Here's a little more progress on my current goldwork embroidery project! After outlining the turn-overs on the top petals with pearl purl, I turned my attention to the "bowl" underneath the body of the fruit, which I planned to fill with smooth passing thread. Since I've already covered stitching with smooth passing thread in a previous post, I'll not go into deep detail here on couching, but instead, I'll just show you how I went about filling the shape.

If you haven't read my earlier article on using smooth passing thread in goldwork projects, you may want to read that post before delving into this one. The techniques for couching and plunging threads are discussed in the earlier post.



To measure out the passing threads, I just took a good length of smooth passing thread and doubled it, knowing that I had plenty to cover the space. I should have measured it, but I didn't think of that until it was too late! The "bowl" at the base of the fruit is going to be filled from the outside in with the smooth passing thread, so I started on the left tip of the bowl, leaving a one-inch tail on my pair of threads. I began with my first couching stitch right inside where I would plunge the tails, and then...



... I couched the pair all the way around the bowl, following the contour of the shape. When I got back around to the start point, I moved inside the first pair of threads, to continue around the shape, filling it in.



In the "corners" of the shape (the area inside the circle in the photo above, where the arrow is pointing), I always stitched a couching stitch, pulling the passing thread into the corner to fill it. I pinched the threads with tweezers, and I couched them singly - that is, the outermost thread first (after pinching it) and then the innermost one (towards the inside of the bowl) next, pulling it in next to the first one.



As the shape narrowed, the pair of passing threads wouldn't fit into the corner, and so I plunged one and continued couching the other, folded to fit into the corner.



After passing the corner with the one remaining thread, I added a new passing thread to it, to make a pair again. For the new thread, I left a tail that had to be plunged. I plunged it after taking the first couple stitches over the new pair of threads, so that the tail was worked into the corner to make the layout of the threads as clear as possible for the next time I approached the corner. As the shape filled and the center area became smaller and smaller, it was more difficult to fit the threads in, but as much as possible, I kept on filling, plunging a thread when I needed to, and picking up a new thread.



The pinch of the passing threads in the corner, and the couching threads in the corners, and the plunging of the threads in the center as things narrowed - these all created a line in the center of the "bowl" - and you might be tempted to say that it looks as if the darned thing is smiling.

I can't look at it in certain light without bringing to mind a pair of lips.

But it depends on how the light catches it - sometimes, the center crease is not as obvious. I suppose you'll have to take my word for it - the photo above certainly doesn't make that claim too clear!

If you don't like the line in the bowl area, there are other ways you can couch the passing threads in - you can go vertically, and plunge on each end around the shape, or you can start in the middle and work outwards in an oblong, or you can couch pairs of threads horizontally and plunge them on each end around the shape.

I'll be leaving this the way it is, though. It does not look quite as "odd" in person, and hopefully, future photos will bear witness to this!

For previous posts on this goldwork embroidery project, please visit the following links:

Stylized Pomegranate Pattern used for this project
Setting up the Project on a Frame
Preparing the Ground Fabric with Felt Padding
Selecting Colors of Silk for the Project
The Stitching Begins - SIlk Shading
Continuing the silk shading - the left side
Finishing the silk shading
The Goldwork Begins: Smooth Passing Thread
Check Thread for Outlining
Chip Work Filling with Check Purl
Outlining with Stretched Pearl Purl

Labels: Embroidery Projects, embroidery tips and tricks, goldwork, needlework pictures, pictures, silk

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Posted By: Mary Corbet on Thursday, March 18, 2010
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After finishing the chip work on the "petals" on the goldwork embroidery project I'm currently working on, I set about outlining the larger areas of chip work on the top petals. The method I used is really very simple, and it makes a really nice edge!

Outlining various parts of a goldwork project with a different metal thread helps not only to make the edges look neat and finished, but also helps to set off an area filled with gold. Pretty much every filled element in my goldwork projects ends up with some kind of different thread as an outline, and in this case - outlining the larger chip work areas - I'm using pearl purl.



Above is an image from a previous article on pearl purl. This is what pearl purl looks like - it's a solid metal thread (not wrapped around a string core), coiled to form a "thread" (more like a wire) of pearl-like bumps. Pearl purl is spring-shaped - if you stretch it, you can see that it has that same spiral make-up of a spring. It does not spring back if it's stretched. You can check out the earlier article on this metal thread to see how I cut it, and how it is stitched onto the fabric when un-stretched. It is a couched thread. Using waxed couching thread, you couch the pearl purl onto the surface of the fabric, pulling the couching down in between the "pearls" of the metal so that it doesn't show.



For this project, I'm working with Gilt Pearl Purl, size Fine 1, which I purchased at Hedgehog Handworks. I calculated the length around the turn-over on the petal, and cut a little more than half that length of pearl purl. Then, taking the very ends of the piece of pearl purl in my fingernails, I pulled gently on it to stretch it out to twice its length. I've covered the topic of stretching pearl purl previously, but here I'm going to show you how I couched it for this project.



Using two strands of Soie d'Alger (in one of the middle shades of red) in a #9 crewel needle, I took a couching stitch at every "valley" in the stretched pearl purl.

A couple technical notes:

1. Begin couching just at the point where you want your pearl purl to begin. I forgot to take a picture! I began at the sharp lower tip of the area filled with check purl.

2. (And this point is debatable) Don't wax your couching thread. Some might think this is imprudent, since the metal thread can be kind of rough on the silk, and the wax provides extra protection. But the wax also darkens the thread and makes it look gummy, so whenever I'm couching pearl purl like this, using a decorative thread over the stretched purl, I don't wax my thread. I like the clean bright look of the decorative thread. If you're more comfortable waxing the thread, go for it....



Here's one turn-over completed. I started at the lower tip, worked around the right side toward the top, pinched the pearl purl with tweezers to get it to turn sharply around the top, and then headed back down to the lower tip, where I ended with a final couching stitch.

Pearl purl is NOT plunged to the back. It begins and ends with a couching stitch.

If your pearl purl is too long, just snip it carefully before you take your last couching stitch, leaving enough of the metal thread to hold a final stitch.



I think this edging is really one of the prettiest techniques in goldwork - I like the alternating twist with the colored silk and the gold.



And here's the design so far. Little by little, we're getting there!

Next up, we'll address the larger felt area below the body of the fruit!

For previous posts on this goldwork embroidery project, please visit the following links:

Stylized Pomegranate Pattern used for this project
Setting up the Project on a Frame
Preparing the Ground Fabric with Felt Padding
Selecting Colors of Silk for the Project
The Stitching Begins - SIlk Shading
Continuing the silk shading - the left side
Finishing the silk shading
The Goldwork Begins: Smooth Passing Thread
Check Thread for Outlining
Chip Work Filling with Check Purl

Labels: Embroidery Projects, embroidery tips and tricks, goldwork, needlework pictures, pictures, silk

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Posted By: Mary Corbet on Tuesday, March 16, 2010
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Chip work is a wonderfully sparkly filling technique used in goldwork embroidery. I think I'm part crow, because I love sparklies! So it isn't odd that chip work would make its way into my current goldwork project. Today, I'll show you where it's going and how it gets there.

The goldwork pomegranate, when we last left it, had acquired a nice coating of smooth passing thread, a touch of pearl purl, and an outline in wavy check thread. This is what the piece looked like before getting into the chip work:



I apologize for the greenish tint in the photo. I'm longing for sunny days again - goldwork photographs much better in natural sunlight!

Now we're going to address the yellow felt areas on the tip of the pomegranate and on the larger turnovers on the "petals" protruding from the side of the fruit.

I'm working with Gild Bright Check Purl #7 (which I purchased from Hedgehog Handworks). This come in 18" lengths, and, if you're planning on following along with the project and doing what I do, then you'll probably want to order two 18" lengths. This will give you plenty of bright check purl for all the chip work in the design, plus a little left over for future projects (or to make up for mistakes!)



I use a piece of black velvet lining this plastic basket for cutting and holding my chips of purl. A box lid with a piece of velvet in it will work, or you can make your own velvet board for cutting your metal threads by adhering a piece of velvet or velveteen to a piece of mat board. You should use velvet or something with a short nap to cut on, as the nap of the velvet keeps things in place. I have a velvet board as well (in red) but since I had this basket on hand and the piece of black velvet, it served the purpose for this project.



Bright check purl, also called "frieze," is made from a metal wire that is coiled like a triangle and twisted to make a faceted tube of spiraled gold wire that is loose and limp when left in long lengths. When it is cut into small "chips," the chips are a bit stiffer, but still retain the ability to be pulled or stretched out of their spring-like shape. They do not spring back, so if you pull check purl out of shape, it'll stay stretched out of shape.

The purl is cut carefully into small lengths - I usually cut them about 3 or 4 twists long, as in the photo above. They can be cut smaller, too, to fill in small spaces. When cut, they are like beads. You can see pretty clearly in the picture that, when cut, they make what could be described as a hollow, faceted gold wire bead.

To cut them, you can either leave your length of check purl on the velvet and place the tips of your scissors over it and snip, or you can, as I do, hold the check purl down next to the velvet close to the end where you're going to cut it, and then slide it onto the edge of your scissor blade. The purl will separate a bit over the scissor blade and snip without any crimping or warping.

They're pretty, aren't they? And they're a lot smaller than they look!



These little chips are picked up just like beads and sewn onto the gold felt padding in the same manner one would sew on beads. Here, you can see the needle picking up one little chip.

I'm using a #11 crewel needle (you can probably get away with a #10, which is more readily available than the smaller #11) and the same YLI 100 wt thread that I spoke of in article on smooth passing thread. My thread is waxed well, since the abrasion from the gold necessitates protection for the thread!



Here, I'm working on one of the turn-overs on the top petals next to the body of the pomegranate. The chips of gold are sewn on randomly, covering the felt. They should be stitched on in various directions, so that the light catches them well, and so that they fill the space as thoroughly as possible. Regarding filling, though, it is important not to crowd the chips so much that they buckle up on top of each other. They should fit snugly next to each other, but not bulge over each other. Since they have that spiral, springy nature, they will bend and buckle and bulge if they are crowded.

I did my best not to let the chips overflow the felt area, too. I am going to edge the felt with a different gold thread to give it a clean finish, and I don't want the chips to interfere with the outline.



Using the same random sewing-on-of-chips, I filled in the turn-overs on the fleur de lys at the tip of the pomegranate as well. These, I fit into the outline of check thread that was already there, being careful not to cover the outline.

When filling with chip work, there may remain some tiny spaces of yellow felt that aren't covered between the chips. This is ok. The felt, because of its color, won't be noticeable.



Photos don't do justice to the sparkly nature of chip work!



Pulling back a bit, this is the piece so far...



And then I moved over and finished the chip work on the other side of the fruit.

Chip work is fun! It's a bit tedious in a way, due to working with very small pieces of gold and having to take a lot of stitches to fill in an area. But really, it's simple stitching! And the results are worth it! It's great fun to watch an area fill up with chips of gold!

Next time we visit this project, we will look at outlining those turn-overs with one of my favorite edging techniques.

For previous posts on this goldwork embroidery project, please visit the following links:

Stylized Pomegranate Pattern used for this project
Setting up the Project on a Frame
Preparing the Ground Fabric with Felt Padding
Selecting Colors of Silk for the Project
The Stitching Begins - SIlk Shading
Continuing the silk shading - the left side
Finishing the silk shading
The Goldwork Begins: Smooth Passing Thread
Check Thread for Outlining

Labels: Embroidery Projects, embroidery tips and tricks, goldwork, needlepainting, needlework pictures, needlework tutorials, pictures, silk

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Posted By: Mary Corbet on Saturday, March 13, 2010
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Earlier this week, we looked at smooth passing thread in my current goldwork embroidery project. Today, we'll take a look at another real metal thread used for embroidery, called check thread.

Check thread is a real metal thread that's quite similar to smooth passing thread, but it's crimped and wavy. It looks a bit like rococco, which is also a wavy real metal thread couched on the surface. As far as I can tell, the only real differences between check thread and rococco are that check thread is quite a bit finer than rococco, and that it's not quite as soft. In fact, the fine stiffness of it makes it easier to work with than rococco, I think.

Both rococco and check thread are normally used for filling threads, in the same way I used the smooth passing thread on the first section of the goldwork. But with all three couched threads - check thread, smooth passing, or rococco - you can also use them to outline, and that's what I'll be doing here.

If you're interested in reading a wee bit about rococco, you can peruse this article I wrote for CQMagazine, on using goldwork for crazy quilting. If you scroll through the article, you'll come to a section titled "Rococco."



In the photo above, you can see the difference between rococco (on the bottom) and check thread (on the top). The check thread I'm using comes from Tanja Berlin's website, and it's 2% gold, in either size 16x3 or 8x2 (the size actually wasn't marked on the envelope, and that's as close as I can get by measuring).



Just as with smooth passing thread, check thread is couched onto the surface of the fabric. I'm still using YLI #100 silk in color #215 to couch the check thread, with a #11 crewel needle. I've run the silk couching thread through beeswax before couching the gold.

The nice thing about check thread is that it's very easy to space your couching stitches evenly! I couched the thread at each little crimp.

I used the check thread to outline the outside of the fruit. The check thread fits right up to the side of the smooth passing, and creates a fine, wavy edge. I like the look of it - I love the way the check thread catches the light.



After outlining the main body of the fruit, I used the check thread to outline the fleur de lys tip of the pomegranate, couching the thread around the outside, and on all sides of the felt padding.



I haven't quite finished the tip in this photo. The key to making the couching easy on small design elements is to find the longest line you can follow, without having to start a new couching thread. I started at the top inside of the felt padding, moved down the inside of the felt padding, rounded the tip (pinching the thread with tweezers to get a nice sharp fold), and then followed across the top of the fleur de lys, around the outside of the padding on the other side, around the tip (pinching with tweezers) and then up the inside of the padding. Unfortunately, I underestimated the length of the check thread and didn't make it up the inside of the felt padding on the other side. But that's the route I would have gone, if I had cut a long enough thread!

(Is this where I say, "Do as I say, not as I do"? ---- Tsk, tsk. Not the best teaching policy!)

Now, you may well ask why I worked the outside of the felt padding first, before filling it in. It's true - if you were using a couched thread that has to be plunged (like smooth passing thread) to cover that felt padding, you should definitely cover the felt before outlining it. I'm going to be using chip work up there, and I'm hoping the outline will keep me from "overflowing" the chip work on those tiny turn-overs and making them look too fat. So I went ahead and outlined the turn-overs on the tip. You don't have to - you can wait on outlining this until you've covered the felt, but for me, this worked best.



To end check thread, you plunge it in the same manner as you would with smooth passing thread, and then secure the thread on the back of the work by stitching over it with your couching thread. You can strip the check thread exactly as you do with smooth passing thread, too.

So that is check thread. We'll be coming back to it later, as I intend to use it for outlining other areas. I Really Like this metal thread! (Note: I don't like rococco - it's a real pain in the neck to work with!)

When next we visit the goldwork project, it's time for chip work - a particularly spectacular filling technique, if you like sparkle. (And really, who doesn't like sparkle?!)

For previous posts on this goldwork embroidery project, please visit the following links:

Stylized Pomegranate Pattern used for this project
Setting up the Project on a Frame
Preparing the Ground Fabric with Felt Padding
Selecting Colors of Silk for the Project
The Stitching Begins - SIlk Shading
Continuing the silk shading - the left side
Finishing the silk shading
The Goldwork Begins: Smooth Passing Thread

Labels: Embroidery Projects, embroidery tips and tricks, goldwork, needlepainting, needlework pictures, pictures, silk

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Posted By: Mary Corbet on Friday, March 12, 2010
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I was super-eager to finish the silk shading on the "fruit" part of my present goldwork project, because then I could move on to the gold! After all, what's a goldwork project without gold?? So I hastened to get the rest of the color worked on the fruit...

With the lattice design in the middle of the fruit, there are so many options for interpretation. I decided to go with silk shading in the middle of the fruit, with goldwork around it. So that central lattice section is solid (shaded) color. It was actually at the point of finishing it that I decided my stylized pomegranate is looking more like an artichoke.

A red artichoke, no less.



The first thing I did was split stitch the lattice in the darkest red. This provided an outline for each diamond, which I shaded using long and short stitch and four shades of red - the lightest pink at the top, followed by the next lightest shade, and then one of the medium values, and ending with the darkest at the base of the diamond.



You can see the shades here a bit better. I didn't cover the split stitch line, by the way. I left that visible, to mark the lattice.



You can see here a couple layers of shading and the basic shape I followed for doing the long and short stitch.



And that's the finished center area. I'm not sure - I might put some gold in there. What do you think? It might be easier to decide after seeing the goldwork around this section first.



For the little fleur de lys tip, I started at the top with the lightest pink and shaded down the center section, and then, with the two arms under the turn-overs (the frito-looking felt things!), I used the darker values down to the base.

So there it is - the silk shading is finished on the fruit. I'm going to do the goldwork on the fruit before moving on to the stem. Otherwise, we'd be waiting forever to get to the really fun stuff!

Tomorrow (Tuesday, March 9th) I'll be giving away another copy of Susan O'Connor's Embroidered Flowers for Elizabeth. It's going to be a short run on the give-away, so do make sure you stop by!

For previous posts on this goldwork embroidery project, please visit the following links:

Stylized Pomegranate Pattern used for this project
Setting up the Project on a Frame
Preparing the Ground Fabric with Felt Padding
Selecting Colors of Silk for the Project
The Stitching Begins - SIlk Shading
Continuing the silk shading - the left side

Labels: Embroidery Projects, goldwork, needlepainting, needlework pictures, pictures, silk

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Posted By: Mary Corbet on Monday, March 08, 2010
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I've finished the color on the arms of my goldwork embroidery project. "Arms" is probably the wrong word, but "leaves" don't really work, either. What the heck are those things?!

This project has been really fun to work on so far, and I hope to make Great Progress on it this weekend. I was going to make a switch back to the blackwork fish for the weekend (I'm eager to make noticeable progress on him!), but I'm afraid he'll have to wait until next week....

In the meantime - it's goldwork for me, and here's my progress on the Colored Tendril Thingies that stick out of the sides of the Stylized Pomegranate-Artichoke-Flower Thing. (I think I need to come up with specific words for these design elements.)

Before I go further, though, I want to show you two photos. The first is the last photo on yesterday's article discussing the beginning of the stitching:



And this photos is the same area of stitching, taken from a different angle:



I always find it interesting how needlework changes, when viewed from another angle. When viewed from the second angle, I think the shading becomes much more obvious, and that movement out from the center - the curving of the arms - becomes even more noticeable. At the same time, it makes the lack of depth in the shading on the top (small) leaf more obvious. This view is one of the reasons I thought I should pick that area out. I'm still debating that point!

Ok, on with it!



Moving over to the left side of the design, I managed to add one more shade in that top curl. I think it looks better than the first one on the right. I also changed my stitch direction on that, beginning at the base of the curl (next to the body of the fruit) and working towards the turn-over, which is the same stitch direction I've used on the other curls, but not on the first small one. On that first one on the right, I started at the turn over and stitched down to the source - and this is probably part of the reason it doesn't quite look right. Maybe not. Anyway - I'll get back to that!

I also outlined the curls with one of the darker reds, using split stitch.

Again, if you're not familiar with long and short stitch shading, but you want to give this design a try using the same techniques, then do visit my Long and Short Stitch Shading lessons, and take a look specifically at Lesson 5, which addresses embroidering this type of shape.



I'm following pretty much the same shading pattern as I did in the right half of the design, with the exception of adding the little light pink tint on the longer curl.



Notice that my long and short stitches are not uniformly long and short! This is a point that I go over in the long and short stitch shading lessons, but I thought I'd re-emphasize here. If you go with a uniform long-short pattern, keeping the stitches the same length, worked in uniform rows, the shading doesn't end up looking as natural, smooth, and "painted."



And there it is - the left side finished. It's a bit darker than the right side of the design, and this was done on purpose, by using less of the lighter shade of red at the curves. The point here is that, when the flower is tipped in the correct direction of the design, this side (the left side) is pointing downwards, while the right side is closer to the imagined light source. That was my idea, anyway. Whether or not it will actually matter that much in the finished design is another question.

The next part I'll tackle is the center of the fruit, where the lattice area is. This is actually going to be stitched with color. I may add some tiny gold lines after the color is in. We shall see!

Once that part is done, then it's on to the gold threads!

Have a perfect weekend - and get some stitching in!

For previous posts on this project, please visit the following links:

Stylized Pomegranate Pattern used for this project
Setting up the Project on a Frame
Preparing the Ground Fabric with Felt Padding
Selecting Colors of Silk for the Project
The Stitching Begins - SIlk Shading

Labels: Embroidery Projects, goldwork, long and short stitch, needlepainting, needlework pictures, pictures, silk

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Posted By: Mary Corbet on Saturday, March 06, 2010
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Once I selected the colors for my current goldwork embroidery project, it was time to start stitching. I began with the "arms" or leaves that come out of the body of the stylized pomegranate (see the original design). Using long and short stitch shading techniques, I started filling in the individual leaves. So today, I'll show you my progress on that, and point out some tips along the way.

If you are familiar with goldwork embroidery and silk shading, you'll be able to follow this with no problem. For those who are new to these techniques, I recommend that you check out my long and short stitch shading lessons. You may find the long and short stitch videos handy, and, as far as the lessons are concerned, you might want to look particularly at lesson five: shading around curves.



I began on the right side of the pomegranate, with the the smallest arm. The yellow felt padded overturn of the leaf sits above, so I wanted to cast a shadow underneath that turnover. I began with the darkest red and worked into the medium reds and back to the dark for this particular leaf.



Then I moved to the second leaf on the right. You can see that I used the lightest shade of the reds (the pink!) to outline the shape. At first, I was intending to add more pink to this leaf than I ended up actually adding. Hence, the pink outline. You can outline the leaf with one of the medium reds (in the middle of the range of colors) if you, like me, decided not to use so much of the pink.

Working around the curve is somewhat difficult. It may be helpful to draw guidelines with a pencil on the fabric. I began with the darkest red close to the body of the fruit, and then worked through the range of red, getting lighter as I rounded the curve, and then moving back into the darker reds as I approached the tip.



The lighter color should move to the outside of the curve. Here, if you look closely, you can see five shades of the red, with the light red (but not the pink) on the right side of the leaf.



I wanted to pick up a little bit of light right on the top of the curve. I'm picturing the light source coming from the top right of the design, and I wanted just a glint on this curve on the larger leaf. So I stitched in just a touch of the light pink.

Then I took it back to the mediums and the medium-dark, but I did not go all the way back to the darkest shade of red at the tip.



I outlined the third leaf (it's the leaf in the forefront of the design) with one of the darker reds, and I followed the same stitching technique around the curve of the leaf, gradually changing shades so that the lightest shade (just short of the lighter pink) is hitting the curve.

And there's the first embroidery stitches on this goldwork / silk project. So far, I'm ok with it. One point I'm not perfectly happy with is the first leaf I stitched, the one farthest back. I didn't quite catch the turn on that one, and I think it could have used another step in the shading. I may indeed pick that one out. But first I'll stitch the leaves on the other side and think about it.

I finally bought a decent stopwatch, by the way! I know that sounds pointless and completely out of the blue, but I would like to keep track accurately of the time spent on various projects. This will help me judge better how much time a particular project will take. I tend to underestimate the time a project will take - I was thinking I'd have this goldwork piece, for example, finished by this weekend. It's not happening!

Unfortunately, I didn't get the stopwatch until after this part was finished. Still, I estimate that I've spent about 5 hours on the project to this point. It seems like a lot of time, for such a little bit of color!

Hope you have a terrific weekend and can get some time in with your needle 'n thread!

For previous posts on this project, please visit the following links:

Stylized Pomegranate Pattern used for this project
Setting up the Project on a Frame
Preparing the Ground Fabric with Felt Padding
Selecting Colors of Silk for the Project

Labels: Embroidery Projects, embroidery tips and tricks, goldwork, needlepainting, needlework pictures, pictures, silk

Click here to read the whole post & comments.

Posted By: Mary Corbet on Friday, March 05, 2010
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When it comes to selecting the right colors for an embroidery project, I admit that it's not always easy. But when it comes to selecting colors for a goldwork project, my field of vision narrows considerably. With goldwork, I personally like deep and rich colors. So when I sat down to contemplate what colors to use on the stylized pomegranate that I'm working in silk and metal threads, I already knew that I wanted either a very rich purple scheme or a very rich red scheme.

Both deep reds and deep purples look very good with gold threads - they're both rich colors that go beautifully with rich threads. Once I had the project set up, then, I took out my box of Soie d'Alger and rummaged through for all the purples and reds in the box. I also picked out greens - but more on that in a bit.



It was quite a heap of threads. Some of this is left over from the silk-on-silk satin-stitched stole I made quite a few years ago, and some of it comes from building stash from smaller projects, and so forth. Soie d'Alger has long been an absolute favorite thread of mine, so I admit, I collect it! I love using it for ecclesiastical projects, for needlepainting, for any goldwork / silk combinations... the list can go on!



I didn't actually have as much purple as I thought - the darker blues up above don't really count...



I'm a little more flush on reds. I'm a sucker for reds, and in my heart o' hearts, I knew deep down, I'd be going for reds.



I'm still debating the green issue. I may just go with gold on the circular swash. On the other hand, the gold looks great next to a vibrant silk, so.... we shall see.



I wanted six shades of red, from very dark to a very light, and this was the only color grouping that worked out to six acceptable shades. The other groups of reds had three or four shades, and some of them were missing intermediate colors. So this was the color group I stuck with: Soie d'Alger numbers 946, 945, 943, 942, 936, 932.



This was the only set of green that had a selection of at least five shades: 2136, 2135, 2133, 2132, 2131. And the greens and the reds go well enough together, so right now, these are the colors I'm using. The green could change to gold instead. I'll have to try a little bit of it out to see if I like it.

Now, if you are thinking about trying this project out, you are certainly not stuck with the same color scheme that I'm using! If you decide to go with needlepainting (long and short stitch shading) on parts of the stylized pomegranate, whatever colors you decide to use, remember that you'll need a minimum of four shades of your color. I like to work with five or six on this type of project, because it gives me the ability to build a bit more depth in the shading, but you can get away with four. You don't have to use silk. If you're practicing, you might want to use cotton instead of making the investment in silk.

The metal threads are a bit more difficult. I'm going to have to work with them first to make sure of the correct sizes before I publish any kind of list of metal threads. I wouldn't want to change sizes in the middle of the project, and then find out that anyone purchased metal threads based on my initial assumptions. I do know I'm using a #5 smooth passing thread on the body of the pomegranate. Other than that, we'll have to see!

Next time we visit the project, I'll show you some stitching!

For previous articles on this project, please see the following links:

Stylized Pomegranate Pattern used for this project
Setting up the Project on a Frame
Preparing the Ground Fabric with Felt Padding

Labels: Embroidery Projects, goldwork, needlepainting, needlework pictures, pictures, silk

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Posted By: Mary Corbet on Thursday, March 04, 2010
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A few weeks ago, I posted a free hand embroidery pattern that I'm currently using as a goldwork embroidery project. For those of you who are new to goldwork, it is a form of surface embroidery that employs real metal threads. When it's mixed with silk shading, I think it's possibly the richest of all surface embroidery techniques. I mean, really - silk and gold! What more could you want?

So here begins a series on goldwork, wherein I'll take you step-by-step through this project with me. I'll try my best to give some clear instructions so that those interested in goldwork can give it a try!

Last week, I showed you the set-up of the goldwork project on the frame. I use Evertite stretcher bar frames, but if you have a slate frame, it is always considered the best choice of frame for goldwork. With goldwork, don't use a hoop! (My opinion, anyway!) You want your fabric to be drum tight, and you want it to stay that way, or at least to have the option of tightening it (hence, the Evertite frame or slate frame) without warping your fabric while you adjust it in the hoop. Another point: you won't be able to iron out hoop rings! Just trust me on this - goldwork is much better done on a frame than in a hoop!

With the project set up on the frame, the preparation for stitching can begin. All the areas where the gold will be applied to the design are going to be padded with yellow felt. This accomplishes a few things: it lifts the gold a little bit above the rest of the stitching and gives it a more finished look, I think, and it also provides a color base behind the gold, so that the white fabric, should it show through, will not be as visible.

For the felt, I'm using a regular craft felt which can be purchased in small pieces at your local fabric or craft store. I prefer a slightly thicker wool felt for this step, usually, but I didn't have any on hand. So this will do!

Besides the felt, I used a light fusible interfacing (similar to Wonder Under) for this step.



I took my pattern, and numbered each piece that would be cut out of the felt. This way, I wouldn't confuse which little piece of felt goes where on my project.



Then, I inverted the design (very important!) and traced out all the pieces where the gold would go onto the paper of the fusible interfacing.

I numbered each piece as I went, to make sure nothing got confused. And I traced out some extras of certain parts of the design, because I wasn't sure yet if I wanted to pad some areas more than others. (As it turns out, I didn't use these extra pieces.)



After ironing the fusible interfacing to the felt, I cut out each individual piece and left the paper on the back. Remember, the paper has the numbers on it. Then, I took my pattern and laid out all the pieces on it. Now, I'm ready to stitch the felt to the ground fabric.



First, peel the paper from the back of the felt. The fuzzy side of the felt goes up - not the side where the interfacing is. The interfacing merely makes it easier to cut the felt in accurate pieces.

Then, place the piece on the fabric and thread up a needle (I'm using a #9 crewel needle) with whatever thread you like to use for couching your gold onto your fabric. I'm using either Tire silk (50 wt) or Kreinik gold couching thread.



Knot the end of your thread and take your needle down into the felt, stitching some anchoring stitches into the felt, and then cutting the knot off the top there. (You may want to look at this photo tutorial for using anchor stitches to start a thread, if you're unfamiliar with the technique.)



I'll generally stitch some straight stitches down the middle of the piece of felt, to hold it in place while I stitch up the edges. It makes it easier to stitch the edges without the felt shifting.

The felt is sewn onto the ground fabric with small stitches all around the outside perimeter of the shape. To do this, it's easiest to bring your needle up into the fabric and take it down into the felt.



The process is repeated with each piece of felt, until all the areas where gold will be used as a filling are padded and ready to go!

So, that's the second step in the set-up process, and now I'm ready to stitch. I'll actually be stitching all the silk work first, and the goldwork last. This way, my silk threads won't get caught on my goldwork threads.

Next up - color selection, then silk shading!

For previous posts on this project, please visit the following links:

Stylized Pomegranate Pattern used for this project
Setting up the Project on a Frame

Labels: Embroidery Projects, embroidery tips and tricks, goldwork, needlework pictures, needlework tutorials, pictures

Click here to read the whole post & comments.

Posted By: Mary Corbet on Monday, March 01, 2010
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