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Posts Tagged ‘sampler’

Apologies – March has been mad. Between trying to shake illness and most of my workshops and courses all coming at once, things have been crazy. So, to catch up!

The found objects plastic rings piece I blogged about back in February, came together like a dream. I wanted to use it as a sample piece for a Found Objects Workshop I taught at Hull Embroiderers’ Guild at the end of March. (There is a lovely post about the workshop on their Facebook page.) It was a lot of fun trying out different ways of attaching the rings, including lazy daisy stitch, sheaf stitch and chain stitch.

I finished it as a quiltlet, with a border of strip patchwork, which makes it nice and robust to handle.

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Love the indigo dyed back.

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I also taught a Beaded Oglala Stitch workshop with Brigg Allsorts (a local stitching group) the same week, so after having made a sampler of variants of the stitch…

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…I started another found objects piece I could use with both workshops as it combined Beaded Oglala with found objects. It worked surprisingly well as a method of attaching the vintage key and I’m very pleased with the effect.

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I had a fabulous time teaching the workshop with the ladies in Hull and they produced some lovely work.

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We also had a fantastic workshop ourselves at Scunthorpe Embroiderers’ Guild in February, doing Print to Stitch with Jan Dowson.

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Jan had made us some great kits with paisley shaped printing blocks in them as a main focus…

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…but I had a couple of my own stamps that I wanted to use as well. Medieval tile first.

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Then the paisley. We used acrylic paints and instead of rollering it onto the block, I dabbed random areas of paint to get a mottled effect.

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Jan had also put some pieces of compressed foam into the kits. You can cut them with scissors into any shape and then drop them into water to get a sponge printing block, which is how I got  the over-printed tear drop shapes inside the paisleys.

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Lastly I had a shell stamp from home to play with.

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I love the look of the paint on the stamps…

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…and on the palettes.

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Once we had our printed fabric…

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…time to stitch. The border of the paisleys was a perfect place for Pekinese Stitch. Rayon back stitch for a bit of shine, interlaced with all six strands of a variegated stranded cotton thread.

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I will try harder on here, honestly! It’s all Susan from Stitchery Stories‘ fault – she recommended I got myself onto Instagram and I have been properly sucked in. It is so much quicker when you are busy – or lazy!!

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That’s just my Kamal Kadai work! I did wonder a few weeks ago what would happen if I used a very tight tension on the needle weaving bit of the Kamal Kadai work and since I had a partly worked piece from the workshop, I decided to find out. This is what it looks like when you ensure the weaving isn’t pulled tight:

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And this is how it turns out when you pull each row up tightly:

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French knot middle in rayon thread. It’s the perfect colour, but behaved appallingly. I really hate rayon thread!

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I’ve also started a piece incorporating found objects – plastic rings of varying materials and ages – and fragments of fabric on a hand dyed indigo background.

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Exploring different ways of attaching the rings.

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It’s exercising my ingenuity and very gently pushing at the edges of my colour comfort zone. I still couldn’t bring myself to use a riot of every colour in the scrap bag but it isn’t just blues and aquas!

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After the rows of Ripple Stitch I moved on to Cobbler Filling. I love the little windows effect of this and its more geometric look was a good contrast to the more curvy stitch above.

Cobbler Filling

Next Reeded Stitch. This is one of the few pulled thread stitches I’ve used more than once and I am still yet to work it without a mistake!

Reeded Stitch

 

It’s not so much the counting but whether the double back stitch begins in the the same row as the vertical stitches before it, or the next row. I concentrated very carefully but alas, there is still an error. Even I struggle to find it, so I’m afraid, not being able to face taking down three rows of tightly pulled stitching, I left it.

Reeded Stitch close-up

 

Following the long waves of Reeded Stitch I wanted to do one of the Greek Cross Stitch Filling stitches. I really liked the way that you got not only little fat quatrefoil crosses, but also the impression of interlocking circles.

Greek Cross Filling

It was quite challenging in the weight of thread that I’d chosen to use and I think would generally work better in a heavier thread.

Greek Cross Filling close-up

 

And last, just to finish off, a simple row of Double Faggot Stitch. Each stitch is worked over twice, which helps to pull it in more tightly.

Double Faggot Stitch

All finished and very pleased with the result.

Pulled Thread sampler

I deliberated over how to finish the sampler and in the end trimmed off the frayed edges, sealed the newly cut edges with Modge Podge and simply laced it over a board to which I’d glued a piece of light brown velvet before handing it in at our Guild Meeting last Saturday, realising as I did so that I’d forgotten to take a photo of the finished article!

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Having finished the border for the pulled thread sampler…

Pulled thread sampler - border

…I started to fill it in with a selection of pulled thread stitches. First, Waffle Stitch:

Pulled thread sampler - waffle stitch

Using a single thread of stranded cotton pulls the scrim into lacy, open octagons. Next I wanted something a bit denser, so I chose Diagonal Cross Filling:

Pulled thread sampler - Diagonal Cross Filling

Close up you can see how the equal-armed crosses have been distorted by the tension.

Pulled thread sampler - Diagonal cross close-up

I really like the overall denseness of this pattern. Now for something completely different: Ripple Stitch, which is based on double back stitch (gives herringbone stitch on the wrong side).

Pulled thread sampler - Ripple Stitch

About half way finished. Another heavier stitch next, I think…

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Usually once I’ve finished a technique I want to do something else as far away from it as possible, but not so with the pulled thread. I think it’s because for the sea glass piece I was limited to ripply stitches and there were so many that I wanted to work that wouldn’t have fitted. But now I get my chance to showcase the must-haves!

This is the start of my new piece, which is an A5 sized sampler of the pulled thread embroidery technique for our exhibition on the summer.

Pulled thread sampler border 1

The stitch doesn’t have a name but is nine parallel diagonal satin stitch lines within a square, identical to canvas work cushion stitch, just pulled tightly.

Pulled thread sampler border 2

By the end of the day I’d managed to complete the border:

Pulled thread sampler border 3

And now for the fun bit of choosing the first stitch to showcase.

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