Tag: Goldwork


Finishing the Golden Accessories

The Acorn finished as a little ornamental pad edged with Russian Braid.
The honeysuckle finished into a pad edged with Russian Braid.
The Pansy finished as a pad, edged with Silk Serpentine Gimp.

Since I made the mistake of losing the fabric and then picking a fabric of the wrong count, and what’s more, when I looked at the finished pieces they were none of them even the same proportion, I decided to abandon all thought of turning them into accessories for a workbox I don’t have, and just made little pads, backed with silk and edged with pretty braids from Thistle Threads. The two outer ones are Russian Braid, and the inner one – the last and largest – is in Silk Serpentine Gimp.

The pads are made using two heavy pieces of pelmet vilene, or something similar. I tacked the silk on as if it were English paper piecing, but the linen I sewed in place on the inside. Then caught back and front together with overstitching, and then went round again, attaching the braids. Someone on better terms with glue might have risked using it, but I am not that person!

All three pads sitting on a golden velvet cushion

They are now propped up inside the parlour dome with the other Online University pieces, and sit on a coffee table in the living room. I am slightly astonished that no one who’s visited us since I set it up has ever commented on the dazzling intricacies on display, but then, maybe they’re enjoying the conversation too much?

Golden Accessories – Pansy

A whole reel of silk lying on top of the half-stitched background of the pansy

The Pansy continued apace, with only one alarming period when I thought the small amount on the card was all I had left to finish the dark green.

Then I found an entire full reel, gleaming at me from the bottom of the project box.

I was greatly relieved, to say the least!

Next, however, on to the gold and silver.

Pansy in tent stitch with gold and silver strapwork on a dark green ground.

Some of this echoes the other two, and was fairly easy to put in place – reverse chain stitch in the narrow sections. I learnt from last time, however, and this time I put the silver strapwork panels in before the gold, which was again Ceylon Stitch.

The silver was reverse chain stitch with buttonhole edging – so it’s the stitch I used for the titles on the Map of Amarna and the View of the Excavation. Nicely familiar, and very satisfying – but also very much easier without the Ceylon Stitch in place. Next time I will try to think through the order of my stitching!

Comparing sizes - the pansy is bigger than the acorn piece!

However….

It turns out that when I fished out a piece of linen to do the last of these pieces, I didn’t check it very well. The stitches are markedly bigger, and more spread out.

Next time, Rachel, take the time to count the threads!

Starting the Pansy (Golden Accessories)

Starting the pansy design

To begin with, the Pansy design of the Golden Accessories went much better than I feared.

In some lights the colours of the pansy are much closter than in others, making progress quite slow until I worked out which combination of lighting to use. But the petal shapes are simple enough, and although the weave is fine enough that I keep mistrusting my counting, I am also reminding myself that it doesn’t actually matter too much if the patterning on the petals aren’t exactly as charted. I shan’t be showing people the chart when I show them the pieces, and besides, if they go in the parlour dome, it’s fair to assume any onlookers will be too dazzled to pick up any oddities!

Section of green stitching around the pansy and inside the strapwork now in place

I’ve also learnt from last time.

Last time, I tried to outline the strapwork sections with tacking stitches, so that I could stitch without counting. That didn’t work – I actually misplaced the tacking stitches and had to count anyway. Grrr.

So, this time, I counted out from one point, and then followed the chart to outline, in one row of tent stitch, all the internal edges of the strapwork, and then went back to fill in the gap.

Well, that worked pretty well so it seemed reasonable to assume I could do something similar for the outside.

The Pansy, tent stitch not yet complete, because I was afraid what you see on the card was all I had left. Then I found a whole reel!

Which I could – except, do you see the card with the silk wrapped around it?

When I got to the point I pictured, I had got down to just that bit left, and was contemplating switching to half cross stitch, which has neither coverage nor any real cohesion, in a forlorn attempt not to run out.

Then I looked in the project box and discovered I have an entire reel as yet unstarted!

Phew.

More on the Golden Accessories (honeysuckle)

The honeysuckle motif, green background completed, and first element of the strapwork in place

So, where had we got to…?

Ah, yes. Spiral trellis stitch in silk for the centre of the honeysuckle flower, and then the outermost narrow band of the strapwork in gold reverse chain stitch. Straightforward enough, you’d say.

Well, yes, but I’m out of practice with gold threads and these sort of stitches, and the whole thing involved more contortions than I thought possible. There are also , I think, a few places where I had to undo and re-do the green background, where I haven’t tidied up the back or held fast the stitches quite as well as I should have done. We’ll see how the whole thing survives…!

The honeysuckle piece again, with Ceylon Stitch in gold added to the strapwork.

The next was gold thread again, and Ceylon Stitch. There’s only space for two columns of the “chain stitch” effect in each strap, so everything is quite tight and compressed.

I’m struggling quite a bit with the Japanese needle and the fragile gold thread here. I’m sure I became more at ease with it when I was doing more of the Tudor and Stuart style, so I’m going to just continue. From any reasonable viewing distance, the breaks shouldn’t be obvious, and in truth, at this point, I just want these finished and added to the heap in the parlour dome!

All stitching in place

Finally, the strapwork is completed with plaited braid stitch in silver. And if I’ve said the gold was fragile, the silver was even more so – as in fact I commented, a decade or so. As I said, my suspicion is that this relates to atmospheric conditions while the thread was being made. It’s not helped by the fact that, even after a few inches of revision stitching, Plaited Braid Stitch has left my muscle memory and every twist and turn was hard-won.

I still like the look of it, though!

Found and to be finished

Tudor-inspired octagonal design of an Acorn surrounded by gold and silver strapwork

Very long term readers may recall that over a decade ago, I was working on some additional designs from the Tudor and Stuart Goldwork course, became thoroughly fed up with them, and shoved them in a dark corner until my good temper returned.

It’s taken a while…

Anyway, I’ve found them again, and while the Parterre Knotwork is being difficult, the Amarna finish-work is being difficult, and Aethelflaed is being difficult, I thought I would see whether my good temper had returned, and I could get them finished.

Tudor style design of a honeysuckle sprig surrounded by dark green tent stitch. There are furry bits of unpicking and knots of thread starting all around, and the green isn't yet all in place.

The Acorn was completed – some time in 2012, apparently, and I’d started on the tent stitch for the Honeysuckle, and found myself with some miscounting and unpicking, which I think may have contributed to the loss of temper.

So the first thing to do was to finish all that tiny dark green tent stitch. In fact what you see here was some considerable way into the process – almost all the right side outside the strapwork gaps is new – but with my new-since-I-started working light with magnifier, and my working spectacles, it actually went rather better than a decade ago.

The same honeysuckle motif, green background completed, and first element of the strapwork in place

The first addition was silk Spiral Trellis for the centre of the flower – I enjoyed that, even though it’s so tiny. So now I can start on the gold and silver strapwork!

First up is reverse chain stitch, which was a relatively easy way in. I like the stitch, and find it useful, so it’s familiar. The round-eyed Japanese needles are less so, and I struggle to thread them, but they were such a feature of the Online University courses that I feel I should persevere with them.

Another decision to make!

A picture of a small panel of underside couching in silver.

Underside couching, I’ve decided, is rather like satin stitch. In concept it is simple, not to say obvious. The execution, accurately and aesthetically, is very much less so!

I had intended to use the gold thread left over from the Amarna Family Group as my thread for William’s background, in the interests of economy, if nothing else, but then I had advice from Tanya Bentham and others, to at least try the Smooth Passing, which might for a multitude of reasons behave rather better.

The first practice block of underside couching has been joined by a second in a lighter shade of silver.

So here you see the second practice block started, again using silver, but this time smooth passing thread.

The passing thread is, as suggested, much pleasanter to use, and creates a smoother and less shadowed surface, which in turn, I think, should help the pattern I intend to use. Which, you may note, I’ve not yet got around to practicing!

However, that brings me to my decision. I do not think that I can be certain that the spool of Gold Smooth Passing I have left over from a Thistle Threads project will finish the job, so I shall have to buy some smooth passing. And it turns out that Gold comes in more than one shade!

William Marshall, as far as he has gone, with two differently coloured spools of gold thread on top.

The decisions are never at an end, are they…

And since I’m working on pulling the Amarna pieces together properly at present, I can’t claim to be giving my whole mind to the decision-making!

Presentation for the Amarna Family Group

Photograph of the or nué of the Amarna Family Group presented over a gold cushion against the navy stela

You may recall that when I had finished the or nué I started to apply it to the stela and was very upset because it did not look at all right.

Oddly, it seemed to need backup, as it were. So I thought – Ancient Egypt, gold, let’s give it a gold cushion, as it were.

Only to be less than thrilled with the result. I will grant you that merely pinned in place and without smoothing out the “cushion”, it wasn’t going to look its best, but still..

It has been leering at me across the living room for some months now, and every time I’ve caught sight of it, my head has dropped.

But then I had a thought – maybe what I need to do is pull out the colours in the border.

So I bought a couple of metres of satin ribbon in decreasing sizes, and spent quite some time attaching them to one another down one edge.

This is the result, attached in a very off-hand fashion, to be stared at for a while..

I think it’s better.

The question is, is it Best?

Practice Beforehand

A knight on a bay horse approaches a castle. His shield is per pale gold and green, a lion rampant gules - the arms of William Marshall, 1st Earl of Pembroke. The border is blue, decorated with broom, dog roses, and crosses. All is rendered in silk.
The sky remains unstitched - it will be in gold underside couching.

The crosses in place, and the whole border looking very much like a Book of Hours, or at least, a rather tame Book of Hours, I sat back and drew breath.

Having got William and his border done, and being really very pleased with how he’s turned out, I now need to tackle the sky. And from the first, I have intended the sky to be in basketweave pattern underside couching, which is an entirely new technique to me.

Two long panels drawn on fabric and two short examples of basketweave pattern. There's a tube of silver ready to practice with.

Regular readers may have spotted that I only rarely practice beforehand, regardless of the technique, preferring to throw myself headlong into the novelty, mind concentrated by terror. The exception tends to be in goldwork, when an exception occurs, and indeed, I had some of the fabric stretched in a frame, ready to practice, well before I had got William to that stage of finishing. Mindful of the advice from Tanya Bentham’s Opus Anglicanum book, however, I decided not to try practicing while I was still working the silk. In winter it is hard enough to keep the hands from catching on silk without making it worse by using metal threads!

I’m using silver for my practice pieces. One could practice with silk, or pearl cotton, but they would both spread and cover any failure to keep the lines close. I think this silver is the same size as the gold I intend to use, so it will make a better practice material.

A first few rows of underside couching in silver, part of my practice piece.

It’s easy enough to understand the principle underlying underside couching, but there are all sorts of hazards, As always, I suspect that once the management of the thread becomes second nature, all the difficulties will fall away, but packing the thread closely without cramming, making sure the stitches lie happily on the surface, and stopping the couching thread (a sturdy linen, beeswaxed before use) from showing, are all proving challenging at present.

I am determined to practice this properly, so I’m going to do this inch-wide strip before even considering practicing the basketweave pattern.


Rose Hug
Rose Hug

I have been looking further at Ko-fi, and how it might be used as a shop front, at least for digital items, and as an experiment, I’ve uploaded the Hug For A Handbag instructions to my Ko-fi Shop as a free/pay what you feel download. If anyone would like to go through the process and tell me what it’s like, and give me the opportunity to see what happens from this side, I’d be very grateful!

Finally Displaying Tudor Trinkets!

As I forecast, I had a rather entertainingly messy time with plaster bandage and acrylic paint to create my Trinket Tree.

As you can see, foamcore, wire, crumpled paper and lots of tape were involved, as well as some tissue paper to vary the texture a little. Although I needn’t have worried – now the Trinket Tree is loaded, you can barely see it!

The results of several years of online embroidery classes in Tudor Embroidery, displayed under a glass dome.

At present it sits on the hall table – the table it is on for this photograph is where I stitch and usually covered with bits and pieces relating to the current task. Not a good place for a glass dome, although it fits so neatly over the trinket tree’s base, that it’s quite hard to knock adrift!

The Amarna Family Group May Be Finished!

Close up of goldwork, showing gold thread tacked into place.

Of course, as I was unpicking the seat, I had to unpick more than just the seat so that I could get to the stitches I needed to unpick (are you keeping up?!). I suppose I should have seen it coming, but the result was some rather uncontrolled gold thread flapping loose. I found myself becoming very afraid that I would end up crossing the gold thread, and that would never do!

So I found a nice, slippy machine thread and used it to tack down the thread in the middle of the unstitched area. I didn’t want to be too thorough, in case I ended up leaving gaps that weren’t there originally, but at the same time I had to control all the threads..

Finished panel depicting the Amarna Family Group

Reinstating the seat was actually rather less troubling than Akhenaten’s kilt, which required some extra thinking about, because of course pleats falling close together, and pleats opened a little as they curve around the body look rather different.

But this is now at the stage where I need to start considering how to mount it, which in turn means, I think, deciding how to assemble a velvet-covered stela. I may need some help…

Episode 55 of SlowTV Stitchery is now live, in which I declare a Year of Experiments, muse on lessons from The Camberwell, and consider the need to develop thread-wrangling techniques.

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