5 Diagonal layer: irregular shapes (naname-nuikiri: kiku)

For each of the three layer/foundation stitches that we have looked at so far, the orientation of the stitches has been unequivocally defined and, in each case, the stitches are all parallel to each other. For Diagonal layer (D) the orientation is determined by the motif being stitched and the stitches radiate slightly to accommodate the shape being filled. Exactly how this happens depends on whether the shape is regular (such as a cord) or irregular, such as chrysanthemum petals.

Chrysanthemums, both round petal and pointed petal, have cropped up in a few of my Phase pieces, beginning with Hanayama, and at each phase, I think I have learnt more about stitching diagonal layer on an irregular shape.

© JEC/Carol-Anne Conway

The first thing to consider is the direction in which the central line of the petal curves. The stitches are always laid in a clockwise direction, meaning that for some petals stitching begins at the tip of the petal and works towards the centre, while for others stitching begins at the centre and works outwards.

The first stitch lies along the outline of the shape in the right diagonal direction (top right to bottom left). The following stitches rotate gradually around the curve of the shape. A filler stitch can be used when needed to avoid leaving a gap at the outer edge but I have rarely found these necessary on gently curved shapes such as petals. A filler stitch is a stitch that does not extend the full width of the shape but should be at least two-thirds of the length of full stitches. The end of the filler stitch slightly tucks under the previous stitch and is further concealed by the following stitch so that it blends with the surrounding stitches.

Generally, the stitches should be at a consistent angle to the central axis of the shape and a slightly steeper angle is considered more elegant. On Hanayama, the chrysanthemums were possibly the motif I struggled with most and the stitching with which I was least satisfied. Looking at them now, I would say the main issue (if you completely ignore the utterly inconsistent one-point open space between the petals) is that the angle of the stitches is too shallow.

While there are no chrysanthemums on Suehiro, diagonal layer is used on one of the cords. This, however, is a regular shape and I will review that in a separate post.

The large chrysanthemum on Venerable Friends is a focal point of the design and I recall taking considerable care with it. There are still issues with the one-point open space but, because many of the petals are padded, these are not nearly as evident. What is evident is that I have, in most cases, angled the stitches more steeply so the curves are more elegant. The tips of some petals are a little square and all of them would benefit from a more evident “one-point outward” stitch at the tip.

© JEC/Carol-Anne Conway

I used diagonal layer on the Pink Lady, the butterfly that represents Mum on Flutterbies. I think the improvement in my stitching is evident but then a lot of love and care when into this entire piece.

© JEC/Carol-Anne Conway

Chrysanthemums feature heavily on Sake Boxes, affording me plenty of opportunities to practice diagonal layer. I was not terribly satisfied with the first few round petal mums that I stitched but I recall that I stitched these during a heatwave and that I found the silk more difficult to work with than usual. By the time I stitched the last of the mums, I felt that I had made significant progress. I particularly like how pointy most of the petals are.

© JEC/Carol-Anne Conway

© JEC/Carol-Anne Conway

On Kusudama, I have been focused on achieving and maintaining the correct twist but I have tried not to lose sight of all the other details that I have been working on, the one-point open space between the petals, the shape of the petals, and the angle of the stitches. While I still see room for improvement, it is good to see improvement over those on Hanayama.

© JEC/Carol-Anne Conway

Happy Stitching

Goldwork Rose

The third sample for the Introduction to Tudor Embroidery course was a goldwork rose worked directly onto black velvet. I had done many of the goldwork techniques used in this tutorial but not directly only velvet and that offered up a whole new level of challenging!

The supplies for this course included some black velvet but I substituted that for a firmer velvet that I had in my stash. Prick and pounce was again used to transfer the pattern, using yellow paint to connect the chalk dots.

© Cynthia Jackson/Carol-Anne Conway

First the stems and the outline of the rose were stitched with 1.5 twist which consists of three stands of gold twisted together. I have used similar thread before and have couched other the thread trying to “hide” the couching thread along the line of the twist. In this tutorial we were taught to open the twist by untwisting it slightly so we could stitch through the thread The tutor described this technique as “a little tedious”. I did not find it so but it took me several stitches to find a rhythm and the optimum place to go through the thread so that the couching stitch was not visible when the thread was retwisted to its original state. As a method for applying a twisted thread I think it is preferable to couching over the thread. Once I had found that rhythm, the process went quite quickly.

© Cynthia Jackson/Carol-Anne Conway

The leaves, bud, and inner rose were first outlined in #3 passing thread. #2 passing thread was then couched in a zigzag formation across the outline of the leaves, mimicking the serrated edge of a rose leaf. Smooth passing was used to represent the veins of the leaves. The smooth passing was also used to fill the sepals and the spiraling part of the stem.

The outer petals of the rose and the bud are done in #10 check over linen string padding. I believe this technique is now knows as cutwork and I think it is one of the more difficult goldwork techniques to accomplish. Each piece of check must be cut to the exact length for its position and then applied so that it lies neatly beside the neighbouring pieces. In most cases, these stitches should be perfectly parallel but in some cases, like the bud, you can rotate the stitches gradually to follow the shape and finish with a nice angle at the tip. Both scenarios are, I find, difficult to perfect. I have always found it difficult to cut purls to the precise length required and when they are slightly longer than required, cutting a tiny amount from the end is neigh on impossible, at least it was before I saw how the tutor did it. Using her method, which it to cut into the purl rather than across it, I was able not only to adjust the length more precisely but also to remove the snagged ends that sometimes are left when you make your initial cut.

The calyx is filled with chips of #10 check and the central rose is finished with a spangle and radiating stitches in 9drm tambour.

© Cynthia Jackson/Carol-Anne Conway

Seeing the needle against black fabric is always problematic and much more so on velvet. Also, stitches seem to shift on velvet making it much more difficult to position your stitches precisely! However, it is worth it as the effect of gold work on black velvet is difficult to surpass. I would dearly like a black velvet jacket with goldwork on it, perhaps down the front facings. That is another “wish” project to go on my long list.

Happy Stitching