Gold n' Stitches

Attaching gold threads to the edge of detached stumpwork petals

I had a request to put together a tutorial for attaching gold threads to the edge of stumpwork petals.  I had mentioned this method in a previous post.  This method can be used for attaching various goldwork threads to the edge of detached petals.  In the example shown I have used gilt smooth passing thread No 6 and filled the petals with Anchor Marlitt Stranded rayon floss.

Work the detached stumpwork petals. 

The gilt passing thread is applied while the petal is still in the hoop.

Thread a no 12 crewel needle with clear monofilament thread and secure the tread at the back of the petal.  (I have used a single strand of gold tread in this example so that you can see the thread as it is being worked!) Bring the needle up through the first buttonhole stitch between the button hole beading and the covered wire edge of the petal.

 

Lay a piece of the passing thread along the buttonhole beading leaving a 2.5 cm (1”) tail.

Take the needle down over the passing thread and through the same hole where you brought the needle up.  Continue couching the passing thread in this manner every 2 mm (1/8 “).

 

When you have couched all the way around the petal secure the couching thread at the back of the petal.  Cut the passing thread, again leaving a 2.5 cm (1”) tail.

 

 Cut out the detached petal.  I like to work from the back so that I can see the stitches used to attach the gold thread.  This way I can avoid cutting any by mstake.

I just love the Kai Ultra Sharp scissors for this job.

 

 

To attach the detached petal to your main fabric, Insert a large needle e.g. yarn darner, through the main fabric at the point where you intend to position the petal.  Push the needle down until just the eye is above the fabric.  Thread the wire tail of the petal through the eye of the needle and the hole created by the needle. 

Gently pull down from the back.  Pull the needle all the way through.

Reinsert the needle into the same hole as above and thread one of the tails of passing thread into the eye and pull the needle through to the back of you work.

Repeat for the second tail.  Secure the wire and threads on the back of your work.

Happy stitching. PS sorry some of the pictures are a bit blurry - I'm a better embroiderer than I am a photographer.

On Golden Pond - Gilt Edged Detached Petals

Yesterday I decided to edge the detached waterlily petals for On Golden Pond with Gilt Pearl Purl.

Here is how it is done.

Place your selected fabric for the petals in a hoop and tighten until drum tuight.  Trace the petals onto the fabric.

Stretch a piece of No 1 Gilt Pearl Purl to 1 ½ times its original length. 

Measure the distance around the petal and cut a piece of the stretched pearl purl the same length. Cut a piece of fine gold coloured jewellery wire (I used 26 gauge wire) 5 cm or 2” longer than the pearl purl.  Now thread the jewellery wire through the hollow centre of the purl.

Leave a tail at each end of the purl.

Starting at the base of the petal lay the start of the pearl purl at the base of the petal with the wire tail extending past the base.

Couch the pearl purl around the outline of the petal, making a stitch over every second or third purl.  Remember the petals will be cut out so it is important that all of your stitches are within the outline of the petal!

When you have finished couching the outline and have returned to the base of the petal again, lay the wire tails together and take two stitches over both wires at the same time.

Now fill the petal as desired. When you have finished stitching the petals Do Not remove your work from the hoop.

Before cutting out your petals, the edges are sealed with glue.  Yes, GLUE! Choose a PVC glue that will dry clear. Most PVC glues are white in colour but dry clear so it is advisable to read the labelto check it will dry clear.  I have tried three different ones – PVC wood glue, acid free craft glue and tacky glue.  They all work equally well.  The acid free glue is preferable if you are intending to create an heirloom piece.  If you have trouble getting the acid free glue, try scrapbooking stores as they have a good variety of acid free products.

 

You will need to make the glue thinner in consistency before applying it.  Squeeze some PVC glue into a small glass jar that has a tight seal.  Add enough water to reach the consistency of pouring cream (yum, makes me think of strawberries and cream).  Seal the jar and shake well.   Once this is made up and sealed will it will last indefinitely and you will have it on hand when needed.  I find it very useful if I happen to accidently snip a thread when cutting out stumpwork pieces.

Using a fine paint brush, firstly paint the muslin around the outside edge of the petal, flattening the bristles of the brush so that they get in under the edge of the pearl purl.  If you happen to get a little on the pearl purl, don’t be too alarmed as the glue will dry clear.

Now turn the hoop over and apply the thinned glue along the row of couching threads used to couch the pearl purl.

Allow to dry and apply another 3 or 4 coats of glue, allowing each coat to dry before moving onto the next coat.

When the glue is dry, cut out the petals in the same way you would for stumpwork pieces.

Enjoy.

On Golden Pond

A couple of years ago I designed and stitched a frog on a lily pad. 

While I was quite happy with it, I always felt that it needed something more.   It needed a waterlily and a bug, maybe a dragon fly.  Also, I wasn’t 100% happy with the background fabric I chose. Also, I have learnt alot since I stitched this little fellow.

I recently finished stitching Golden Lotus, a project I designed in late 2009. This was the inspiration to redesign my frog on a lily pad.

So  to work.  I have taken design elements from both projects, tweaked them a bit  and combined them into one project  - On Golden Pond.  Thank goodness for computers and CorelDraw Graphics Suite – it makes redesigning  so much easier!

I have started on the waterlily.  I know I am working back to front, as I haven’t even traced the design onto the main fabric,  but the waterlily is the bit that has my head spinning – what technique will I use to edge the detached petals.

When I stitched the Golden Lotus I used felt padding to raise the petals up.  This time I have decided to pad the background petals of the waterlily and add detached petals for the front petals to create greater dimension for the flower.

The decision for filling the petals was easy - long and short stitch, using Madeira Stranded Silk in 3 shades of cornflower blue.  However finishing the edges took a little more consideration.

One thing I have decided is that I want to edge the petals in gold thread or wire.  In the past, I have used two different methods for edging detached elements with gold wire/thread.  The first method was on the Flying Fishclass I undertook with Avril Ambrose De Haviland. Here we used No 2 Gilt Pearl Purl.

 I also incorporated this method in my patterns - Jacobean Tulips and  Bird of Paradise, as well as these little brooches.

The second method was on the Persian Peony Tile class with Jane Nicholas. 

With this method the petals are made firstly by stitching button hole over fine covered wire to create the edge of the petal and then filling the centre of the petal as you would for conventional stumpwork detached elements.  Gold passing thread is then attached to the buttonhole edge using clear monofilament thread.

I finally decided to use the method used in the Flying Fish.  It is much quicker to stitch and gives a distinct gold outline.

Tomorrow I will show you how it is done!

New Year = New Projects

Happy new year to all.

My resolution for the year is to laugh more, stitch more and spend more time with friends and family (luckily most of my friends are also avid embroiderer’s and quilters!).

I managed to fulfil one of my holiday commitments – Finish off my Jane Nicholas project, Persian Peony Tile. 

I thoroughly enjoyed stitching this project, not just for the beauty of it but because it provided many of the elements I look for in a project i.e. new and varied techniques, the use of a variety of threads, wires and embellishments, and a challenge. 

The finished piece measures 16.5 cm (6 ½ “) by 11 cm (4 ¼ “).

Over the holidays, we had my two step daughters with us for 2 weeks, so there wasn’t much stitching going on and I was starting to feel withdrawal symptoms.

While I was stitching my Persian Tile, I was thinking about my next project and itching to get started.  And the perfect day dawned – a very wet rainy day – perfect for being indoors with needle and thread.  So today I began my new project – On Golden Pond.  But more about that tomorrow.

Before I leave this post I wanted to respond to a comment left by Carol-Anne Conway in relation to couching Or Nué style.  Thank you for the insight into the goldwork couching in Karahana.  I was very interested to read how you untwist and retwist the imitaltion jap when you turn the sharp corners.  I have not used this technique for turning or seen it mentioned in my goldwork books or come across it in any classes.  I will certainly give it a go in a future project.  Unfortunately, I don’t think this technique would be possible with the gilt passing thread as the gilt wire is very fine and very closely wound around the cotton core so it is quite stiff. As you have said, the flattened nature of the gold wrapping of the Jap makes it flexible and lends itself better to untwisting along the length of the thread.

I untwisted some of the Kreinik Imitation Jap No 7 (on the left),and gilt passing thread (centre) and placed them next to a single strand of Au Ver A Soie D’Alger (on the right).  I only included the Soie D’Alger to give an idea of the thickness of the other threads.  I hope the picture shows how these two gold threads differ in materials and thickness.

PS This piece will measure approx 7cm (2 3/4") by 15cm (6") when completed.

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.