Contemporary trellis work . . .

Beginning the trellis . . .

Basic running stitch across the trellis . . .

Using four colours . . .

Using heavy chain stitch for the edging . . . 

Running stitch outside the heavy chain stitch . . .

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!

Linear Contemporary Whitework

free style pulled work, stem stitch, herringbone stitch, woven silk chiffon, eyelets, running stitch, back stitch, hem stitching, free style pulled work, hem stitching

in more detail

 students work - part 1

 students work - part 2

This is a workshop I have just taught in the Scottish Borders in Jedburgh, working on a linear whitework sampler, creating a lot of hand stitch ideas on different natural fabric surfaces, including pulled work, drawn thread work, shadow work, eyelets and surface embroidery.

The idea for me is to continue the sampler and work more ideas which may include machine embroidery, mixed media, and more traditional and contemporary hand stitching.  

I will of course do more postings on my blog as I continue to experiment and explore.

Patching and piecing

my 'patching and piecing' piece

texture of plain coloured fabrics

detail of hand stitching - running and blanket stitch

more hand stitching - trellis work with satin stitch and bullion knots

I have just completed a weekend with Ruth Issett called "Stitched Surfaces to Dye For" as part of the Embroiderers' Guild North East Region's spring school.

This sample is the first part, using a method called 'patching and piecing' where different types of natural fabrics (not wool) are machined together in strips of various widths.  After the first stage is complete, the assembled fabrics are cut into strips again in the opposite direction at right angles. The new strips, which now show a series of squares of fabric, are assembled onto a backing fabric and constructed again using 'fancy' machine stitching.  Afterwards, other additional embellishments and hand stitching are added, and then the dyeing process begins . . . to follow . . . 

further development on the Lindisfarne Gospels

showing my technique ideas

open shading with silk thread, and running stitch

I have now started embroidering my printed calico of a design from the Lindisfarne Gospels.  My aim is to make it look as authentic as possible, using traditional stitch techniques and adding my own personal ideas.

Lindisfarne Gospels workshop

a montage of students work

I taught a workshop at Burnbrae just north of Kelso in the Scottish Borders, testing my ideas on my students.

We worked on a combination of ideas including gold work couching and or nué, running stitch, applying gold kid leather, Pearl purl outlining and silk shading.

Glove part II . . .

assembling the glove

petit point

This small project for me, was a real exercise in spontaneity, working with mixed media and thinking on my feet to see how different parts or elements of the design form together in a glove template shape.  I still have finishing touches to make, but it has been a very quick project, working with three main colours, including a soft grey, pink and off white, and simple stitches, but hopefully perfectly placed.  I was looking for the vintage aged look, and I selected threads fabrics, materials and bits which represented this, some of which comes from Mandy's stash which she very kindly let us use.

The border patterns came from a danish stitch book which I have acquired from somewhere - 'Book of Danish Stitchery' Danish Handicraft Guild, Designed by Gerda Bengtsson 

the stamp

the finished stamp - showing detail of satin stitch and seeding

showing more detail and depth

The completed stamp was taken from an ink jet printed design.  My objective was to enhance the design with simple stitch rather than detract.  The whole design contains, couching, running stitch, seeding (single and double), satin stitch, stem stitch, using a tarnished 'passing' metal thread, stranded cotton, and a metallic stranded thread (which is a nightmare to use, but I am sure that is part of its charm!).  Design is approximately 12cm x 17cm and worked on plain cotton fabric.