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Posts Tagged ‘raised embroidery’

Despite the lack of space, the peas have fitted in nicely and don’t look too squashed or too small. I started with rows of variegated brown feather stitch ‘pea sticks’ and added the stalks over the top in whipped back stitch.

The peas are two straight stitches which start side by side at the top and go into the same hole at the bottom to give a point. I’m always up for some ‘plein air stitching’ and started adding them on a trip to Lincoln to meet up with Karen (Lincs in Stitches).

Once the peas were nicely spaced over the stalks, I finished them off with a trio of tiny straight stitches in a single strand of stranded cotton to create the calyxes. Next I need to find some 2mm silk ribbon for the leaves.

I know it’s not really the best idea to start yet another project when there are other things on the go and especially when I’ve not made any progress on my June AND July Move It On Project, but I need something straightforward to stitch while I’m out and about and Ruskin lace definitely does not come into that category. The Ruskin lace is to go into a 2015 holiday journal which needs some other stitching doing for it, including a version of the wallpaper in John Ruskin’s study at Brantwood, near Coniston.

It’s quite light and modern for a Victorian wallpaper and I particularly liked the motif with stars on the right so I chose it as one of the pieces to stitch for the journal.

I originally planned to do it in applique, but when I came to look at the design I’d printed out ready to go, it was clear that the stems were going to be far too narrow, so I’ve revised my idea and it will all be embroidered. We were up in the Lakes for the weekend a couple of weeks ago and as we visited Coniston, it seemed appropriate to start the stitching there.

The lines will be in split stitch to give the right sort of width and each leaf will also be outlined in split stitch and then satin stitched over. Nice and straightforward, easy to take out and about and it’s still moving old projects on.

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The last time I posted an update on the progress of my stumpwork garden I’d just started feathering the carrot tops and it looked like this:

You can see more cauliflower leaves taking shape behind but I still wasn’t sure about the rather flat looking curds on the one I’d stitched. In the end I did take it out and restitched it with the other two in a thicker thread and varying the number of wraps in the French knots to give it a lumpier texture. I also gave them a bit of a wash with some Inktense blocks to add shading and a creamier colour.

Then a patch of ‘leafy greens’ in woven picots. The main problem I’m having with this version of the garden is that I’ve stitched it a lot bigger than the original, so in a lot of cases the veg has to be scaled up not only by making bigger stitches but also by using heavier weight threads. These picots are stitched using a 4 stranded cotton from 21st Century Yarns which is thicker and more tightly twisted than a standard 6-strand but unfortunately it was an oddment and as I don’t have any more of the same colour, this is a solitary clump!

With lettuces, strawberries, and peas still yet to add, I realised I’m fast running out of room!

Lettuces next, created by nesting bullion knots stitched in all six strands of a variegated DMC thread. I was pleasantly surprised at how neatly they worked up as I find the separate strands of stranded cotton tend to shift when you make the wraps and make the knots look untidy, but these aren’t bad at all! You can also just see in the top left corner the extra patch of leafy greens I put in by the cauliflowers to fill a space.

These are worked in a slightly loose perle-type thread which has given them a rougher more natural texture.

Garden so far. They might have to be very small patches of strawberries and peas!

And a confession. You may have been wondering where my progress report was on the Ruskin Lace I chose as my Move It On Project piece for June. Well…not only have I been busy (as ever), and it’s definitely not a piece to take out and about as it required absolute concentration, but to be perfectly honest, I am still completely paralysed by the thought of moving it on. So, I’ve decided to carry it on as July’s project. Hopefully when term ends I will get some days back where I can sit down, re-read the instructions and get stuck in. That’s the plan…

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Well, the lonely courgette now has some friends and as they are almost big enough to be called marrows, I left the flowers off.

I used the same interfacing backed painted cotton for the leaves as I did for the original stumpwork garden and the same method, which has scaled up very satisfactorily.

Next, I added big blowsy cabbages in a 1cm wide bluey-green silk ribbon. I made sure I worked the woven spider’s web stitches nice and loosely and let the ribbon twist and bend to give a more natural look to the leaves.

Lastly, a patch of radishes. As this garden is about three times the size of the original I needed to enlarge the original tiny line of detached chain stitch pairs. This time I gave the radishes at least four leaves each and increased the weight of the leaves by using a thicker thread and nesting one detached chain stitch inside another. I gave each one a little pink base to the leaf stalk to hint at the crunchy pink radish growing just under the surface.

To give an idea of how much bigger I’m working, here is the garden so far side by side with the original version. The hoop is 6 inches in diameter – this is practically enormous for me!

As it’s the end of the month, time for the update on May’s Move It On Project. Unfortunately I didn’t get as far as I had hoped with the Casalguidi work, although for a nice reason this time. Last week was half term, so we’ve had a lovely family holiday in Northumberland and all the stitching I did was to go in my holiday journal. But the overcast trailing is finished and more importantly, I have a book I can use for the flowers when I pick it up again.

June’s Move It On project is well out of my comfort zone. I’ve seen and admired a lot of Ruskin Lace during our holidays in the Lake District and for our holiday in 2015 I created a very ambitious altered book/holiday journal which I still haven’t finished! One of the things I wanted to stitch for it was a Ruskin lace sample.

I bought myself a Ruskin Lace book but after reading the first chapter, I bottled out big time. I hate the thought of cutting, withdrawing and weaving threads back into a piece of stitching and these are core skills for this type of embroidery. But I also hate the thought that it’s getting the better of me and recently managed to get as far as hemming a piece of linen following the instructions in the book before I gave up again. I’m determined to move the 2015 journal on and I’m hoping that once I’ve got my head round the cutting threads bit, the needlelace element should be more enjoyable.

This is where I am at the moment, cutting threads to form an internal border.

I’m using some of the linen I usually use for pulled thread work and am a bit worried that it’s going to be too open, but that’s what the Move It On Project is designed for. If it works, then that’s great – if it doesn’t, I’ll have learned useful lessons. Fingers crossed.

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This month’s Move It on Project is a sample I started at a Casalguidi workshop for what was then Scunthorpe branch of the Embroiderers’ Guild back in May 2017. We ordered one of the Guild’s folios on the subject to have a look at some examples…

…and then started on our own samples which we could use to make the front of a little pouch or lavender bag. All traditional Casalguidi embroidery is worked on top of a background of four-sided stitch and that was my starting point. I have a bit of a mental block where this stitch is concerned. I have to really concentrate to work it with the stitches in the same order because if you don’t the stitches lay differently. But I persevered and from this, which is all I managed to stitch in the workshop:

…by the following August, eleven months later (!) I had finally managed to complete the background panel. Now time for the more interesting part of the design.

But in the end it took until April 2019 before I got round to adding some stem stitch bands.

Then I started the trailing overcast stitch, working over a bundle of stranded threads and simply meandering across the panel.

To say it’s effectively a very narrow padded satin stitch, it’s surprisingly difficult to keep neat and even.

So that’s where I am at the start of this month. I plan to finish the overcast trailing, add some needlewoven bars and picots for leaves and smaller flowers and perhaps make one of the big statement needlelace flowers if I can find some instructions. A quick look for online Casalguidi tutorials seems to mainly focus on the big raised stem stitch bands so that might be a bit more of a challenge.

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With this month’s Move It On project safely put to bed, I’ve been able to think about other things, including a piece inspired partly by a recent trip to Withernsea beach which always turns up some interesting beachcombed treasures, and partly by some recent images that caught my attention on Pinterest of densely encrusted stitching around seashells.

I rediscovered a fabulous piece of silk matka which looks like a hessian sack but feels like velvet, some scraps of organza to add subtle shading to the background and some assorted shells and literally started to doodle in stitch.

I had an odd pony bead and I knew I wanted to cover it in stem stitch band like one I did for the North Cornwall Wallhanging. I used a much thicker thread for this one but it still has the sea urchin sort of look that I was looking for. The raised cup stitch that was so successful as poppies on the Harvest Wreath was a complete disaster here, so I filled them with seed beads and started to surround them with French knots to try and blend them in.

Next I added feather, threaded chain and Palestrina stitches over the strips of organza to hold them down and continued to build up the French knots and add some little mottled sandy coloured beads.

I love the depth and texture of the stitching.

More French knots interspersed with bullions and pearl beads. I liked the shaded effect on the needleweaving on the left from the variegated silk threads I was using so I added some more of those.

Finally finished. Well, in the end I had to tell myself to put down the needle and walk away. With this sort of free form stitching it’s so tempting to just add another dozen French knots or another seaweedy frond. The hardest thing is knowing when to stop!

I finished the Mothers’ Day card in good time too and am told it went down very well with the recipient. Despite my best efforts the the tea bags did shred a bit and the whole thing had to be restabilised by stuffing scraps of Bondaweb under the flapping areas and ironing carefully. You can see some spidery areas of glue but it’s less obvious in real life and was much better than having bits dropping off!

Next job is to decide on April’s Move It On Project and I’m torn between revisiting an existing project or starting a kit that’s been hanging around for a while and of course, also needs moving on.

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Much to my surprise and delight, the Chihuly chandelier is working! I’ve not done very much more as there have been a lot of other time-sensitive things this week, but all of a sudden, I can see my way clear. I realised that the edges of the ‘frilly plates’ were quite pointy-looking, like the points of the spokes of the back-stitched spider’s webs, so I’m not filling the spokes completely to echo this.

I’m so pleased with the way its coming together that I’m slightly resentful that other things have kept me away from it and also rather sheepish that it stalled for so long in the first place…

A couple of weeks ago I blogged about this underwater scene which I’d stitched onto dyed pelmet vilene and set into a silver Victorian coin brooch. I just felt the seaweed was a bit flat on its own and it needed a bit of something else.

One of the ideas I threw out was to add a silver fish and the more I thought about it, the more it felt like the answer. I had some tiny offcuts of textured eco-silver left over from the band of a ring I’d created when I did my silversmithing course back in 2013.

The right hand side of the bottom piece already looked a bit like a fish, so I used that line as a starting point and I carefully cut my fish shape out.

I filed, polished and refined it and added a simple drilled hole for an eye.

I realised that it needed to go behind at least some of the seaweed, so I took out one of the lines of feather stitch, put the fish in place and stitched the feather stitch back over the top.

I also added another line of Palestrina stitch in Sylko thread to hold the tail down before setting it in the brooch.

There was a little tube on the back of the brooch and it occurred to me that if I could get a jump ring through it, then I could make it transform into a pendant as well which would give it twice the opportunity to be worn. In the end it needed two jump rings, but I think they work well as a bale and a silver chain completes the transformation.

Unfortunately this weekend hasn’t been the best time to take decent photographs of it!

This is going to be a piece that will be very hard to part with and it was so good to get back to the silversmithing again. I’ve called it the ‘Silver Darling’ and it’s in my Etsy shop here.

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It’s been slow and very steady but I’ve made a start on February’s Move It On Project! One of the ideas I’d had for representing the fluted plates of the chandelier was to crochet miniature circles in some wonderful Mulberry silk thread that I’ve been saving for a special occasion with one of my collection of tiny Victorian steel crochet hooks.

As I was making a prototype and wasn’t really sure if it would work or not, I ended up using a coton a broder rather than potentially damaging the precious silks. I made a simple chain ring and then added rounds of double crochet, finishing with little chain picots and it worked!

Happy that crochet circles were going to work for the 3D element of the chandelier, I went back to thinking about what I wanted for the surface stitching. Initially I was thinking about using woven spiders web stitches, but when I looked more carefully at the fluted circles, I realised they are quite heavily ridged.

So more like a back stitched spiders’ web. And there is the added advantage that you can work partial back stitched spider’s webs, which would work for the elements that are side on. The crochet circle isn’t in the final position, just there for scale.

It all looks a bit sparse and not very flamboyantly Chihuly at the moment, but the most important thing for me is that it’s a start.

Most of the rest of my stitching this week has been very uninteresting. Needlelace samples for a workshop and trying to put together kits for the Ribbon Rose brooches which at the moment just looks like a pile of papers and boxes!

But I have finished a couple of pieces of upcycled jewellery. First is a lovely pair of broken vintage Mexican silver clip on earrings which had had the clips sheared off. I filed the rough edges away and then drilled a couple of holes in the top of the silver settings and attached a pair of new silver earhooks. They can be found here in my Etsy shop.

Then I removed the mechanism from a lovely single 1950s French jet (black glass) clip on earring and combined it with a vintage 1970s stainless steel ring blank to make what I think is a very elegant cocktail ring. The facets really make it glitter when it catches the light. It’s here in my Etsy shop.

I’ve also turned some lovely vintage teddy bear buttons into stud earrings.

They may be a bit battered and worn but I think they are still very cute!

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Last week, I was at a bit of a standstill with the print to stitch medieval tiles piece which I’ve chosen as January’s Move It On Project having completely run out of thread that was anywhere near close. However, thanks to Debbie who has an affinity for these lovely warm autumnal shades and a huge collection of appropriately coloured threads, I now have a bobbin of the right coloured stranded cotton and no excuse not to move things on! I finished off the tile I was stitching in the darker thread and as it’s the outer ring of stitching, I don’t think it looks out of place.

I was also toying with the idea of giving up on the spiral kantha and going back to seeding for the back ground of the last three tiles but having trialled it, it looked odd, so I’ve continued with the kantha and now completed four out of the six tiles.

The beauty of this piece is more in the way it feels with the wool felt backing and the dense stitching than the way it looks, so I’ve been working on my Hungarian Braided Chain Stitch harvest wreath, which is a bit prettier! Last time I shared it back in October, I was most of the way through adding the Raised Cup Stitch poppy flowers.

I’ve since finished them and given them all French knot middles.

So next I’m adding some leaves, using a free form of fly stitch which I’m stitching back into to fatten up parts of the leaf. It’s a slow job, working in a single strand of stranded cotton, but I think the wreath needs it for balance.

Lastly I’ve added a new Flotsam pendant to my Etsy Shop.

It’s a lightweight and easy to wear combination of Suffolk driftwood, Seaham sea glass and a lovely chunk of beach pottery and comes with a new faux leather thong with a sterling silver clasp.

Available here in my Etsy shop.

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The other day I wondered to myself, as you do; what if I worked Raised Stem Stitch Band in a spiral? I think this came from something I’d seen on Instagram but when I went looking I couldn’t find anything so it was time to experiment. I’m sure there are probably a handful of tutorials on YouTube but it was good to work something out independently. I started with a sketched spiral and a thick bundle of grey perle a little longer than the spiral to give me room to plunge and finish off the ends.

I used the same grey perle to couch the bundle down.

So far, so good. The thread was rather wavy from having been in a plait for donkey’s years but the couching controlled it effectively. At this point I was quite surprised at how easily and neatly it formed the spiral and even plunging all the ends in the centre wasn’t as difficult as I expected.

For the stem stitch, I chose a Stef Francis coton a broder thread in subtly variegated shades of orange.

I love the way stem band works up and the slightly corded coton a broder gives a beautiful texture to the stitches.

I was pleased with the coverage of the grey as well, having remembered a bit too late that the padding sometimes can show through, and the way the edges of the spiral have become three-dimensional.

It started out as a ‘what if’ experiment but now there was only one way to go… Meet Dylan the Psychedelic Snail.

His body is outlined in back stitch which was the foundation for his Corded Brussels stitch needlelace body in this fabulous rainbow thread.

Couched down green chenille gave him a bit of grass to slither over and his antennae are short lines of split stitch topped with French knots.

He’s adorable, even if I do say so myself, and a really nice project on which to practise some fairly straightforward stumpwork and needle lace stitches so I’ve added him to the workshops I offer – just click on the Workshops tab at the top to see the full list.

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As you can see if you go to the In The Stitch Zone tab at the top of this page, we’re back!

The first session last week worked very well and it was lovely to see so many people returning after so long. The room is airy despite having no external windows and we were able to spread out quite well while we caught up and experimented with some Rhodes Stitch hearts and butterflies.

This week I’ve been playing with samples for our Hungarian Braided Chain Stitch workshop. It’s been a new stitch to me this year and I’ve utilised it in a number of different pieces and with a variety of different threads. I decided to try working it in a circle for the first two samples and use perle, which seems to have been the most successful type of thread and I find gives the best definition of the lovely braid effect.

First a very heavy vintage green perle. The braid was good, but I struggled to join the ends of the wreath and I really wasn’t happy with the messy join at the bottom.

It was giving me serious Christmas vibes at this point so I wondered what would happen if I added straight stitches around the inside and outside to make it look like fir branches.

Much more successful than I hoped and even better, it disguised the horrible join! Next tiny gold beads…

…and a bow.

The second wreath used a variegated lighter weight perle (8) that reminded me of autumn wheat fields.

The join isn’t quite as bad on this one but it’s still lumpy and I really need to think of a better way to manage it. As the braid starts with a vertical straight stitch, and continually needs a chain put into the working end to fill out the pattern, it’s quite tricky to join up.

At this point it suddenly occurred to me that if you extended the initial stitch, short sections might make rather effective bull rushes. I put the wreath aside and this happened:

So yes, they do! Back to the wreath.

The harvest colours made me think about wrapping it in poppies. I used split stitch for the stems and then another new stitch to me – Raised Cup Stitch – for the poppy heads with French knot middles.

I had been thinking about something along the line of Rosette or Oyster stitch for the flowers but I much prefer this more raised effect. The flowers are created by literally tying knots around a base formed from three stitches in a triangle as you can see on the right. They are very forgiving if you can’t quite see where to put the knots which suits me perfectly!

I may add some little stalks of wheat in among the poppies too but just a few so I don’t lose the braided effect of the wreath.

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