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 - 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 - stem stitch legs

Stem stitch legs - single thread DMC Col.3031

Stage oneTake the needle into the fabric, along the design line,  approximately an ⅛" of an inch or 3mm from the end of the last stitch

Stage twoThen, bring the needle up at the end of the last stitch, along the design line, holding the surface thread to the side

Stage threeThen, pull the thread all the way through ready to start the next stitch

Metallic thread stem stitch complete . . .

Stem stitch in metallic thread - now complete - fairly temperamental and challenging, BUT liking the result!

18th Century waistcoat continued . . .

metallic thread stem stitch

silk shading and with metallic thread!

Hello!  I am back, with more development on my 6-day workshop for Williamsburg, Virginia.  After a lot of trial and tribulation on colour, I think I am happy with the results so far.

Lots more to do . . .

18th Century waistcoat - sampling . . .

couching and stem stitch . . .

using metallic thread

In May 2014 - I will be teaching for the Royal School of Needlework in Williamsburg, Virginia.  I will be teaching three workshops, and this one is the longest - 6 days of teaching and creativity!  This will be a waistcoat front, inspired by 18th Century design, and so far - I am just sampling to see what works.

more trellis work . . .

finishing trellis work using straight stitch, cross stitch and satin stitch

another view

trellis work complete outlined with stem stitch

There is only one more technique of this design to show, then it will be complete!  Keep watching for the final postings . . . 

crewel work continues . . .

fishbone and stem stitch

so far . . .

more detail

As I continued to work this symmetrical design - I disciplined myself to work both sides in unison as I did not want the right to be too different from the left - or vice versa. 

Red leaf veins . . .

Red leaf veins

Stem stitch rows of stitching

Not the easiest thing to photograph - but here is the red stem stitch veins of the bigger leaves using crewel wool on linen twill.  Not the easiest stitch for this technique as the wool yarn snaps constantly with the intensity of the stitch.  However, I am quite happy with the result!

Satin stitch and detail . . .

satin stitch and some detail
left hand side show a little of the split stitch which the satin stitch is worked over

satin stitch and close detail

satin stitch and closer detail

Further work on Nicola Jarvis's crewel work design with the deadline now looming!  This time I have included more detail on the small red leaves with stem stitch and a blue vein. Satin stitch worked over split stitch, almost completing that section of the design using another autumnal colour.

long and short in crewel wool . . .

shading using one strand of crewel wool and stem stitch for the leaves

long and short shading detail

Working one colour into another by shading can be quite tricky as the shading can look 'banded'.  To over come this, which takes a little experience, the second colour is introduced gradually, and 'feathered' in, whilst the first colour gradually disappears as shading continues.  On top of this, there is direction to cope with, as the shape expands outwards then curves back in.  However, it is such a pleasure to be stitching on lovely Scottish woven linen twill.

Kathy 'The Unbroken Thread' Andrews - is working the same design for Nicola Jarvis for her forthcoming exhibition which will be later in the year at the William Morris Gallery.  Dates will be issued in future posts.

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.