Gold n' Stitches

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 (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

Christmas Holly Stumpwork - Free Pattern

I have been busily stitching Christmas bits and pieces.  Here is one that I thought I would share with you.

Golden Holly Stumpwork (Part 1)

You will need:

Materials:

• DMC Stranded Cotton 666 986 988
• 1 metre Gilt No 1 Twist
• 3 red pony beads
• 2 pieces green 30 gauge covered wire
• 10 3mm flat gold sequins
• 5cm gilt No 6 rough purl/No 6 bright check
• 15-20cm (6-8”) square green cotton fabric
• 15-20cm (6-8”) square black or royal blue dupion silk
• 15-20cm (6-8”) square quilters muslin/calico
• 9cm Round satin covered

box in black or blue

Other Requirements:

 10cm hoop (4”)
Size 10 crewel needles
Size 18 chenille needle
Size 16 chenille needle
Thread for couching eg Matilda’s Own Daruma Silk 149, Gutermann polyester sewing thread 968
Transfer paper
Stylus or spent pen
Small sharp scissors
Bees wax (optional)
Sticky tape (I prefer Scotch™ Magic Tape)

Pattern - Download Christmas Holly Stumpwork Pattern

Getting Started

Here is the first part of the instructions:

Detached Holly Leaves

A size 10 crewel needle and a single strand of thread are used throughout unless otherwise indicated.

Place the green cotton fabric into the hoop and tighten until drum tight.

Trace the detached leaf patterns onto your tracing paper/ baking paper.

Transfer the detached leaves to the fabric by placing the tracing paper over your fabric and then slip the transfer paper, coloured side down, between the fabric and the tracing paper.  Tape in place if desired.  Place a support underneath your hoop to give a firm surface to work on.   Using the stylus, trace over the leaf designs.

Starting at the tip of the leaf, couch the green covered wire along the centre vein of the leaf.  Turn at the base of the leaf and couch the wire around the outline of the leaf. When you reach the base of the leaf, make a couching stitch over both wires and leave a 2.5 cm (1”) tail.

 
   

Using DMC 986, embroider over the wire with buttonhole stitch around the outline of the leaf only.  Start with a chain stitch - bring the needle up on the inside of the wire shape and take it down in the same place forming a loop with the thread.  Come up on the outside of the wire bringing the needle up through the loop.  Continue in buttonhole stitch - take the needle down on the inside of the wire shape and up on the outside of the wire and through the loop. 

 

 

 

Overcast stitch over the wire along the centre vein.

Fill the leaf with padded satin stitch, using DMC 986 on the darkest side of the leaf and DMC 988 with the other side.

When all leaves have been completed, carefully cut out the leaves and set aside.