Green Viking Hood – WIP 1-3

The past couple months I have slowly been plugging away at another Viking hood.  This one is made from linen fabric, hand sewn with linen thread pulled from the selvage of the fabric, and embroidered with linen thread using herringbone stitch, feather stitch, and Osberg rings.  If you follow me on facebook, instagram, or twitter you may have already seen these photos as I took them.

Green Viking Hood - WIP 1, by Sidney Eileen; Made from linen fabric, hand stitched with linen thread. Seams finished with small herringbone stitch in linen thread.

Green linen fabric with linen small herringbone embroidery/seam finish.

I am finishing the seams in a manner very similar to the apron dress I made last year.  The seam allowance is folded over and stitched down using a tiny herringbone stitch in linen thread, and then the center of the seam is reinforced with feather stitch.

Green Viking Hood - WIP 2, by Sidney Eileen; Made from linen fabric, hand stitched with linen thread. Seams finished with small herringbone stitch in linen thread. Hem is in progress, being finished with linen thread in herringbone stitch.

Green linen fabric with linen small herringbone embroidery/seam finish, and herringbone stitch hem finish.

The bottom hem is finished using a rough herringbone stitch using more of the fabric selvage thread.

Green Viking Hood - WIP 3, by Sidney Eileen; Made from linen fabric, hand stitched with linen thread. Seams finished with small herringbone stitch in linen thread, and reinforced with feather stitch. Hem is embroidered with small Osberg rings.

Green linen fabric with linen small herringbone and feather stitch embroidery/seam finish, and the bottom hem embroidered with Osberg rings.

As a finishing touch I am embroidering over the bottom hem stitches using Osberg rings.  This embroidery is based on a small piece of wool applique embroidery found in the Osberg ship burial, and, according to Anne Stine Ingstad in The Textiles in the Osberg Ship, “This type of small embroidery is known from the graves in Birka, and there too it is placed along the edges of seams and applications.”  If you go check out her article, the section on the ring embroidery is close to the bottom.

The inspiration embroidery is a wool core with wool thread wrapped around it and couching it to the fabric.  I am using Londonderry linen thread for all my linen embroidery.  For my version I am using 18/3 (large) for the core, and 30/3 (medium) for the wrap.  In the photo above I am working right to left, but I have since tried working it left to right and found it much easier to accurately size the rings working in the new direction.

This stitch is far more time consuming than I had expected.  Each foot of hem takes about five hours to embroider, and the first few rings were nowhere near as even as the ones in the photo above.

Project: Green Viking Hood

Dark Blue Linen Viking Apron Dress – WIP1

Dark Blue Linen Viking Apron Dress - WIP4, by Sidney Eileen, fitting the dress with darts

The vertical seams are finished here, so in the photo I am fitting the darts on the apron dress.

Now that Diana’s new Viking garb is wearable, I have been working on Viking garb for myself and hope to have it finished before Yule.  At the moment the serk does not look very interesting, being hand sewn of plain drab green linen with no embellishment yet.  I am not wearing it in the photo to the right.  The apron dress, on the other hand, has a lot of decorative and functional work done on it.  There are things I will do differently on my next reconstruction, but I’m sure I will be proud to wear this one when it’s done even if it’s not perfect.

My apron dress is based on the large apron dress fragments found in Haithabu harbor (Hedeby), which has been used as the basis for a great many reconstructions before myself.  I am planning to write up my own reconstruction in a coherent manner after the dress is finished, so for now here are a couple links to excellent information on the find and how other people have reconstructed it.  Reconstructing a Viking Hanging Dress from Haithabu by Peter Beatson and Christobel Ferguson shows much of the archaeological information on the find, and their reconstruction.  Viking Women: Aprondress by Hilde Thunem is all about the archaeology.  Skip down to the section on Haithabu to see the details about this particular find.

The dress is entirely hand sewn from linen fabric with linen thread.  Invisible seams are sewn with thread pulled from the selvage of the material, while decorative and contrast stitching is done in Londonderry linen thread.  I will post a pattern later.  For those of you familiar with typical fitted apron dress patterns, it is made from three panels.  The back panels are straight to the waist and then widen on one side (placed towards the back seam in this case).  The front panel is straight.  There are gores on the sides, and darts in the front and back for fitting.

Dark Blue Linen Viking Apron Dress - WIP2, by Sidney Eileen, showing front (bottom) and back (top) sides of the herringbone seam allowance treatment.

The seam is sewn in a running stitch using thread pulled from the fabric selvage. The seam allowance is sewn down to the outside using a small herringbone stitch in contrasting thread. The colors in the photo are not quite true. The fabric is a dark indigo blue, and the linen thread is a bright saffron orange.

These are detail photos of the seam treatment, with the seam allowances secured towards the outside of the dress with herringbone stitch in Londonderry linen thread.

In most reconstructions using herringbone stitch as a construction stitch (as opposed to purely decorative) it is worked on the inside of the garment. This is because it is easiest to make sure the seam allowance (or hem) is secured on every stitch and evenly turned if you are looking at it, and because it is easiest to work herringbone stitch without it turning out a mess if you are looking at the herringbone, necessitating that the herringbone stitch must be worked on the same side as the seam allowance. This is also, I believe, due at least in part to modern bias, which insists that the seam allowance must *always* be turned to the inside of the garment.

As you can see, the reverse of the herringbone stitch looks exactly like two lines of running stitch, but with some hiccups and flaws where it is stitched through three layers of fabric (the turned over seam allowance). I don’t like those hiccups and flaws, which are all but impossible to avoid without taking an excruciatingly long time to work the stitch by flipping it constantly and essentially working as though both sides were the outside. For someone like me who likes their stitches to look consistent, this is behind irritating.  If the stitches are to be decorative as well as functional this does not make sense to me.

Add in the likelihood of modern bias and assumptions that the seam allowances and hems should be turned inward, and I couldn’t help but wonder if the seam allowances might actually have been turned outward, at least some of the time.  Besides, there is the dart on the fragments I am referencing that is turned to the outside in a decorative manner, even though it is likely in most cases such treatment was done to the inside. So, I have turned the seam allowances out and done the herringbone stitch decoratively, and I feel that the result is visually appealing despite the turned out seam allowances.

Dark Blue Linen Viking Apron Dress - WIP3, by Sidney Eileen, showing the herringbone stitch seam allowance treatment and feather stitch in linen thread.

The seam allowances are stitched down with herringbone stitch, and the center of the seam is being decorated with feather stitch.

This photo shows detail of one of the gores after the herringbone stitch was finished.  I decided to use feather stitch along the center of the seam in a pale green linen even though I have not been able to find a particular extant piece using feather stitch.  This is because I thought it would look pretty, it’s common in SCA reenactment, and would provide a nice, easy contrast that will also reinforce the seam.

Dark Blue Linen Viking Apron Dress - WIP4, by Sidney Eileen, fitting the dress with darts

The vertical seams are finished here, so in the photo I am fitting the darts on the apron dress.

The vertical seams are finished here, so in the photo I am fitting the darts on the apron dress. The extant fragment upon which I am basing my dress has a dart of exactly the right placement and depth to help the dress hug the curve of the spine if the fragment is of a back panel. The darts in the back are basted with all-purpose thread since it’s cheap and will be removed before the dress is finished. The darts in the front are basted with safety pins for convenience since I am fitting myself. They will be re-basted with thread before sewing and the fit double-checked. The white shoulder straps are temporary for fitting, placement, and length of the straps.

After fitting the dress I sewed the darts in running stitch using the same green linen thread as for the feather stitch.  I left the basting stitches above and below the darts so I could use them as a guide for where to place the braid.

The darts on the front panel were far too deep to leave as they were, so I trimmed them down to slightly more than 1cm of depth and turned the seam allowances in like a french seam.  This I whip stitched using linen thread pulled from the selvage before applying the braids.  This gave them a very similar appearance to the darts in the back of the dress.

Another neat feature of the original fragment is the 6-strand braid that is couched onto the top of the dart.  From a garment longevity standpoint, this braid will prevent the fold of the dart from wearing through, and then potentially pulling out of its stitches.  Having a cord or braid sewn onto a french style seam is a common treatment in Viking garment fragments, but here it is done decoratively to the outside of the garment.  It was tricky finding a good description of the braid itself, but thankfully there is PLAIT FROM THE HEDEBY APRON DRESS FRAGMENT, where another wonderful person detailed her reconstruction of the braid and provided a tutorial on how to duplicate it.  I made my braid in yellow and red linen, using the spools of thread as bobbins since I would need about five yards of braid for my dress.

Viking 6-Plait Braid - WIP1, by Sidney Eileen

I needed about five yards of 6-strand braid for the apron dress, so I used the spools like bobbins to make the braid. It’s coming out with too tight of tension, so I will need to use the underside of the braid as the outside when it is attached to the dress. I’m using linen thread.

Viking 6-Strand Braid - WIP2, by Sidney Eileen

I changed the pillow I was using as my braiding surface so the weight of the spools was not dictating the tension on the braid. After about six hours of practice and working on the actual braid it finally has the appearance it should, and the tension is fairly consistent. I am using linen thread.

So, as of the writing of this I am in the process of couching the braids onto the darts.  After that I need to finish the top and bottom hems and make the shoulder straps.

Viking 6-Strand Braid, by Sidney Eileen, Detail of the braid couched to the dart.

Detail of the braid where it has been couched onto one of the darts. This is one of the deep darts beside the bust, where I trimmed down the dart to about 1cm in depth and turned the raw edges in. That was then whip stitched closed before couching on the braid with a much longer stitch. It’s all linen materials.

 

Project: Dark Blue Viking Apron Dress

 

Basics of Opus Anglicanum Embroidery

This tutorial outlines the stylistic details that make opus anglicanum embroidery unique, and provides instructions in the basics of how to emulate the style in your own embroidery.

 

What is Opus Anglicanum?

Opus Anglicanum is Latin for “English Work”, and refers to a style of embroidery practiced in England from approximately 1200-1350 c.e. It is typified by underside couched gold and silver thread, and silk thread worked in split stitch to create flowing details and shading often referred to as “painting with thread”. A handful of ecclesiastical examples survive to this day.  There are also stylistically similar secular embroideries, especially contemporary French embroidery on purses, and embroideries created in the following century throughout Europe that have a similar aesthetic but use very different techniques.

 

Stylistic Details

Chasuble (Opus Anglicanum Embroidery) - Feather Detail showing that the individual stitches follow the same direction as the veins on real feathers, and are accented with a couched stitch showing the shaft of each feather. This Chasuble is in the collections of the Met Museum at http://metmuseum.org/art/collection/search/466660

Chasuble (with Opus Anglicanum Embroidery) – Feather Detail showing that the individual stitches follow the same direction as the veins on real feathers, and are accented with a couched stitch showing the shaft of each feather.

Metal threads are typically used for halos and backgrounds or frames, and sometimes robes or gowns, worked almost exclusively in an underside couching stitch. This is done because it saves the couching thread from wear, and it creates a hinge in the metal thread, allowing the finished piece to move and flow, rather than being overly stiff. Background stitches are often placed in a way that creates a pattern on the finished piece, such as herringbone, lattice, chevrons, or florals. Halos are stitched in an oval or circle around the subject’s head, or in a vertical pattern.  Goldwork often follows the flow of garments in the same manner silk threads would.  When it does not, the shaded details in silk will follow the flow of the garments, while the goldwork on the body of the garment will be laid out in a pattern such as chevrons or herringbone.

Chasuble (Opus Anglicanum Embroidery) - Detail showing the herringbone pattern created in the robe and cloak by patterned underside couching, as well as more complicated stitching creating dynamic detail on the cloak border, book, and bag. Chasuble is in the collections of the Met Museum at http://metmuseum.org/art/collection/search/466660

Chasuble (with Opus Anglicanum Embroidery) – Detail showing the herringbone pattern created in the robe and cloak by patterned underside couching, as well as more complicated stitching creating dynamic detail on the cloak border, book, and bag.

Detail of English Altar Frontal, 1315-35

Detail of English Altar Frontal, 1315-35

Silks are worked in split stitch, often very tiny (as small as 2mm in detailed areas like faces), using three or more shades of each color to create detailed flow and shading of the figures, objects, and garments. The direction of the stitches is important to indicate flow and direction. For example, arched stitches across the forehead, circles on the cheeks, turn on the tip of the nose, and arched or circled stitches on the chin to give a feeling of roundness and fullness. Stitches follow the folds of fabric, and the flow of hair.

Pale pink thread is sometimes worked in a spiral on the cheeks of faces to give them fullness and definition.

Hair is usually worked in bands of contrasting colors to show flow, wave, and curl.

Eyes are proportionally large and teardrop shaped.

Black thread is usually worked as an outline to give further definition. This is usually done on faces and in other areas requiring minute detail, and sometimes it is used to outline an entire figure or object.
Complex Opus Anglicanum embroideries can also include surface couching and complex decorative stitching in accent areas, especially in the background or on object and frame details, and sometimes is also decorated with pearls, stones, and gems.

Chasuble (Opus Anglicanum Embroidery) - Man's Face Detail showing arched stitches along the brow and eyelid, a small spiral on the closer cheek, vertical stitching down the length of the nose, and curved stitches along the chin. This Chasuble is in the collection of the Met Museum at http://metmuseum.org/art/collection/search/466660

Chasuble (with Opus Anglicanum Embroidery) – Man’s Face Detail showing arched stitches along the brow and eyelid, a small spiral on the closer cheek, vertical stitching down the length of the nose,  vertical stitches on the upper lip, and curved stitches along the chin.

Chasuble (Opus Anglicanum Embroidery) - Wpman's Face Detail showing arched stitches along the brow and eyelid, a large spiral on the closer cheek, vertical stitching down the length of the nose, and curved stitches along the chin. This Chasuble is in the collection of the Met Museum at http://metmuseum.org/art/collection/search/466660

Chasuble (with Opus Anglicanum Embroidery) – Wpman’s Face Detail showing arched stitches along the brow and eyelid, a large spiral on the closer cheek, vertical stitching down the length of the nose, vertical stitches on the upper lip, and curved stitches along the chin.

 

Materials

Opus Anglicanum Stitch-Along 05, by Sidney Eileen

Fabric ready to be embroidered, whip stitched onto a scrolling frame in the style of a slat frame.

You will need a frame of some sort to hold your fabric taut throughout the embroidering process. Round hoops work decently, but they tend to not hold the material very securely and must be constantly re-tightened, which can result in puckering of the embroidery. Scrolling frames or slat frames work much more reliably. Be sure to whip stitch your fabric on all sides so it is held under even tension on all sides. If you choose not to use a frame while stitching the silk, watch the tension of each stitch very carefully, as it is easy to pull too tight and create puckering or leave the the stitches too loose so they don’t lay smoothly in the embroidered surface.

In period, Opus Anglicanum was always worked on linen material. This was a very fine, tightly woven fabric that is difficult to find available in the modern market.  The only ideal fabric I have found is called “ecclesiastical linen” from Hedgehog Handworks, which is extremely expensive, but very little yardage is needed for most embroidery projects. Try to get a fabric with the highest possible thread count per inch, as this makes it easier to accurately place tiny, detailed stitches. Handkerchief weight linen is the easiest to find but is a bit lightweight, so you may want to use two layers. DO NOT use modern evenweave fabrics, as these are entirely unlike any period fabrics and they have too few threads per inch to be suitable for Opus Anglicanum style embroidery.

Opus Anglicanum Embroidery in the collection of Dumbarton Oaks Research Library and Collection: http://ica.princeton.edu/opus-anglicanum/view.php?record_no=830

Opus Anglicanum Embroidery in the collection of Dumbarton Oaks Research Library and Collection – This textile is a fragment of an English Gothic opus anglicanum (“English work”) embroidery dating to ca. 1320-1340. As presently preserved, the textile is assembled from two fragments, each eleven and a half inches wide, that are seamed together vertically down the center. – http://ica.princeton.edu/opus-anglicanum/view.php?record_no=830

If you are embroidering on velvet, place linen over the velvet while embroidering to provide a clean foundation for your embroidery. After the embroidery is finished, trim away any excess linen.

Silk thread in period was flat silk, and flat silk lends itself exceptionally well to creating a beautiful split stitch. It also has a beautiful sheen that is lost in most twisted silk threads, as twisted silk is often manufactured from shorter filaments. It has been noted by some people that some extant pieces appear to have a slight twist, but I argue that the appearance of slight twist can be created while embroidering, and is not necessarily an inherent property of the threads used. In my own experience I have found that unless I take great care to keep it untwisted, the flat silk will have a tendency to twist slightly as I work.

To my knowledge, there are only three modern manufacturers of flat silk. The first is Soie Ovale, made by Au Ver a Soie in France. The second is the flat silks sold by the Japanese Embroidery Center (JEC).  The third is “floss silk” sold by Pipers Silks.  All three are genuine flat silks, composed of individual long filaments of silk, and are excellent quality, but do have slightly different properties. The Soie Ovale is slightly more robust, such that one stitch of the JEC silk is about 2/3 the thickness of the Soie Ovale. The JEC silk is a much longer roll at 60 meters vs. 15 meters on a roll of Soie Ovale. The JEC silk also has a much more delicate feel to it. This means the JEC silk will lend itself well to creating finer details, but you will have to make a great many more stitches total to finish a piece of embroidery.  I do not yet have personal experience with Pipers Silks, but I have been told that it is a finer silk than even the JEC silk. In the USA, Soie Ovale may be purchased through Hedgehog Handworks. The JEC silk may be purchased through the Japanese Embroidery Center Store.  The “floss silk” may be found through Pipers Silks.

Fragment (From an Orphrey Band), 1400/50 - http://www.artic.edu/aic/collections/artwork/143679

Fragment (From an Orphrey Band), 1400/50 – http://www.artic.edu/aic/collections/artwork/143679

Underside couching was done with a fine linen thread in period, but this can be hard to find now. Since the couching will not be visible on the finished piece, all-purpose thread will work fine.

Metal threads used are usually very thin. I recommend using thread that is no larger than .5mm, and ideally thinner. In period metal threads were made from a thin strip of metal (usually gold or silver) wrapped around a silk core. Imitation gold and silver are far more economical, but genuine gold and silver are also available through specialty embroidery suppliers catering to gold embroiderers. I buy my metal threads through the Japanese Embroidery Center Store and Hedgehog Handworks.

You will need a fine gauge embroidery needle for embroidering the flat silk, and a large gauge needle for the underside couching. When embroidering with the flat silk you want the needle to make as small a hole as possible so it will disappear. For the underside couching you want a large hole so you can cleanly pass the needle up through the fabric and then back down through exactly the same hole.
Beeswax or other thread conditioner makes underside couching far easier.

 

Flat Silk Embroidery Tips and Techniques

The greatest challenge of working with flat silk is snagging. Flat silk is very delicate, and will snag on anything rough, be that exposed wood on your embroidery frame, or dry skin. I highly recommend keeping hand lotion handy and moisturizing whenever needed, but be sure to let the moisturizer soak in completely before handling the silk or it may cause discoloration. Also consider clipping and filing your nails, and using exfoliants like salt or sugar scrubs.

For a newcomer to flat silk embroidery, it is usually easiest to work in short lengths, no more than a 12” at a time, and possibly less. By doing this, if the silk snags or knots beyond use you are only losing a short length of your silk. As you become more comfortable using the flat silk you can increase the working length as much as you are comfortable with. I tend to work with lengths of a yard or so.

Also keep the eye of your needle close to the tail end, maybe only three or four inches from the end.  It helps to knot the thread around the eye so it doesn’t pull free constantly. It’s fairly common for a modern needles to have small imperfections in the eye that will abrade and damage the delicate silk, so if you try to keep the needle closer to your work and slide it as you go, you are likely to find that the filaments have been damaged, lost their beautiful sheen, and possibly even been cut. If you find your needle is damaging or cutting your silk quickly, try switching needles until you find one that does less damage.

Split Stitch Illustration, by Sidney EileenSplit stitch is worked in a manner similar to a back stitch.

  • Stitch forward a full stitch length.
  • Come back up through the stitch you just made about 1/3 of its length from the end, splitting the threads of the prior stitch in half.
  • Stitch forward a full stitch length.
  • Come back up through the stitch you just made about 1/3 of its length from the end, splitting the threads of the prior stitch in half.
  • Repeat.

In areas with a lot of compact detail, like faces and ornaments, stitches should be correspondingly compact, between 1mm and 2mm. In other areas where you want to give the impression of luxurious flow, like on the folds of a long gown, the stitches can elongate to 3mm.  If you find that your small stitches do not look as delicate as you would like, go with a more delicate flat silk, or split your silk.  The filaments can be split and worked in smaller groups like with stranded floss.

Stitch in directions that flow with the shape of the subject being embroidered. Make arched foreheads, round cheeks and nose tips, and curved chins; stitch in sweeping curves and lines along the folds of fabric; stitch down the length of an arm rather than going across; sweep down the neck and then curve across the shoulderbones; and follow the fur direction of a dog or a unicorn. The goal is to make it look like it was painted, so stitch with a mind for the flow of the piece so it will be as dynamic as possible.

Stitch the same direction in each part of the garment to create a smooth appearance and avoid a striped look. Do this even if that means you have to stop, go back to the other side, and start again to create the next row of stitches.  Also, stagger your stitches so they are offset on each row to avoid making stripes with your stitch points.

Pack your stitches as close together as you can manage to avoid any gaps in your stitching that may show your ground fabric. All you want to see is the silk.  If you find you have gaps after you finish an area, go back in and make a few more stitches, following the same direction as before, to fill in the gap.

Outline the face and any other areas before filling them in. By doing it first, the outline will be squished by the surrounding rows of stitches and won’t overpower the shading. If you outline last, it will most likely be forced to sit on top of the other stitches and can appear overstated or overly bold.

To knot or not knot is a matter of personal preference. Which I do depends upon the individual piece of embroidery. In the case of Opus Anglicanum I usually do not knot, because there is more than enough thread on the back of the piece to tuck the tails to secure them and the piece is not likely to receive much, if any, wear or washing.

 

Metal Thread Underside Couching Tips and Techniques

Have a special set of shears just for cutting your metal threads. DO NOT use your nice embroidery snips on any metal threads, or you will ruin them very quickly. I find kitchen shears and crafting shears are both extremely nice for cutting metal threads.

Don’t be afraid to work with long lengths of metal thread and couching thread. Underside couching tends to cover a lot of distance fairly quickly, and metal threads tend to ravel badly at the cut ends, so it saves a lot of time and lost material to stop and start less frequently.  For couching you can work straight off the spool since the thread does not need to pass through the fabric.

Use a large gauge needle for your couching thread. The larger hole makes it easier to put the needle back down through the same exact hole.

Wax your couching thread liberally. It will make the sewing process easier. You can also lubricate your metal thread if you wish, but that is probably not necessary except on the plunged ends since it will not be passing through the fabric.

Tuck the tail ends of your metal thread through the stitches on the backside of the piece to stop it from fraying.

Mark on your fabric the pattern for your underside couching stitches before you start stitching. For example, if you want a diamond pattern, use a ruler to draw your diamonds on the fabric before you stitch.

Keep your metal threads as close together as you can manage to avoid gaps and glimpses of the underlying fabric. This is where a high thread count foundation material really helps, because it will allow you to place your stitches very close together when using very thin metal thread. If you are working on a low thread count linen (<30 threads per inch), it may be difficult or impossible to completely cover your background with even and clean stitches, or you may be forced to use a thicker metal thread than is ideal for this style of embroidery.

Start and end metal threads at the edge of the area to be embroidered with metal, NEVER at a couching stitch location. If you end and start anew in the middle of the background at a couching stitch location, it can cause an awkward pucker.

Underside Couching Illustration, by Sidney EileenTo underside couch:

  • Tuck the starting end of your metal thread through the stitches on the back side.
  • Secure your couching thread on the back side.
  • Bring your metal thread to the front of the work.
  • Bring your couching thread to the front of the work at the next stitch location.
  • Loop your couching thread over the metal thread.
  • Run your couching thread to the back through exactly the same hole.
  • Hold your metal thread straight across the surface of the work.
  • Pull on your couching thread until you hear a slight “pop” of the metal thread dipping through to the back.
  • Bring your couching thread to the front of the work at the next stitch location.
    Repeat.

 

Additional Resources

My Opus Anglicanum Pinterest board  has many pieces of Opus Anglicanum not shown in this tutorial and also contains non-Opus Anglicanum pieces of embroidery that have been created with a similar aesthetic for design inspiration.

Hedgehog Handworks – Shop that sells specialty embroidery supplies including flat silk, metal thread, and ecclesiastical linen

Japanese Embroidery Center Store – Source for specialty embroidery supplies, especially flat silk and metal threads

Pipers Silks – Source for flat silk thread.

 

References

Bentham, Tanya. “Little Faces – Opus Anglicanum.” Opusanglicanum. N.p., 04 Mar. 2012. Web. 17 Apr. 2015. <https://opusanglicanum.wordpress.com/2012/03/04/little-faces-opus-anglicanum/>.

Chasuble (Opus Anglicanum). 1330-50. The Met Museum. TheMet. Web. 22 Aug. 2016. <http://metmuseum.org/art/collection/search/466660>.

Du Bourbonnais, Sabine. “Embroidered Lovers’ Purse.” Embroidered Lovers’ Purse. N.p., n.d. Web. 17 Apr. 2015. <http://threegoldbees.com/projects/5-embroidered-lovers-purse>.

Fragment (From an Orphrey Band). 1400. Art Institute Chicago, Chacago, USA. Art Institute Chicago: Collections. Web. 17 Apr. 2015. <http://www.artic.edu/aic/collections/artwork/143679>.

“Opus Anglicanum.” Historical Needlework Resources. N.p., n.d. Web. 17 Apr. 2015. <http://medieval.webcon.net.au/technique_opus_anglicanum.html>.

Opus Anglicanum Embroidery. 1320-1340. Silk and silver-gilt thread on velvet. Dumbarton Oaks Research Library and Collection, Washington DC, USA. <http://ica.princeton.edu/opus-anglicanum/view.php?record_no=830>

Verch Ioreword, Cerridwen, and Jamie L.C. Pience. Opus Anglicanum Embroidery. N.p.: n.p., 2011. PDF. http://cerridwencreations.weebly.com/uploads/1/0/5/6/10561349/oa_embroidery_website.pdf

Young, Bonnie. “Opus Anglicanum.” “Ecclesiastical Vestments of the Middle Ages: An Exhibition”: The Metropolitan Museum of Art Bulletin 29.7 (1971): 291-98. Print.

 

Embroidered Scissor Case – WIP2-4

I finished the embroidery on the scissor case during the winter holidays.  The stitching is entirely done in DMC cotton floss and pearl cotton, on cotton canvas.

From here I need to make the leather lining, remove this from the hoop and prep it, and sew it together.

Embroidered Scissor Case - WIP2, by Sidney Eileen

Embroidered Scissor Case – WIP2
At this stage the embroidery stitches used were Bayeux Tapestry style couching, stem stitch, and padded satin stitch.

Embroidered Scissor Case - WIP3, by Sidney Eileen

Embroidered Scissor Case – WIP3
Stitches used are Bayeux Tapestry style couching, stem stitch, wrapped stem stitch, chain stitch, and padded satin stitch.

Embroidered Scissor Case - WIP4, by Sidney Eileen

Embroidered Scissor Case – WIP4
I used Bayeux Tapestry style couching, stem stitch, wrapped stem stitch, chain stitch, and padded satin stitch.

Project: Embroidered Scissor Case

Embroidered Scissor Case – WIP1

Embroidered Scissor Case - WIP1, by Sidney Eileen. Blue pearl cotton couched and bordered with DMC cotton, on cotton duck canvas.November ended up being a difficult and mostly unproductive month.  In the last few days I was finally back to working on a project.  This is an old/new project.  I am not sure how many years ago I designed and first started embroidering this scissor case, which I hadn’t touched in many years since I hated the way the stitches I picked were turning out, they were inordinately time consuming, and I didn’t know how to do some of them properly, resulting in a mess that I was not proud of and did not want to spend time finishing.

On Thanksgiving I finally dug it out, pulled out all the original embroidery, and redrew the design so it was easily visible again.  On Friday I started embroidering it in a completely different manner.  What you see here is how far I was able to get by Saturday night.

The borders are all bayeux style couching of blue pearl cotton with purple three-strand cotton DMC floss.  The borders are two-strand purple DMC cotton floss, stem stitched.  I will be embroidering much of the detailed design using padded satin stitch, and otherwise I am undecided on what stitches to use.  The fabric is cotton duck canvas.

I did finish the pilgrim bag early in the month, and hope to have photos posted soon.  I also still need to process and post the photos of the two Regency era dresses I made in October.

 

Project: Embroidered Scissor Case