Gold n' Stitches

Enchanted Forest - Gathering Your Threads

This is the fun part!  Now that you have selected your fabric you can start getting the threads together.

If you have a thread stash, get it out.  If you don't have a stash, now is the time to start putting one together.

The threads you choose will be influenced by a number of things:

• The colour of your background fabric.  I started by selecting colours for the main elements ie the tree trunks and then built the colours around these.  I chose a lot of variegated threads for this project as they worked well with the many colours in the fabric.  The variegated threads also create a lot of the character of the finished elements such as leaves and stems.
• Availability of threads - what you have available to you in your local area and /or your stash.  I have used threads made in Australia as well as threads produced overseas.  Over my many years of stitching I have collected quite a variety of different brands, some for specific projects and others as an impulse because I couldn't resist them or they were on sale to walk by.  Of course this did not stop me from purchasing more for this specific project.
• Budget - I have used quite a lot of silks and hand dyed/over-dyed threads.  These can be somewhat more expensive than the more commonly available threads such as DMC and Anchor. Imported threads can also be more expensive so try using what you have available and then add just a few little treasures as a special treat.
• Texture - I have used silks. cottons and wools in a variety of thicknesses from stranded cottons and silks, pearl silks and cottons of varying thickness and silk ribbon.  This project is a great way to experiment with threads and try out some that you haven't used before.  Try combining different threads to create new textures.

Here is the list of threads I used:

ThreadworX (previously needle Necessities) Over-dyed stranded cotton floss

1041 Dust to Dust

1069 Spanish Olives

1070 Rocky Mountain

1090 Red Lipstick

DMC Colour Variations 4030, 4145, 4150

Colourstreams Hand Dyed Ribbons and Threads

Stranded Silks - 37 (Uluru), 50 (Blackberry Ripple)

Ophir -19 (Verde), 16 (Seascape), 23 (Rose Blush), 28 Carnivale

Exotic Lights - 21 (Purple Genie), 24 (Plum)

4mm silk ribbon - 17 (Jacaranda), 37 (Uluru)

Caron Waterlilies - 104

Gumnut Hand-dyed Yarns - Buds 589

Strand Crewel Yarn Wool Mohair - 253

Kanagawa Embroidery Silk - KNK - ? Oops can't find the number

30 gauge covered wire, felt

Enchanted Forest Tutorial – Getting Started

I started the Enchanted Forest over 12 months ago – it isn’t finished yet.  I keep adding little bits and pieces to it every now and again.  Kind of like growing a garden!

 

Once again it was the fabric that caught my attention first.  This fabric is batik – if you look really closely you can see the shape of trees in the fabric.  The blues, purples and teal colours were so rich and inviting.  That is the downside of working at a quilting and embroidery store – temptation is always lurking.  The upside is I am surrounded by fabulous threads and fabrics and exposed to wonderful creations from both customers and co-workers. 

I let this piece of fabric lie around on the coffee table taunting me to just pick it up and do something with it.  And then...

... It happened and I was inspired to “plant a garden”.    I had been fascinated by a few projects I had seen in issues of Stitch magazine, the UK Embroiderer’s Guild publication. 

The first one was in No 32 Dec Jan 2004/05, a piece titled Sunset through the Trees by Jennifer Rochester. I kept coming back to this project and finally gave it a go using even weave linen as the background fabric and silk threads.  It only measured about 5cm square and I thoroughly enjoyed it, especially the freeform nature of the project.

A later edition of Stitch magazine (No 49 Oct/Nov 2007) featured two more projects that caught my attention.  The first was a hard anger and casalguidi pouch by Via Laurie of Chameleon Threads and a machine embroidered forest titled Enchanted Wood by Tracy Curtis.

 

That was it – I just had to give it a go.  So I set to work.

Here’s how I approached it. 

I searched the internet for a forest scene I liked.

I then went about simplifying the scene, sketching the main elements of the picture the large tree on the right, some background trunks and foliage, the pond, and some foreground bushes. 

Now remember I am NOT an artist, by any means and really can’t draw to save myself.  So if I can do it so can you!  The unicorn was way too complex for both my drawing skills and embroidery skills, so it had to go!  I put in another tree trunk on the left hand side to balance the scene.

Give it a go.  Find a picture that you like and have a play with it.  You just might surprise yourself.

I will do a clearer picture of my forest for you to trace if you are not happy with any you find.  I will post it with the next edition of the tutorial.

Oh and If you've got time check out the UK Embroiderer's Guilds Projects Online. Encrusting Calico, also by Jennifer Rochester,  is a great project to get you started with freeform stumpwork.

An Unexpected Suprise ... and framing made easy

A week or so ago I received a free copy of a craft magazine, Handmade Vol 27 No 11,   in the mail.

I wasn’t sure why I had received this magazine as I didn’t subscribe to it.  I figured it must have been a promotion as I do subscribe to Creative Embroidery & Cross Stitch, a magazine published by the same company, Express Publications.

So I put the magazine aside unopened and took it along to my stitching group that night.

As we were sitting around chatting, I decided to open the magazine and flick through it.

Suddenly I exclaimed “Oh my God!”

Now I knew why I had received a free copy of the magazine.  There, in print, was a design I had submitted back in 2006 - Cherry Blossoms.   Finally it had been published.

I had sent this piece of silk ribbon embroidery in along with a couple of other pieces which were published in Embroidery and Cross Stitch magazine.  I received the published pieces back in the mail but not the Cherry Blossoms.  I eventually rang to find out what was happening with it and was told that it had gone over to the editor of Handmade magazine.

The reason for my surprise was that nobody had contacted me to indicate it was going to be published.  Of course I was chuffed to see it in print ... and now it will come home so it can hang on the wall.

This was the first piece of embroidery I had attempted on a fabric with a patterned background.  It was a Japanese print and I really liked the fabric. I had purchased a fat quarter, with no idea what I would use it for.  The inspiration came from the other beautiful Japanese prints displayed in the store.

When I finished this piece, I dreaded the thought of having it framed as I had just had a piece of goldwork framed that had cost a quite a bit!  The piece measured 30cm by 40cm (12in by 16in) and I knew it would not be cheap.

I decided to get creative.

I purchase a blank canvas from one of the “two dollar” stores.  Are you familiar with these stores?  They are variety stores that sell many different products at low prices, usually two dollars and above.  I covered the canvas with dark brown silk dupion using a staple gun to secure it to the wooden frame of the canvas.

Next I laced the embroidered fabric to a piece of foam core.  Foam core or Foam board is a very strong, lightweight and easily cut material used for the mounting of photographic prints, as backing in picture framing.  It is generally available at art supply stores or picture framers.   I then attached the laced embroidery panel to the silk covered canvas using a hot glue gun. 

Cheap but effective.

Sorry there are no pictures of the process.  Next time I do one I’ll be sure to take some photos.

I have since completed a framing course at a local framing business.  What attracted me to this particular course was the added bonus of being able to use the business’s equipment and supplies once I had completed the course.

I just go in and choose the materials I want, prepare the frame, mount my piece and then just pay for the materials I have used.  It is an incredibly inexpensive way of presenting finished work.  I have also purchased some basic equipment for home so that I can mount my pieces using just the mounting boards.   This makes them light and easy to transport to classes.  The finish is not as professional as going to the picture framers premises to do the work but does the job when I am in a hurry.

Hoppin' to it

I have finally finished writing up the instruction for my Golden Lotus design. Now that the instructions are done,  I am concentrating on the second in the lotus series – On Golden Pond.

My last post described the process of making the gilt edged detached petals for the lotus flower.  I have since started to work on the surface embroidery.

 

I statred with the foundation work, applying the lily pads of silk dupion.  They have been fused to the base silk fabric using Mistyfuse ™.  It is a very fine fusible web, ideal for working with fine fabrics.  It doesn’t stiffen the fabrics excessively and the fine structure of the web means there isn’t any telltale results left after fusing.  It is great for fusing layers of organza!

Next came the layers of felt for the lotus flower. 

As you can see, once I started applying the threads and wires,  I have jumped all over the place.  I did some initial planning on what threads and wires I would use where, but was keen to see what the overall effect would be.  Thus there are lots of bits started and unfinished.

For the smaller lily pad I have couched Gold 376 couching thread from Benton & Johnson.  This thread has gold coloured synthetic strips wound around a cotton core. It is a very pliable thread and it is easy to manipulate into the tight corners.  I have used a silk thread, Matilda’s Own Daruma Silk Colour 149, for couching.  The thread is 50 weight, not quite as fine as the YLI silk threads that are commonly used for goldwork.  The Matilda’s Own silk is made is Japan and come in 60 colours.  They are distributed by an Australian company and are readily available here.  I use them for my embroidery as well as needle turn appliqué and paper piecing for quilting.  I like them a lot – they are fine, reasonably priced and high quality.

 

Today I plan on working on two smaller lily pads that will appear above the lotus flower and finish the long and short stitches on the flower.

I am using Madeira stranded silks for the long and short stitch.  The decision to use Madeira threads was really based on the availablility of colours.  They are also quite reasonably priced.

Oh - and I have started doing some online entry level studies in Financial Services and hope to do a bit of work on my next assignment too. My embroidery seems to have been put on the back burner and I am missing it greatly but I am trying to make it of equal priority.  So much to do – so little time.  Ah well we can only but try!

Hope you all have a great day.

Chatelaines, needlecases and more

Previously I said that I was busily sewing samples for the store for the upcoming CraftExpo being held at the Brisbane Convention & Exhibition Centre on March 25-28 2010.

I just could resist making some of the goodies out of Nancy Halvorsen's latest book Sew Necessary.

I started with the scissor chatelaines - there were so many to choose from!  I decided on the posy - quick and easy and oh so cute. I also made the bumble bee chatelaine but forgot to take a photo.  A fabric charm pack bu Moda was just the thing to use to make up these little treasures.

Next, I tackled the sewing basket - It was much larger than I envisioned (15"x8"x8"). It is stiffened with Peltex by Pellon and stands up beautifully.

There are lots of pockets inside to store your scissors threads, rotary cutter and much more. 

The matching needle case is also under way.

And now for something completely different - I couldn't resist playing with this hand printed embroidery panel by Prints Charming. 

 There are a number of designs to choose from including a vine, medallion and Kaleidoscope in a variety of colours.  I chose the orange as it is not a colour I usually work with and I was up for a challenge.

The panel comes with a stitch guide for very simple stitches - running stitch, chain stitch, back stitch and french knots. It would be ideal for beginners or young embroiderers as it is the colours that do the work for you.  and just ion case that scare you they have included some stitched examples to guide you.

So here it is so far.

What do you think?  I just couldn't resist adding some bling - flower sequins from Colourstreams.  I'm sure there will be a bit more added before I am finished.

 

 

Floral Glove - your questions answered!

Thank you all for your comments.  I will attempt to answer your questions.

Firstly - Hints for Satin Stitch

When stitching satin stitch on the leaves the first stitch is made along the centre vein of the leaf.  It is stitched from the base to the tip and the tip should be 'hyper-extended' - ie made one needle width longer than the traced outline on the tip.  This adds to the illusion of length and gives a pleasing shape to the leaf.  The following stitches are stitched following the traced outlined.

 In the stitch guide, the principal "less is more"is recommended.  This means that when stitching leaves and petals you should avoid the temptation to create shorter and shorter stitches as you move from the centre to the outside curve of the leaf.  Too many short stitches on the outside edges tends to make the leaf look short and squat rather than long and slender.

Another tip I like to use, which is not contained in the notes for the floral glove, is the technique of polishingthe threads once the area has been stitched.  Although this technique is usually applied to padded satin stitch, I found it  worked quite well with the Soie Paris silk threads.

Susan O'Çonnor provides a very good description of this technique in her book Monograms The Art of Embroidered Letterspublished by Country Bumpkin.

Polishing consists of rubbing the threads with a large tapestry needle in the direction that the stitches lie. The stitches are flattened and packed together to create a smooth lustrous finish.

Secondly - How long is a piece of string???

I'm not sure how to answer the question  relating to how long it has taken to stitch the glove.

I am not a fast stitcher.  I tend to get lost in the moment and relish the time spent stitching.  I also tend to be a bit of a perfectionist - so "reverse stitching" (unpicking) often takes up precious stitching time. I am still struggling with the pre-traced design - I am finding the inconsistency in the tracing of the design elements hard to overlook.  While some of it can be fixed by reshaping the elements when the backstitch is applied around the outside edge before filling with long and short or satin stitch, in some areas this has not been possible.

Also I am easily distracted when it comes to embroidery and am prone to working on multiple projects at any given time, and while I am working on them I am thinking about the other half dozen I would like to do! 

Having said that I haven't found the project a burden as far as time is concerned.  (Even though Lesson 2 has arrived and I haven't completed Lesson 1).  The foundation work always seems to take a fair amount of time and I like to complete all of the backstitch around the outlines of my deign first so that I can get into a rhythm with the long and short stitch and satin stitch.

I am still keen to go ahead with the Masterclass even though there will be an overlap with the projects.

 

Floral Glove Needlecase – On Line Project Begins

You all must have thought I had fallen of the planet- but no just,  really hectic with life.

I have managed to do some stitching.  I am working on a new design as well as sewing samples for the store for  the upcoming craft craft show in March.  I will post some pictures of these soon. 

Today, I’m  all excited about starting my Floral Glove Needlecase.

Thanks to Tricia Wilson Nguyen and the Thistle Threads team for the opportunity to re-create a little piece of history.

At last all of my goodies have arrived.  After receiving my notes and instructions for the first month, I just couldn’t wait for my threads and goodies to arrive.  You know what they say – through rain,  hail and snow – and with the horrendous weather conditions in the States, it was literally through SNOW!  But they arrived safe and sound and I couldn’t wait to get started.

With my email instructions arriving in the previous week, I had plenty of time to read through the instructions.  I found the instructions and diagrams for long and short stitch comprehensive and informative and gleaned a few little tips for improving my satin stitch.   I loved the close ups of the stitched examples provided.  I have referred to them regularly while stitching and it is the next best thing to having the teacher with you – in fact it tops that!  I can refer to the samples whenever I need to – got to love that!

 

The design was already traced onto the linen fabric.  As with most linen fabrics, the surface of the fabric is slightly uneven due to the slubs in the threads and this has caused the traced lines to a bit "wobbly".  However as you will see once the area has been stitched, this is not an issue.

I haven’t used the Au Ver a Soie Soie Paris before.  It is so smooth and lustrous. It blends together beautifully when doing long and short stitch and glides through the previous stitches with ease.

 

 
I think my long and short stitch is less structured than the examples provided in our notes however I am reasonably pleased with the end result.

The next area to be stitched this month is the small leaves under the carnations and some small blue flowers.

So I had better get to work as I also have to complete the right hand side before next months instructions arrive.

 

 

  

Goldwork Buttons

I'm back - sorry it has been so long .  Life has gotten a little more hectic since I returned to work and the weather here in Queensland is so hot & humid .  Unfortunately this isn't great weather for doing goldwork!

But I did find a little gem I thought I would share - well actually it is a couple of little gems.

I almost forgot we had them in the store where I work until I was looking for buttons the other day.

Here they are - Gold Embroidered Buttons!

The buttons are self cover shank buttons - you know,  the kind where you cover them with your own fabric.  The embroidery has been worked on black velveteen prior to covering the button.  I have had the magnifying glass out scrutinising them to see how they have been worked.  I didn't have the heart to pull them apart - the Quilters Storesells the large buttons for AU$6.10 and the small buttons for AU$3.90.  But it wasn't the cost of the buttons that stopped me from unpicking one but the thought of the minuscule amount the embroiderer was paid!

The buttons have been embroidered using super pearl purl for the surrounding circles and rough purl for the flowers.  A fine gold coloured thread was used to stitch the gold wires in place.

The silver embroidered buttons are a little more ornate in their design.  Again Super purl and rough purl have been used with the addition of beads and jewels and bright check around the blue jewel.  I really like the contrast of the silver and jewels on the black velveteen. 

The embroiderer has used the technique called 's-ing' to create an effective decorative line next to the pearl purl outer border.

I doubt that the metal wires used in these buttons is gilt or sterling silver however they have not tarnished with time.

I know one thing for sure, if I was the embroiderer paid to make these buttons I would make very little money as I am not a very fast embroiderer!  In fact I am sure it would be less expensive for me to buy the completed buttons rather than buy all of the materials to make them AND THEN sit and embroider them. 

Thank you for these little gems whoever you may be!

Awesome Stuff

I have been following Mary Corbet's progress on her scrumptious crewel work rooster project on Needle n'Thread, and while browsing the internet for goldwork inspiration came across this amazing goldwork rooster by Tanja Berlin and just had to share it with you.

This project is not for the feint-hearted, it took Tanja 48 hours to create!

The rooster is featured on her Work In Progress page. There is a series of clear photos demonstrating her progress as the rooster is worked as well as information on the threads and wires used at various stages. I love the effect created by the different textures and colours of the wires on the feathers.

There are 18 other projects on the Work In Progress page. 

 

The needle painting  projects include progressive photos of long and short stitch workings.  I found the pictures showing how Tanja divided the various elements of her the needle painting into sections and directional lines particularly insightful.

 

Wow, I'm speechless!!!!

Thankyou Tanja for sharing your exquisite workings with us.
 

Floral Glove Needlecase

I have enrolled in the Thistle Threads Online University course for the Floral Glove Needlecase.  I am so excited, I just can't wait for my goodies to arrive.

I had previously purchased a Silk Covered Purl Variety Packfrom Thistle threads thanks to a tip of from Mary Corbett at Needle n'Threads.  The sample pack contained 1 yard of multicoloured silk covered purls.  These new threads are copper wire wrapped with filament silk and then coiled over a mandrel into a purl.

I haven't used them yet but just had to have some for future use, especially when I found out they were a limited production line.  I notice that one of the colours has already sold out!

While I was ordering the purls, I browsed the Thistle Threads site and signed up for their newsletter and when the newsletter about the online classes came through I just had to sign up.

Three things appealed to me about the classes.

1. It is on-line!  I have been searching for on-line goldwork classes for ages, having emailed the UK embroiderers guild, who referred me onto Tracy Franklin but with no luck.
2. The project uses a number of threads I haven't used - lizardine and gilt bullion, threads which are rarely used in contemporary embroidery. The emphasis in the project is on the use of the gold threads and wires rather than the surface embroidery.
3. The project was inspired by 17th century professionally worked gloves of the Stuart era. I can't wait to absorb myself in this piece of history and experience the techniques used in this era.

And just in case I thought I might have missed out on anything in this project, I have also enrolled in the Tudor and Stuart Gold Master Class which incorporates 28 metal thread stitches in three projects.  This project starts in April and looks very challenging. Take a look - there is a 3 1/2 minute video which showcases the projects and gives an example of the animated stitch library.

I am really looking forward to sharing my "adventures" with you as I progress through these projects.