Category: General Embroidery
Finished the silkwork on the Petite Pincushion!
Petite Pincushion Silkwork Finished
Born teacher that she is, Tricia provided two additional projects with the Tudor and Stuart Goldwork Masterclass. After all, practice makes perfect, and practice is much more palatable when it produces something pretty at the end.
The silkwork of the Petite Pincushion is primarily worked in queen stitches. As you may have gathered, I’m not especially keen on counted work, regarding it as a salutary discipline rather than a pleasant pastime. I’ve been rather pleased that I’ve persisted with it in these cases, which is testament to the enjoyment I’ve been getting from learning the new stitches, and my desire to play with them even more.
Petite Pincushion Quadrant CloseUp
Not that it has been entirely straightforward. The tent stitch corner panels were quite a strain – it’s astonishing how, even with a magnifier, I’ve managed to miss the odd stitch or set it crooked and have to unpick it and try again.
I never thought I would say this, but the queen stitches were easier! They interlock nicely, creating a textured, almost brocade-like surface which will make a good background for all the goldwork stitches that fill in the strapwork.
Something I didn’t quite think through
Not quite thought through...
I’m really not at all sure what to do with this. It’s an abandoned experiment that I recently rediscovered, and which is nagging me more than somewhat! I really should finish it, or do something with it. It was originally intended to be a traycloth, and I’ve also run out of the thread I was using to hem the piece. So, since I can’t remember what that was I have some unpicking to look forward to, whatever I decide to do with it.
I wanted to play with the idea of stitching the background, rather than the design. I also wanted to take advantage of the fact that Caron Collection colourways are dyed onto different threads (in this case, a fairly fine single-strand thread, and the heavy three-stranded type).
As it stands, I’m not happy with it. Maybe I chose to make the pulled work too large (it goes over four stitches in each direction), maybe it is too dark. Maybe I just haven’t done enough stitching yet?
I still think that doing most of the stitching in the background – a little like Assisi work – would be an interesting variation. Back to the drawing-board!
Further investigations on the Spot Sampler
Guilloche In Different Threads
The central veins of the leaves here are in Guilloche Stitch, and in one case I have have used the “imitation silver” thread and in the other case, one of the other, very fine silver threads. This shows – if we needed it pointed out, at this stage – that all metal threads are not created equal. We tend to think of silver and gold as being unchanging colours, but in fact you’ve only to look at jewellery to realise that there are many colours of gold (or in this case, silver). The threads are slightly different weights, as well, but one is clearly a brighter colour than the other.
Cross Interlacing Stitch
I loved the diagonal cross shaped interlacing stitch. I can’t for the life of me think what I would do with it (something with a Celtic theme, perhaps?), but I loved working it, and like all these interlacing stitches, it looks harder than it is. That’s the right way around. Satin Stitch looks easy, but neat, smooth satin stitch is really only possible to the experienced embroiderer!
Once the foundation is correct, it is obvious where the interlacing threads need to go over and where under, and then hey presto! one fabulous, dazzling, interlaced spot.
Plaited Braid And Circle Interlacing Stitch
You may recall that the plaited braid stitch was one of the reasons I wanted to do the course. My post about tackling it mentioned that I felt I was beginning to get to grips with it, and would be able to pick it up in future if or when I wanted to. So this was my first test of that confidence.
And yes, nailed it! I did have to unpick my first attempt, and I decided that the backstitch was rather hindering my efforts, but I really think that I can count this as a stitch I can take on whenever I want to!
The circle interlacing stitch is another of those wonderful, easier-than-it-looks stitches, and would make a great oversized “sequin” if one wanted to play with scales of stitches and design elements.
More variations of Goldwork on the Spot Sampler
Two Versions Of Heavy Chain Stitch
There are two more versions of heavy chain stitch here, again using different threads. This time the threads are so different that I snipped out the larger one, on the right, and reinstated it using the finer thread. This photo also shows the detached buttonhole filling with return, worked in the finest of the gold threads. This was rather a challenge as well. I believe it will appear again in the Petite Pincushion, so I will soon get to practise it once more.
Braid Stitch Finishing the Spot
In ordinary pearl cotton, braid stitch is one of my favourites, but in metal thread it is much more of a challenge, especially at a diagonal, and on a fabric which is coarse enough to be much better used in a counted fashion! As you can see in this photo, it creates a lovely rich looped effect – rather like a braid you might use in furniture or to trim a coat, but it doesn’t really bear close inspection, because some of the loops more closely resemble knots!
The tiny four legged spiders web stitch seemed to come together much more easily than the first set I did, so I am clearly getting a better grip on it!
Guilloche Variation
This Guilloche Variation is actually the stitch that most of my stitch dictionaries refer to as “guilloche stitch”, although they generally only have one run of interlacing rather than three. For some reason the thread broke up quite a bit, and I had my customary trouble with the interlacing loops. I wonder whether the relative simplicity of the stitch makes me rush more when I’m doing it?
Figure Eight Interlacing Stitch
Figure Eight Interlacing stitch is great fun. I had a little trouble getting the first set of loops to lie flat as they are supposed to, but after that, the stitch just fell into place. This would be another good one for using to represent intricate gold jewellery or ornamentation on my Dreams of Amarna panels.
More spots on the Spot Sampler
Interlacing And Flat Webs
Even the macro setting on my camera has trouble with some of the fine detail here. The fine gold and silver threads used for the four-legged spider’s web stitches is barely heavier than the silk thread, and was quite a challenge to stitch with. At true size they create the smallest of subtle glimmers, rather than any dramatic effect.
The square interlacing stitch, on the other hand, makes its presence felt in no uncertain terms! It was fun to do, although using the heavy silver thread I did wonder whether the interlacing was going to create rather a congested appearance. I don’t think it does, but if there is one thing I have learnt from this course, it is “Test, Test, Test”. It is all very well being confident of how to work the stitch, but with the huge range of metal threads available and the variants of scale and flexibility, it’s much harder to be confident of the final effect if you don’t test it on the right fabric at the right scale!
Heavy Chain Stitch
The two rows of heavy chain stitch here are worked with different threads. The difference is subtle, and harder to see on the photo than in real life, because even the fact that the row of stitches are at different angles contributes to the effect. I’ve found heavy chain stitch a remarkably difficult stitch to work using metallic threads, and I’m not sure quite why, because I don’t find it at all difficult using cotton or silk!. I am assuming that it is a matter of tension, but since my various efforts haven’t cracked it yet, all I can say is “Needs More Work!”
An Array Of Spots
Here you see a whole range of spots, worked with varying degrees of success.
I’ve had plenty more practice with Ladder Stitch since I worked this set, but I still find that one side of the stitch ends up appearing “turned over” compared with the other, which lies flat. Another stitch that needs more work…
I like the dense fabric produced by the two variants on Up-And-Down Buttonhole Filling, although strangely they don’t look as different from one another in the photo as they do in real life.
Eight-legged spider’s web stitch is more stable than the four-legged version – there are more stitches to keep it under control – and it produces a good, flat boss. It would probably be a good choice in places where the square interlacing stitch would draw too much attention to itself!
Still more on the Spot Sampler
Wheatsheaf On Ladder Stitch
We’ve had a sudden spurt of good weather and good light recently, so I’ve been making hay while the sun shone (literally!). I’ve also been making an effort to use all of the different gold threads that Tricia provided in the kit, some of them real metal threads, some of them imitation, some thick and some thin.
Guilloche On Ladder Stitch
The Wheatsheaf on Ladder Stitch and the Guilloche on Ladder Stitch are in different shades of gold and even different types of thread. There is even a Queen Stitch in a very fine gold thread in the top corner of the picture showing the Wheatsheaf on Ladder Stitch. The one I used for the Guilloche variation is the one I used for most of the practice cloth. It’s surprisingly floppy for a metal thread, which helps with some of the stitches, but not all. In this particular case, at least there were no breaks in the metal, unlike in the Wheatsheaf stitch!
Eight Sided Interlacing Stitch
The Eight Sided Interlacing Stitch was an absolute treat to do. It’s important to count the foundation correctly, but from then it was simply a matter of repeating the same set of actions. I’m rather pleased that, by and large, the threads have stayed neatly side-by-side!
Cross Variation Guilloche
The Cross Variation Guilloche Stitch makes a great contrast with Eight Sided Interlacing – not only yet another different thread, this one a little stiffer, and a slightly different shade of gold, but also an upright, angular form, rather than the almost circular appearance of Eight Sided Interlacing.
Jane Rainbow Kit – second installment
Flower 1 on the Jane Rainbow Kit
The raised edges of the petals of this flower are produced by working one row of blanket stitch along the edge and then working detached buttonhole stitch into that. It creates a fairly subtle effect in real life, and it’s always satisfying to see small details like this appearing in kits.
You can also see in this close up that although I was beginning to get to grips with satin stitch, my Long and Short Stitch wasn’t very good.
Flower 2 on the Jane Rainbow Kit
Really not very good, in fact! The stitching on the second flower looks more like brick stitch. I think this is the only bit of the design I didn’t enjoy doing, and that’s entirely because I simply could not get to grips with Long and Short Stitch. No-one had told me to think “Long and Longer”, which is what has cracked it for me since then. Besides, working a colour change into such narrow rows is not the easiest way to tackle Long and Short stitch!
Leaves and stems on the Jane Rainbow Kit
I did like the rows of stem stitch shading from dark to light that were used for the stems – in fact I used the same technique in the stems on the Piano Shawl. The detail of the end of the stem – concentric rows of stem stitch – was particularly charming.
The leaves in the bottom corner worked well, too. The openwork at the centre of the upper leaf makes a nice contrast with the rest of the design which is very densely stitched.
I did enjoy working this – even if it was finished at the speed of lightening!
A Final Look At Christus Natus Est
First Stained Glass Window
Second Version of the Stained Glass Window
I promised a look at the development of the “Christus Natus Est” design, so here is the very first version, much more traditionally representative in style, made by my mother when I was a little girl, for the window over the stairs in the first house I remember.
When we moved house, there was no window that the first version could fill, so she designed another, this time to fit in a living room window. It is much simpler and more stylised, but I think you can see that in both versions the primary impression is one of the protecting care of the Holy Family.
Christus Natus Est, by Steve Williamson
Then, about four years ago, she did a version in oils, for an exhibition at a local gallery that had the theme “Memorable Dates”. Somehow the design came into vivid life in the painting – she says it came together much more easily than many of her paintings do, but in this version, the Christ Child needs no protection, instead the Light of the World blazes fiercely, incandescent with power and authority.
The Saviour Is Born!
I expect it is a surprise to none of you, having seen that progression, that I decided I wanted to do my own interpretation. As I’ve said before, I think my version is quieter and more subdued. It has a sense of stillness and purpose, perhaps, the outstretched arms of the Christ Child already prefiguring the Crucifixion, with none of the exaltation of the heavenly choirs.
If, unlike me, you believe that an artist’s work reflects their state of mind, you might be worried about that. Don’t be. Beethoven wrote some of his most joyous music when he was already profoundly deaf and acutely depressed, and while I would not in any other way expect to be bracketed with the great man, my embroidery never has anything to do with my emotional state!
Another Long-Ago Project – Jane Rainbow Kit
Jane Rainbow Kit
This crewelwork cushion came from a Jane Rainbow kit, which my parents gave me for Christmas about fifteen years ago. It’s the last kit that anyone’s ever bought for me, because I finished it in short order – it was done by Twelfth Night – and the family felt that it hadn’t kept me out of mischief for long enough! I’ve looked on a couple of needlework shop websites, and it seems that this design is no longer available, which I think is a pity. It was fun to do, and I learnt a couple of variations I’d not come across before.
Pomegranate
The pomegranate shows a great variation in height and texture of stitches. I like the way the French knots used in the centre are also used for textured patches on the leaves, although I think I would be inclined, were I to work this today, to use a darker colour in the centre of the pomegranate. The ribbed pattern around isn’t made up of exceptionally long bullion knots, as you might expect, but instead is a sort of opened-out ribbed spiders web stitch. The instructions here said to pack in the stitches as much as possible to get a nicely raised effect. It worked really well – it almost looks padded!
Glittering Nightcap – Materials Arrived
Glittering Nightcap Materials
Although I am very tempted by Tricia Nguyen-Wilson’s Cabinet of Curiosties Casket Course (who wouldn’t be?) I decided that I really shouldn’t take on a multi-year project such as that would certainly turn out to be, not least because I really want to do more on the Dreams of Amarna Panels.
I couldn’t quite do without an Online University course, though, so I have signed up to the Glittering Nightcap Course, and the materials arrived just before Christmas. Eight colours of Gilt Sylke Twist, as well as all the other silk thread, real spangles (tiny ones), a Japanese needle, and even a Pigma pen (for which I am devoutly grateful, because my local – usually very good – artists’ suppliers was completely non-plussed when I asked about them. I suppose it’s an American brand.
I shan’t be able to start before the middle of January or maybe even later, but I’m really looking forward to it. It will be interesting to get to grips with Gilt Sylke Twist, having heard so much about it!