favourite sample in the goup and is worked with gold coloured wire spirals couched down over a disc of gold wrapping paper with plastic metallic look thread. Gold purl was then added to the centre. It reminds me of a contemporary gold brooch.
2/2/6
This last sample was created with discs cut from the metallic sealer used on a dried milk tin, the couched threads are red lamé and the couching thread cotton perlé. I like this one as it's a bit of a stretch into the contemporary for me.
Ever so slightly 'pear shaped'. Now, as I've always been a machine embroiderer more than a hand stitcher I was surprised to find that I didn't warm to this part of the exercise at all. Maybe it was because I decided to add some gold to the BG of this beautiful shot silk in the form of iron-on metallic paper and I think it's killed the samples. Also working with the feed dog up and conventional stitching felt very constricting.
2/2/7
Bunches of metallic threads have been laid down and couched with different machine stitches, changing the length as they were stitched.
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Plastic metallic look thread has been wound round a metal wire former and Madeira Glissen Gloss has been wound over the top. The piece is then couched to the BG with a wide zig-zag and the former removed.
2/2/9
This is my favourite sample as I like the feedome of the top curve against the straight lines of the inside. I used a silver perlé wrapped loosely around a fine wire former and machine stitched it in place on the BG with a straight stitch, then removed the former.
Inside the shape I laid lines of very fine Madeira Glissen Gloss, by hand and then machine couched them down in silver thread.
2/2/10
This last sample is bundles of different metallic look threads laid down carefully and stitched across with a straight stitch. They have then been overstitched with a pattern stitch that has a resemblance to some of the decorative stitches used in the Opus Anglicanum embroidery.
Fabrics threads and colours for these exercises have been chosen to compliment the previous historical study.
