RSN Essential Stitch Guides: Stumpwork , livre ebook

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Publié par	Search Press
Date de parution	01 janvier 0001
Nombre de lectures	0
EAN13	9781781269176
Langue	English
Poids de l'ouvrage	29 Mo

Informations légales : prix de location à la page 0,0650€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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KATE SINTON
ESSENTIAL STITCH GUIDES
Stumpwork
SEARCH PRESS
Previously published as:
Also in this series:
978-1-78221-921-7
ii
978-1-78221-922-4
After graduating from the Royal School of Needlework in 2002, Kate Sinton worked as a freelance embroiderer and artist. As well as continuing to teach a variety of classes at the RSN she set up drop-in summer embroidery classes at the Bermondsey Museum of Fashion and Textiles and worked with visiting textile lecturers at the British Museum. In 2006, Kate was appointed to manage a project that would produce over 200 new vestments for St Paul’s Cathedral. These were ＀rst exhibited in 2008 at St Martin’s College of Art and Design. During that time Kate continued to teach and produce artwork, and was part of a three-person show in Shepherd’s Market in Central London. Since 2008, Kate has lived in Wiltshire, UK with her husband Jamie and son Thomas.
ESSENTIAL STITCH GUIDE
Stumpwork
1
This edition published 2021 Search Press Limited Wellwood, North Farm Road, Tunbridge Wells, Kent TN2 3DR First published in smaller format, hardback 2011 Copyright © Kate Sinton 2011, 2021
Photographs by Paul Bricknell at Search Press Studios Photographs and design copyright © Search Press Ltd. 2021 Photography of Hampton Court Palace with kind permission from Historic Royal Palaces All rights reserved. No part of this book, text, photographs or illustrations may be reproduced or transmitted in any form or by any means by print, photoprint, micro＀lm, micro＀che, photocopier, or in any way known or as yet unknown, or stored in a retrieval system, without written permission obtained beforehand from Search Press.
ISBN: 978-1-78221-923-1 ebook ISBN: 978-1-78126-917-6 Readers are permitted to reproduce any of the patterns in this book for their personal use, or for purposes of selling for charity, free of charge and without the prior permission of the Publishers. Any use of the patterns for commercial purposes is not permitted without the prior permission of the Publishers.
S UPPLIERS
If you have any dif＀culty obtaining any of the materials and equipment mentioned in this book, please visit the Search Press website: www.searchpress.com
For more details about the work of the Royal School of Needlework, including courses, tours, our Studio, tutors and where some of our work can be seen, please go to our website: www.royal-needlework.org.uk
ESSENTIAL STITCH GUIDE
Stumpwork
KATE SINTON
SEARCH PRESS
C O N T E N T S
The Royal School of Needlework 6 Introduction 8 The history of stumpwork 10 Materials 14 Framing up 22 Stumpwork design 26 Appliqué 30
STITCHES 32
Flat surface stitches 34 Raised surface stitches 46 Needlelace stitches 58 Metal thread work 64
TECHNIQUES 70
Padding 72 Slips 78 Wrapping 92 Found objects 95
FIGURES 98
Index 112
THE ROYAL SCHOOL OF NEEDLEWORK
The Royal School of Needlework was founded in 1872 by Lady Victoria Welby because she wanted to ensure the arts and techniques of high quality hand embroidery were kept alive. At the time, Berlin wool work, a form of canvaswork, was all the rage, almost to the exclusion of all other techniques. The RSN began to train people in the wide range of historic techniques from blackwork to silk shading and from metal thread work to whitework. Working with designers such as William Morris, Walter Crane and Edward Burne-Jones, they created pieces for exhibitions in the US and Paris, and for private commissions. Since then, the RSN has used these techniques to make new works for a wide variety of organisations from cathedrals and synagogues to historic buildings and commercial organisations as well as for individuals. We have also worked for every British monarch since Queen Victoria. Today, the RSN is at the forefront of teaching hand embroidery techniques to the highest standard and welcomes people from all over the world on to its courses every year. We also have an extensive collection of embroidered textiles and archival material which acts as a fantastic resource for ideas and inspiration. Visitors to our rooms at Hampton Court Palace, whether for classes or tours, can see a changing range of works from the Collection on display. While setting a high standard, the RSN exists to encourage more people to participate in hand embroidery and to this end, runs courses from beginner level in every technique, for those who want to pursue embroidery as a leisure interest, right through to our professional Certi＀cate, Diploma and Foundation Degree for those who want to develop their future careers in embroidered textiles. While we are trying to increase the number of locations where courses are held, we are well aware that Hampton Court Palace, a few other UK centres and San Francisco and Tokyo are not easily
accessible to many people who would like to explore embroidery through the RSN approach, hence this series of practical and inspirational guidebooks. Each book is written by an RSN Graduate Apprentice who has spent three years at the RSN learning techniques and then applying them in the RSN Studio, working on pieces from our Collection or on customers’ contemporary and historic pieces. All are also tutors on our courses. Alongside the actual stitches and historic examples of the technique you will also ＀nd a selection of works by the author and other RSN Apprentices and Students to show how a technique can really be used in new ways. While the RSN uses traditional stitch techniques as its medium, we believe that they can be used to create very contemporary works to ensure hand embroidery is not just kept alive, but ！ourishes into the future. We hope these images will inspire you to explore and develop your own work.
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Above and top right
Hampton Court Palace, Surrey , home of the Royal School of Needlework.
INTRODUCTION
I have grown to love the subject of stumpwork not for its designs, which are imperfect in form, or for its less-than-brilliant use of colour, but for its uninhibited playfulness, its eclecticism, humour, innocence and often naïvety. As an embroiderer, stumpwork encourages me to explore and experiment within design and stitching, but most importantly to remain creative. Apart from the need to capture the essential ‘spirit’ of stumpwork, there are very few rules within this technique, enabling modern embroiderers still to create contemporary and relevant work. In every 17th-century stumpwork piece there is always something new to learn, not just in the stitching, but also about the embroiderer herself. Were they professional or amateur, royalists or lovers of mythology? What was their favourite plant, and did they have a weakness for high fashion? Through this medium embroiderers re＀ected the age that they lived in, and on the fabric lie intriguing tales of social and political history. Within my own work I have never concentrated on just one technique, preferring to use stitches and materials, however varied, that best convey a required effect. Stumpwork as a subject uniquely re＀ects this same idea of working. It uses an array of different materials and ingeniously blends multiple embroidery techniques such as silk work, gold work, counted work, ＀at stitching, raised stitching, bead work, padding or needlelace. Design themes are also very broad in their nature. Sometimes themes are political or relate purely to the social history of the day, but very often they act as a sort of artistic and emotional ‘pin-board’. These embroideries reveal favourite designs and motifs and harbour treasured objects, such as precious shells, possibly gathered from trips to the coast, nestled within the layers of embroidery. For this reason, stumpwork can be very well suited to a modern approach. Within a subject such as this, vast in technique and possibilities, this book has been written as a way of clearly demonstrating the essential practices of stumpwork. It strives to help readers uncover or take a fresh look at this incredible subject, and by doing so help to create work which is vibrant and contemporary, without losing any of its intrigue.
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A ﬂower raised from the fabric using a wired- fabric technique (see pages 82 – 83 ) and with a beaded centre (see page 96 ).
The way in which the chapters of this book are ordered helpfully re＀ects the stages in which stumpwork can be best executed. Due to the nature of the work and its sculptural effect, various layers of embroidery and padding will be built up in several stages. Do not be daunted by this; once you have read through the different chapters and come to grips with the system of work, you will very quickly realise that it is self-explanatory. For instance, I ！rst work all of the ＀at stitches because they lie underneath layers of padding. Wired shapes will be inserted last in order for them not to be damaged when working other raised stitches. Different design processes will be discussed and demonstrated, as well as methods shown to prepare the fabric ready for stitching. All the most useful stitches will be illustrated and at the end of the book we will take a thorough look at constructing a ！gure.
A close-up of an embroidery by Rachel Doyle. The complete piece is shown on page 26 . The image shows Russian dolls hanging from a safety pin. The embellishment on each doll has been hand stitched before stufﬁng, and the pin has been constructed using wrapped wires (see page 93 ).
This owl was worked as a padded tent-stitch slip, with four layers of buttonhole scallops placed on the breast (see page 55 ).
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THE HISTORY OF STUMPWORK
Stumpwork, a term coined in the 19th century, known as raised or embosted work in the 17th century, reached its height of popularity between 1650 and 1690. With the in＀uence of the European ‘broderie en relief’, a highly padded and naturalistic form of ecclesiastical embroidery and a technique that can be traced back to the 15th century, raised work gradually became popular for domestic and decorat