I’ve only just realised you’ve not seen the finishing of Evelyn Rose – I wrote the post then didn’t schedule it!
The glint of the gauze shows up particularly well in this photograph of the rose, and you can see, too, the various different silk threads I’ve used to get the effect and shade I wanted. Tricky, because I didn’t want a naturalistic, Redouté-style rose, but – because, as I said, they don’t work with stems – I didn’t want a canal-art style rose, either. I think I got it right, and I’m rather pleased!
This slightly “stencilled” type of leaf helps to keep the balance between “naturalistic” and “stylised”. It also provides an opportunity for some rather striking shadows when the light is right, and I was delighted, throughout the stitching, to have moments like this, when it became clear that the idea was going to work just as I had hoped!
I knew that Evelyn’s father, in particular, would be very disappointed if he discovered later about my usual Morse Code signature, and I hadn’t done it for Evelyn, but making it small enough, and neat enough, and showing the stitches at the back as little as possible, was a little tricky. I twisted together several colours to get a fine, caterpillary thread, and worked my stitches as close to the stem as I could get them. In real life, it’s very hard to see my signature, but I promise you, it’s there!
The next challenge was to mount it. All this was happening only just pre-lockdown, so I went to see my wonderful framer, who goes by the (entirely deserved) name of Framing Genius. Between us, we came up with a way to create a sort of “sealed unit” of the embroidery and the mounts, so that I could post it overseas to our friends, who would then have something displayable until they can find a framer when such things are possible again.
Now, the next post in SlowTV Stitchery is now live – Episode Eighteen – on the desirability of imperfection and the likeness of mathematicians to cats!
I decided to understitch all the elements, and then concentrate on the rose, stem and leaves.
However, in this photo, you can see not only the finished rose on its stem, but also the understitched lettering, and the beginning of the effect I want, with the sunlight casting a shadow through the gauze to the surface beneath.
Then I had to decide how to stitch the top layer of the lettering.
I took a photocopy of my painted design in black and white, printed it out twice, fished out a white gel pen, and began to experiment with stitch direction. I decided that the constantly changing angles of the slanting version would end up terribly “busy”.
So, horizontal it is, then. And I’m using Japanese Flat Silk, which at least makes the satin stitch easier to make work!
And while you think about how that is going to go – Episode Nine of SlowTVStitchery is now up, in which the first edge is reached, and it is agreed that the sight of colours against gold is worth getting up for!! Happy watching, happy stitching, and stay safe.
I found a gauze with a slight glint to it, stretched it on my frame and drew the design on to it. And at this point, the primary challenge I was going to face made itself felt – finding the angle from which to see the lines on the fabric, so that I could do the stitching. Add in the glint on the fabric, and sometimes I could see the lines, sometimes I could see the fabric, and sometimes I wasn’t sure I could see either… I knew it would be this difficult, by the way, but I thought the end result would be worth it!
The stitching is going to be very simple, mainly satin stitch (yes, I know!) because the main characteristic I want here is the magical effect of the embroidery floating above the backing surface.
Obviously, the first thing to do was to outline every element. I’m using a mixture of silk thread, some vintage, and some from Thistle Threads courses.
So here you are – all outlined, and the thorns already in place on the stem. You can see the fabric I have over my worktable through the gauze in this picture, and you can see that glint in the sunshine as well.
The next episode of SlowTV Stitchery – Episode Seven – is now up. It explains why “Slow TV Stitchery” and offers memories of an astronaut. I hope you enjoy it.
Earlier this year a dear friend and his wife produced a baby girl, who they’ve named Evelyn Rose. We were, of course, thrilled for them, and sent many congratulations, and even managed to speak to them (they’re in a different time zone). During that conversation, they said, “We love what you do, and we’d love you to do something for Evelyn!”.
Well, I didn’t have another commission looming, and the Faience Necklace wasn’t framed up ready to go yet, so that fell very pat. I asked what they had in mind, and this is the sketch that came back.
That gave us a lot to think and talk about. I played with a variety of typefaces, and finally settled on a cursive style. Then I thought about roses. My first thought was stylised canal art roses, but they never have stems, so I thought some more. Unusually for me, at this point I got out my paints, found some photos of roses, and started experimenting with simplifying them and really understanding the forms of them and the way the petals fold.
I ended up with this basic design – the name in an elegant cursive font, and the “l” replaced by a single stemmed half-open rose. Then I thought of the embroidery on gauze I experimented with a few years ago. It seemed to me that this was a perfect opportunity to play with this technique, and it has the advantage of producing something sufficiently grown up that in 20 years time, Evelyn probably won’t be embarrassed to have it on show…
Episode Six of “Slow TV Stitchery” is now up. Please take a look, and ask me any questions that occur to you…