Gold n' Stitches

Or Nué - Filling the Gap

Merry Christmas to you all.  Hope you had a relaxing and safe festive season.  It was lovely to get away but I didn't get done as much as I thought I would.

The Or Nué piece has been occupying my thoughts and what little time I have been stitching.  Two of the circles have finally come together.

I couldn't wait to fill in the little gap.  The angle where the circles met was to sharp to bend and turn the passing thread so I had to dovetail the passing thread.

I started on the outside edge of the piece and worked as far into the corner as possible with the green silk.  I then cut the passing thread leaving a 2.5cm (1") tail which I took through to the back of my work.

I find it is easier to sink the thread to the back by unraveling the gold thread off the cotton core of the passing thread prior to taking it through to the back. I stop unravelling the gold thread about 2mm's from where I intend to sink the thread to make sure none of the cotton core shows through. 

Once the angle between the two circles became a little wider I then was able to bend and turn the passing thread.  The gilt passing thread is well suited to this method. It is made by by winding a flat, very thin piece of wire around a thread core in a spiral manner and produces a thread that is quite stiff and not fluid.  Consequently when it is bent it tends to hold its shape fairly well until couched in position.  A pair of tweezers with a fine point are very useful to bend and turn the passing thread.

It is quite a challenge concentrating on getting the corners right as well as creating the shape of the leaf.  As you can see by photo below, there is one stray stitch, which happened to be the last green couching stitch.  I can't live with this so will go back and "reverse stitch"(unpick) this little bit and redo it. 

 I am sure with more practice I can improve this technique.  I have been reading the posts on goldwork from Carol Anne Conway's blog Threads across the Web getting a few tips.
 Her work is exquisite  - just looking at the amazing execution of her piece titled Karahana inspires me to keep going.

 

'Tis the Season - Stocking in Goldwork

I don't usually spend alot of time making Christmas decorations - probably because they only come out once a year.  However this year I was feeling very festive and got to stitching the Golden Holly Stumpwork as well as a goldwork Christmas stocking for those very special little gifts.

Apologies for the quality of the photo - I am working on the laptop computer and working with what we have with us on holidays.

I have worked the body of the stocking on burgundy cotton velveteen with cream cotton velveteen for the band of the stocking.

When I was planning the design and choosing the threads and wires, I had to keep in mind that the piece would eventually be a soft flexible piece rather than a rigid framed embroidery.  So I chose goldwork threads that would withstand some handling and flexing.  For the scrolls I chose gilt twist and silver Jap, Pearl Purl No1 and silk thread for the flowers, plus beads and pearls and flat sequins secured with bright check chips.

I was happy with the choices of threads and wires.  However, as I used velveteen for the background fabric, I found it rather bulky when it came to attaching the band to the stocking.  As a result the band didn't sit as flat as I would hve liked.  Next time I will allow more fabric at the seams to compensate for the bulkiness.

Fudging It - when things don't quite go as planned

The one thing I have found with embroidery is it doesn’t matter how often you do a technique there are some days when things just don’t go as planned.

What do you do when small gaps appear between the buttonhole stitches or overcast stitches you have painstakingly stitched over the wire on your detached stumpwork pieces?

Previously I mentioned that I usually stitch my detached elements on quilter’s muslin.  The reason for this is because that was how I was first taught and because I always have a plentiful supply of it around.

The good thing about learning on muslin was that it taught me to be meticulous with my stitches and mostly that works for me.  However when I am having a not so good day, little gaps seem to sneak into my work.

However I have learnt a few tricks to hide disguise any gaps that might appear:

1.    You can “fudge it” by filling any little gaps that appear, by placing an overcast stitch over the wire between your buttonhole stitches.

2.    Match the background fabric to the colour of your detached pieces.  So if you are working red petals choose a red fabric for the background fabric.

3.    Colour the white wire to match the colour of your petals.  I have been using Fabrico Dual Tip Pens as these are readily available to me in the store where I work.   They come with a both a brush and bullet tip and are available in 36 colours.  I use the brush end to colour the wire.  Lay the wire flat on a piece of paper and run the brush along the length of the wire.  Roll the wire over and repeat until the wire is completely covered with ink.  Another marker that seems to be popular is the Copic Marker.  Like the Fabrico marker, it also has a wide and a narrow end. 

4.    Use the fine tip of the marker to colour any little fabric fuzzies that peak out around the edge of your work once you have cut out the worked elements. 

 

We are heading off on holidays tomorrow but once we get settled in to our caravanning home away from home, I’ll keep you posted with what has found its way into my holiday stitching basket.

A Little Bit of Bling

I just can’t help myself.  I know I said I was going to finish the Persian Tile project over the holidays, and I will, but I just had to start collecting goodies for a project that has been floating around in my head since Early November.

We took a holiday to Northern New South Wales in November and visited the small town of Alstonville. And there, as I was strolling past, was a fantastic creation in the doorway to a flower shop.  I stopped, I gasped and I got up close and personal and then boldly went into the shop begging on bended knee to be allowed to photograph the creation.

After a little negotiation, I was permitted to photograph IT. 

 

 

My mind started to fly in different directions as I started to imagine the possibilities in goldwork.  So I have started to collect my stash and lots of bling.

I started with the French Guipure lace.  I think the assistant nearly feinted when I told her I was going to cut it up and rearrange the motifs! 

I then started scavenging around the store where I work. Firstly I chose a bag pattern from Moonshine Designs.  At this stage I think I will create a bag but who knows once I get started...

I had to have some of the bronze/purple shot dupion silk that I had been eyeing off for some time. 

Next, I went to the goldwork supplies and picked out a number of different Sadi threads and sequins.  The colours in the wires are so vibrant and alive – I can’t wait to start playing with them.  Next I went to the crystals and selected rhinestones, flower crystals in AB and vitrail, bicones in topaz and amethyst, (I’m sure I’ll make more than just one visit to this area before I’m finished). 

 

So enough for one day.  I have to put it to one side and focus on my other projects knowing that the sooner I get these completed the sooner I can start on this one. I can’t wait to get into my collection of pearls and beads and rediscover what little gems I have stashed away to add to my collection of bling.

Oh and some black tulle I think. 

And perhaps some Colourstreams hand dyed rayon velvet. 

STOP!  FOCUS!

Or Nué Blossoms - Detached Petals

I have started on the detached petals for the Or Nué blossoms.  I am not ready to attach them yet but am keen to see how they will look.

I have used 30 gauge wire on the petals and couched them with a single strand of silk, the same silk used to couch the gilt passing thread.

In Stage 1 I have simply couched down the wire in the shape of the petal.  You may notice that the wires to not meet at the base of the petals.  This is intentional for the shape of the petals.

In Stage 2 I have worked buttonhole stitch over the wire to form the edge of the petal. 

The little blobs of thread in the centre of the petal are the pin stitches I have used to start and finish each thread.  These will be covered later when the petal is filled with long and short stitch.

Before starting the long and short stitch I prefer to work a split backstitch around the inside of the wire. As I usually work my detached elements on quilters muslin rather than fabric colour matched to the thread (except with very bright/dark colours), this will prevent any of the muslin from showing through if there are any gaps between your long and short stitch and buttonhole edge.

Notice I have also worked a row of small split backstitch along the arch at the base of the petal.  This will prevent any fraying  when cut out.

Lastly I filled the petal with long and short stitch and added a few gold stitches. I think the gold stitches will help tie the petals in with the gold Or Nue background.

   

  If you find long and short stitch a challenge, or would just like to perfect your technique,  I can recommend Mary Corbett's long and short stitch tutorialon Needle n' Thread. The tutorial takes you through 9 lessons, starting with simple shapes and moving onto more complex shapes as each lesson progresses. The lessons are very detailed with excellent photos and diagrams accompanying each lesson.

 

Invisible Couching - is it achievable?

Earlier this year I undertook a class with Jane Nicholas at Koala Convention held in Brisbane Australia.  Definitely should be on your "Things to do Before I Die List".

I have been in awe of Jane's work for quite a time, her incredible design and meticulous attention to detail.  I had read her books in detail and finally the earth, sun and the moon lined up and I enrolled in her class "Persian Tile". 

I have almost finished the piece and hope to have it completed over the Christmas break.

The thing I like about participating in classes is that you always learn something new.

When couching the majority of metal threads in this project, Jane used a clear nylon mono-filament, like a fine fishing line.  In this case we used Madeira Monofil No 60.

Check out the results:

The Jap thread wrapped around the gold beads on the outer border was couched using the monofil.  Can you see the couching stitches?  It was also used to couch the gilt passing thread around the petals of the pink peony bud.

The Jap on the inner border was couched with a fine metallic thread. Much more noticeable isn't it.

The monofil proved to be a strong, fine thread that was very forgiving if the couching stitches were a little uneven in size or distance apart.

HOWEVER, and there is usually a 'however', a size 12 crewel needle was used with the monofil.  To say threading a very fine invisible thread though the eye of a number 12 needle is character building is an understatement. To challenge you even further this thread is very slippery and slides out of the needle easily.  So the only solution is to secure the thread in the eye of the needle.  Kreinik have made a short video showing how this is done - it is the second tip on the video.

Ah, you thought this would make it easier didn't you.  Well it does when it comes to keeping the needle threaded but of course you have to get the two strands of folded thread through that tiny hole.

Tip for the Day - if you intend using this thread, here is my suggestion.  Before you start your stitching session, thread up 4 or 5 needles with the monofil while your eyes are still fresh and your frustration levels low.  You will maintain your sanity and progress with your project.

Or Nue - Circular or Horizontal?

I recently started a piece of Or Nué, an embroidery technique where a fine metal thread, or pair of threads, is laid in close rows on the surface of the fabric.  The metal threads are couched in place using fine threads, usually silk or cotton to create a design.  The background, not covered by coloured threads,  is couched in a self coloured thread such as fine metallic thread or silk.

Traditionally Or Nué was worked in horizontal rows, however more recently  it has been worked in circles.

I decided to work my piece using circles as I love the way the light reflects and dances off the gold threads where the circles meet and angles are formed.

I designed what I hope will be a fairly simple pattern for my first attempt.

The design has been traced onto quilters muslin and shaded with coloured pencils.  The coloured shading is used to help disguise any gaps that may appear between the metallic gold threads as they are couched on the surface of the fabric.

You may be wondering what the wriggly black think on the lower left is.  That will be a butterfly with wings worked as detached stumpwork.  The centre of each of the dashed circles will also be filled with stumpwork petals.

So here's what I have achieved so far.

  
 

Because I am working a circular design I have used Gilt Passing Thread #6 as it will not unravel as it is coiled to form the circular design. I have couched with Au Ver a Soie & Madeira stranded silks to form the shading.

So far so good!  I thought I would get bored with working the same stitch over and over however it has been really exciting to watch the design grow and develop - it has also been challenging!  Or Nué is reputed to be one of the more difficult goldwork techniques and even with a simple design it has been an exercise of patience and learning.  But more on that later.
 

Christmas Holly Stumpwork (Final Part)

Golden Holly Stumpwork (Final Part)& PDF of full Instructions

Here is the final part of the instructions.  I have included a PDF of the full instructions as a printable version as this might make it easier when you are stitching your project.

Finishing – Mounting your embroidery on the lid of the satin covered box

 

Remove your piece from the hoop and trim back the fabric leaving a 2.5cm (1”) edge around the design border.  Using a double strand of strong thread, work a double row of tacking stitches approximately 1/2" from the outside boundary of your design. You may find it useful to clip out small “v”s of fabric from the gathered area to reduce the bulk.  Take care not to cut the tacking thread.

 

 

Place embroidery face down onto a clean gentle surface e.g. a towel. Remove the lid insert from the box. Place it face down and centre it on your embroidery. Use the tails of your tacking stitches to gather in the tacking stitches, smoothing and evening as necessary, until the embroidered fabric is closed firmly over the lid insert.   

 

 

Use a double knot to tie the ends of the thread together.   Glue or silicone the lid insert into the box top.

 

Hope you enjoyed this little piece of Christmas Cheer

 

Regards Sandy

Download Christmas Holly Stumpwork Instructions

Christmas Holly Stumpwork (Part 3)

Golden Holly Stumpwork (Part 3)

Now you are ready for the surface work.  Here we go.

Place the square of silk dupion over the square of quilters muslin, aligning the grain of the fabrics.  Place the fabric in the hoop and tighten until drum tight.  Transfer the design in the same manner as before.

 

Couch No 1 Gilt twist along each line using the Daruma silk thread or Gutermann thread.  For the large scrolls, cut a piece of Twist approximately 20cm long.  Fold in half.  Starting at the tip of the scroll i.e. closest to the outside edge of the design, place the fold on the end of the line and make a couching stitch at right angles over the folded end.  Hold the doubled Twist threads along the marked line and continue to work couching stitches at 3mm (1/8”) intervals.  When you reach the end, leave a 2.5cm (1”) tail on both pieces of the twist. 

 

 

Sink the threads, one at a time, to the back of the work.  It is helpful to unravel the threads to reveal the cotton core before sinking by gently pulling the gold wire until it is approximately 2-3 cm from the fabric.   Insert a size 18 chenille needle at the end of the stitched line. Push the needle down until just the eye is above the fabric.  Thread the tip of the unravelled twist into the eye of the needle and gently pull the needle through from the back of your work.  Secure the metal threads on the back of your work using whip stitch.

 

 

To couch the short scrolls, a single strand of twist is used.  Lay the gilt twist along the marked line, leaving a 2.5cm (1”), and couch along the line.  When you reach the end leave a 2.5cm (1”) tail.  Sink the tails to the back of your work and secure.

 

Attaching the Leaves and Berries

 

The leaves are attached in a small circular area in the centre of the design (leave enough space for the three berries). Use the photograph as a guide when placing the leaves.  Insert the size 16 Chenille needle.  Push the needle down until just the eye is above the fabric.  Thread the wire tail of the leaf through the hole created by the needle.  Gently pull down from the back.  Pull the needle all the way through.  Pull the wire firmly and position the leaf in the desired position on the front.  On the wrong side of the fabric, bend the wire tail so that it sits under the leaf and secure the tail using whip stitch.  Repeat for the other two leaves.

 

To attach the berries, thread the 5cm tail of thread into a crewel needle and use this thread to stitch the berries in place.  Place each berry at a different angle to add character to your piece.

 

I will post the final part of the holly project tomorrow.  Enjoy

 

Christmas Holly Stumpwork (Part 2)

Ready to start the next part of your Holly project?  Here are the instructions.

Golden Holly Stumpwork (Part 2)

Holly Berries

 

Using DMC 666, cover each pony bead.  Using the size 10 crewel needle, Take a long strand of thread through the bead.  Leave a 5 cm (2”) tail to hold onto.  This tail will also be used to secure the bead to the fabric.  Take the thread around the outside of the bead and through the hole in the same direction as before.  Pull the thread firmly and continue taking the thread around the outside of the bead and through the hole until the bead is completely covered. 

 

 

 

Secure the thread on the inside of the bead by taking the needle through the wound threads a couple of times.

 

There is more to come so stay tuned