Gold n' Stitches

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.

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.
 

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

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!

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.

 

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.

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.