Thursday, 24 December 2015
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.
Wednesday, 23 December 2015
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!
Wednesday, 9 December 2015
|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|
Thursday, 12 November 2015
Recently, I went on a weekend workshop of Rust Dyeing with Alice Fox . . .
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.
|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|
Friday, 11 September 2015
|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!
Thursday, 16 July 2015
Friday, 10 April 2015
|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|
|body definition - worked in DMC Col.3031 in tiny running stitch|
work a slightly longer stitch on the front, and a smaller stitch behind
|satin stitch the head using DMC Col.3782, starting from the middle and working outwards on both sides|
|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|
Thursday, 9 April 2015
|stem stitch - stage 1|
|stem stitch - stage 2|
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.
|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.
Thursday, 19 March 2015
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.
Saturday, 14 March 2015
|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|