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Posts Tagged ‘double running stitch’

As I continued to stitch the Diagonal Raised Band I became less and less sure that it was right for the piece. It’s a lovely and relatively simple stitch to work as it’s based on diagonally placed cross stitches and the lacy background is beautiful, but in spite of all its good points, it still didn’t feel right.

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It was too stiff and just didn’t reflect the soft curves of the raked gravel cradling the Niijima Floats in the Zen Garden. So I finished it off…

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…and started stitching into some silk noil. It’s difficult to see as it’s double running stitch in cream silk thread on cream silk noil but it’s supposed to be a series of parallel channels like the rake lines.

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I planned to experiment with trapunto quilting by stuffing the stitched channels with thick wool. And to my delight, even though the only wool I could find in the right thickness was green, it worked!

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Stuffing the other channels which aren’t open at both ends has been an interesting task but with the help of a stiletto I managed to get this far.

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And with the transferred picture.

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Suddenly it works. The lines of trapunto quilting even almost match up with the lines of gravel (which was a complete accident). I’ve been fighting the pulled thread work all week but when the right technique falls into place it just comes together so easily that I actively want to stitch it instead of it being a chore.

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‘Pattern’ is the name of the Scunthorpe Embroiderers’ Guild exhibition, currently on at North Lincolnshire Museum. Those of us who took part all chose an object from the Museum’s collection and created a piece of embroidery in response.

When I went in January with four friends, we had an interesting discussion about the items we were drawn to and whether or not we should deliberately work out of our comfort zones and choose an object that didn’t appeal to us. There is definitely a time and a place for that, but I suspect that working on something with which I didn’t have a natural connection might have made it a bit of a chore. So unsurprisingly, I went Roman and chose my favourite thing in the whole museum: The Winterton Cup.

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The Winterton Cup is decorated with rows of enamelled squares on a copper alloy base. Some of the enamel has been lost, but the original pattern of diagonal rows of alternating yellow, red, blue and turquoise can still be made out.  Enamelling on metal is a technique found in the Romano-British tradition which carries on into the Roman period and the Cup is one of a small group of enamelled vessels which are apparently souvenirs brought back by soldiers from Hadrian’s Wall.

The squares immediately said reverse applique to me. I had some amazing silk which was hand dyed with natural dyes and a silk scarf dyed in dark blues with flashes of pink and gold which reminded me of the oxidised metal. I would do the stitching with my sewing machine and it would be a reasonably quick job. Famous last words…

I started by cutting a piece of tracing paper to the same size as the scarf and made a template for the size of squares I wanted so I could draw it all out life size. Then I cut out the hand dyed silks and began laying them in place.

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So far, so good.

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Very pleased with the result.

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Next to pin the scarf over the top, ready for the machining.

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This is where the photographs of the process stop. My beloved Frister and Rossmann decided that this was the one thing that it wasn’t going to stitch and ate the fabric instead. Once I had rescued the silk and managed to straighten out most of the chew marks, this left me with forty-eight squares to hand stitch round as well as attaching the other silk scarf I had chosen to back it with.

Let’s just say that there were a number of stupidly late nights before I got to this stage.

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I am happy with the concept – that is exactly what I initially envisaged, but the double running stitching really doesn’t bear close inspection (as you can see in the photo below – which is the closest I am prepared to show!) and I just didn’t have time to fray check the cut silk, so I am a bit disappointed with myself over all.

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Definitely better at a distance in one of the exhibition display cases.

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I love lemon verbena. The smell from the fresh crushed leaves never fails to lift my spirits and inhaling the aroma of fresh lemon verbena tea while you snuggle your hands around the mug is simply wonderful. Dried isn’t so good, but on holiday last year I bought a small packet of lemon verbena tea by the Cornish tea specialists Tregothnan. Somehow that also had to be incorporated into my journal!

The packet the tea bags came in was first up, and with an apt quote on the back as well as the elegant design on the front, I didn’t want to stick it in. I also love that scrap of tissue paper on the page behind, and didn’t want to cover that up either.

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Yet every page in this journal is needed to carry something, so I blanket stitched the edge of the packet to the edge of the page so it’s now a flap with access to both the quote and that lusciously foresty scrap of paper.

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Then the teabag. I wanted to stitch on one that I’d actually used, so I carefully dried it, slit the bottom to get the leaves out and then put a small piece of fabric inside to help stabilise it and give it a bit of weight. I found a single leaf shape cut from a piece of translucent green vintage fabric from something I did ages ago with fused fabric and that seemed perfect.

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Toning silk thread in simple zigzagged double running stitch to form the toothed edge of the leaf, with whipped running stitch veins and a bullion knot stem. Stitching through all layers, I wanted the back to be as neat as possible.

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The bottom was finished with a piece of silk ribbon and blanket stitch and it lives happily in the pocket created by its packet!

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This was so much fun to do!

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