Colour for crewel work . . .

These are my proposed colours for my crewel work designs.  I will not use all of them, probably 4-5 for each design, which I am still deciding, or will probably just let it evolve.

The colours are - 724, 933, 185, 303, 313, 293, 643, 156, 325, 967 - Appletons crewel wool.

Crewel work - new designs - new project . . .

I present to you - two new-ish designs for crewel work embroidery, based on traditional Jacobean design, which I had planned to work earlier this year, however due to work commitments, teaching, and life generally, it took a little while to find the right time to start, but now I am ready!!!  

It may take a little while to progress through as I have other on-going work, but I will do my best to keep on top of it all.

I will work through the designs with different ideas based on stitch and detail, and I am happy that anyone uses the designs too.  The designs are roughly, 5 inches square or 12-13 cm square.

Enjoy, if you are following!  

Please tag in my name if you use social media - #tracyafranklin - THANK YOU!

Rust dyeing - preparation, results, and assembling . . .

Rust dyeing with wire wool on linen

Rust dyeing with wire wool on linen- detail

Rust dyeing with wire wool on cotton organdie

Drawn thread work on linen, preparation for rust dyeing

Drawn thread work on linen, preparation for rust dyeing - detail of weaving 

Rust dyeing results - assembled

Rust dyeing results - assembled - detail showing gathering, fraying, and lace

Rust Dyeing . . .

Recently, I went on a weekend workshop of Rust Dyeing with Alice Fox . . . 

Box of rusty split pins

My board of rusty wrapped specimens

Thread wrapped round rusty split pins, and dipped in tea to help the rust dyeing process

After the rust dyeing process, I start to assemble my dyed pieces

Rust dyeing involves, natural fabrics, threads and fibres, rusty objects, and tea used to create marks on fabrics and thread, which can be used in embroidery and textile art. 

A Sue Stone workshop in Wooler, Northumberland . . .

woven strips of linen and cotton, embellished with contemporary hand stitch and free machine embroidery

detail of free machine embroidery - liberating!

contemporary hand stitch

free machine stitch and loose bobbin tension in two tone colour

sampler of free machine embroidery in two tone colour

sample of free machine embroidery in monotone

At the end of August, I attended a summer Embroiderers' Guild workshop in Northumberland with Textile Artist - Sue Stone.

It was great, inspiring and inspirational.

I am mainly a traditional embroiderer, but I never dismiss this style of contemporary embroidery as this only adds to my professional development, and I enjoyed every minute of it!

Magna Carta

Last week to see, Magna Carta (An Embroidery), at the British Library till the 24th July - http://www.bl.uk/events/cornelia-parker-magna-carta-an-embroidery

Crathorne Bug - finished!

There you have it - finished at long last!  I will mount it, and show it one final time . . .

I look forward to seeing your results too.

Best wishes . . . Tracy

Crathorne Bug - embellishments

to give more definition for the body, work a stitch in DMC Col.3031 over each cross over on the trellis

trellis pattern complete

using DMC Col.3031, work two small stitches to the side of each antenna for the eyes

over the two small stitches, work smaller stitches again to complete the eyes in satin stitch in the same colour

eyes complete

body definition - worked in DMC Col.3031 in tiny running stitch
work a slightly longer stitch on the front, and a smaller stitch behind

Complete!

Crathorne Bug - antenna and head

antenna worked in DMC Col.3031 stem stitch,
and split stitch around the head using DMC Col.3782

I worked the left antenna holding the loop of thread to the left, and the right antenna holding the loop of thread to the right, so that the twist of the stem stitch mirrors from left to right.  I also extended the last top stitch out, so that the antenna thins out.

satin stitch the head using DMC Col.3782, starting from the middle and working outwards on both sides

so far!

Crathorne Bug - body, satin stitch, and trellis work split

split stitch using one strand of DMC Col. 644

satin stitch starting from the middle, and working over the split stitch

completed satin stitch

laid work, worked in DMC Col.3782, set the first central cross

then, work parallel lines of stitch, either side of the central cross

at every crossover of the laid work, work a small stitch to hold in place, again with DMC Col.3782

laid work, and body complete

Crathorne Bug - outlined

stem stitch - stage 1

stem stitch - stage 2

outlined

One strand of DMC 680 was used to outline the wings in stem stitch, after a lot of trial and error with other colour combinations which looked either too strong, or not defined enough.

The stem stitch gives definition, and finish to the overall result, and I worked the stitch quite long as it always looks more smooth and slick.

Crathorne Bug - needlelace wings complete

Third band, using DMC 3828 for the bar,
and DMC 3828 for the needlelace

Fourth band, using DMC 3828 for the band,
and DMC 422 for the needlelace

Final band, using DMC 422 for the band,
and DMC 422 for the needlelace

complete with gradual shading

To confirm, there are five bands of colour in total, using only three colours - 

• DMC 680 for bar and needlelace
• DMC 680 for bar, and DMC 3828 for needlelace
• DMC 3828 for bar, and DMC 3828 for needlelace
• DMC 3828 for bar, and DMC 422 for needlelace
• DMC 422 for bar, and DMC 422 for needlelace

Each bar forms the cord for corded Brussels stitch, and each band is approximately six rows of each colour combination, to give a guide, which could be more of less, depending on tension.

Saint Cuthbert's day - 20th March

To celebrate the Feast of Saint Cuthbert, around the 20th March, we are showing two pieces of work in the latest RSN Durham news bulletin, by past Royal School of Needlework students.

Crathorne Bug - needlelace wings continued

Next 6 rows of Corded Brussels stitch work in one strand of 
DMC Col. 680 and one strand of DMC Col. 3828

Close up showing the colour of the needlelace working gradually into a lighter shade

Again, work both wings in unison to keep balanced and equal.