I left you last time with an inconclusive answer to the question of Bruce’s buckling leg, and the hope of some answers from an hour online with my tutor, Angela. Time to fill you in on what happened next!
Beforehand I had emailed Angela the issues I wanted to look at, and sent her some pictures. The question of Bruce’s hind leg, which might get dramatic if the advice was to unpick the whole lot, was kept as the main course; the starter was the two possible arrangements for the front leg. I showed Angela the samples I’d done and she (like most people I’ve shown them to, and in fact like myself) preferred the right hand version. Neat though the other one is, it makes the front leg look like a detached motif rather than a leg that is part of the kangaroo. She did suggest that I don’t turn the Jap, but plunge it staggered (this method seems to go by half a dozen different names including herringbone, fishbone, fishtail and dovetail; any of them will tell you what it looks like) to create a neat seam. As I have demonstrated sharp turns in the hind leg, she said I wouldn’t need them here; I’d been a little worried that there were only a few there, but she seems to be happy that they fulfill the brief.
One last-minute question I’d added to my list was about mixed couching. Having seen progress pictures of the goldwork unicorn that a fellow Certificate student is stitching, I became concerned that the smallish area of mixed couching on Bruce’s back might not be quite enough. Could I perhaps add some to the front leg? Angela did think a bit more mixed couching would be a good idea, but suggested that instead of the front leg, which is a relatively small and complicated area, I could add it into the hind leg, which has a rather vast expanse of couched Jap already and more to come. This led neatly into our discussing the thorny question of whether any of that expanse needed unpicking, and if so, how much?
Having looked at the sample, she agreed that the straight-up-and-down method was out; gappiness, she implied, was the ultimate sin in goldwork couching (unless intentional, for effect). When I described in detail how I did the couching on Bruce she said that was exactly what I should do; the only thing she suggested was an occasional little stab stitch, which she said might make the couching a little more secure; she’d been taught that when she was training. I’d never heard of it! And I must say, if the tutors are taught that, I wonder why we students aren’t. All I can think of is that it might be because in the first four classes of this module I’ve had three different tutors, each of whom may have thought the other would have told me.
Be that as it may, having looked at close-ups of the thin part of Bruce’s leg her opinion was that it didn’t need unpicking. Hurray! She said that there was a little slippage in some of the pairs, but nowhere were they actually completely on top of each other, and the overall effect was neat enough. Well, that was obviously a relief . Then we got on to the question of turning versus plunging. So far I’ve been plunging (as symmetrically as possible) when the Jap goes down from the haunch into the leg, but when the curve becomes sufficiently shallow (though still forming an acute angle) I want to start turning the Jap. Not only does it make for another demonstration of my ability to neatly execute a sharp turn, it also means less plunging!
Angela thought that I had definitely come to the point where I could start turning. But then the conversation took a different, erm, turn. This was partly because of the earlier discussion about adding mixed couching, and partly because of something else I had only noticed a few days before the online class, when I happened to be looking at close-up photographs to send to Angela: Bruce’s backside was not as taut as it ought to be – there were gaps…
There is a reason why you put yellow felt underneath gold couching (and chipping, for that matter). Quite apart from the fact that it gives some lift to the metal and makes it catch the light in nice sparkly ways, it makes any gaps much less noticeable. These ones, as I said, I hadn’t actually noticed at all looking at the work from a normal distance, and even at “working distance” they hadn’t looked particularly alarming. In the close-up photograph, however, they looked positively cavernous! Would I have to unpick after all? Angela, fortunately, didn’t think so; close-up photographs, however useful in studying your work, are cruel in what they show up. She suggested I try and tweak the gappy pairs with a needle or mellor, and I said I could also push them to a small extent with the next pair.
Which brought us to what the next pair would be. We talked about various ways of introducing mixed couching, and having considered a few options (and discarded the ones that included twist, as I want to keep that for outlines only) I decided on a pair of rococco/Jap, followed by a pair of rococco, followed by a pair of Jap/rococco, and then back to Jap only. In order to accommodate this, I would unpick the most recent round of Jap, which hadn’t been plunged yet anyway. This would also help to address the gappiness I just mentioned. Unfortunately it does make it impossible to do a turn instead of plunging when going down into the leg, as each of the three pairs is different.
When I wrote up my notes after the meeting with this in mind, I had a look at Bruce’s haunch and how much of it has already been filled. I don’t want the mixed couching to get too close to the central area of chipping, and I do want some Jap turnings, so I will take out (in fact by the time you read this I will have taken out) two pairs of Jap, even though that means undoing the secured ends on the last but one pair and “unplunging” them. This will make the position of the three mixed pairs within the leg a bit more balanced, and with a bit of luck still leave a sharp turn when I get back to Jap-only.
Finally, a brief note on online classes. So far I have felt absolutely no inclination to do some or all of my Certificate online; has this one-hour consultation changed my mind? Even though this meeting was very effective in sorting out issues I needed help and advice on, no. There were difficulties. Zoom froze every now and then, and it was difficult to know how much of the previous conversation had been missed, so we would either repeat what the other had already heard, or not repeat enough. It also rather interrupts the flow of your thoughts when you have to keep going back a bit. A Whatsapp video call, which I wanted to use to show Angela close-ups of the work while moving the camera around (more informative than still pictures when trying to show texture, especially in goldwork), wouldn’t connect properly. You might say these are technical problems, and if everything works 100% as it should these classes would be fine. And if that could be guaranteed I could see myself taking the odd online class. But computers and internet connections hardly ever work 100% as they should, so the problems I had today would almost certainly also turn up in a day class. No, for the time being I’ll stick with face-to-face classes as much as I can. Roll on 24th April!