Threads Across the Web: finished

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Monday, 24 March 2014

Pouchette - Finished

In addition to the front and back, the design for the pouchette includes 2 lengths of decorative trim four round ‘buttons’. Both were quick to bead but the keeping the buttons perfectly round was challenging.

With all the beading complete I was ready to construct the pouchette. First, I finished the beading as described here, except that I no longer use glue. Instead I first tack the foam and interfacing to the wrong side of the beading. I then turn the seam allowance and hand stitch it into place. I use a herring bone stitch and stitch through the seam allowance, the interfacing and the foam but never through the main fabric. I then remove the tacking stitches.

A small piece of synthetic velvet was supplied with the main fabric to trim the pouchette. I found a piece of antique silk velvet on the internet that was big enough to line the pouchette as well as trim it. I cut the lining and trim in one piece and machine stitched it to the beading.

The decorative trim is used to conceal this seam. I first trimmed the seam allowance and slip stitched them in down, then hand stitched the trim in place.

I then placed the front and back lining pieces right sides facing and machine stitched them together, leaving an opening on each side. I then folded the ‘trim’ part of the velvet in half so the lining was in place and top stitched 2 cm from the top of the trim to form a channel for the cord handles. The front and back beaded pieces were then hand stitched together sandwiching the lining between them.

Once I had threaded the cord handles through the channels, the ends are secured and neatened with the beaded ‘buttons’.

Happy Stitching

Wednesday, 11 April 2012

Purple Pansy

In my last post I mentioned that I have done three online courses that covered long and short stitch during the last year. I began the final course after I had finished Camellias and have just completed it. Soon after I finished the Chinese Flower by Trish Burr, I learned that Tanja Berlin was offering a course. Well, why stop at learning with one world renowned thread painting expert when you can learn with two!

I am not going to do a comparison of the two courses other than to say that both are excellent and I have no hesitation in recommending either.

The design (outline and contour lines) came drawn onto the fabric. The kit included an ample supply of the threads pre cut into stitching lengths and stored on thread cards. Also included was a booklet with well written instructions and excellent diagrams and further instructions were posted to the website each week. Students were encouraged to use the course forum to ask questions and post pictures of their progress. Tanja marked any observations onto the photographs and/or add any tips and suggestions in a comment below the photograph. I don’t think that everyone in the class used this facility; they may have preferred to email Tanja for a private review. Personally, I was happy to up load pictures of the bits I was not satisfied with and discover how to improve my stitching. I hope that others found the advice offered to me useful. I certainly benefitted from the observations made other photographs.

Initially, I thought that the Pansy was a rather simplistic design but I now realise that it was a very good teaching device and getting the angles right, especially on the petals, was more difficult than I anticipated.

I’ve written an awful lot about long and short stitch this year, perhaps too much, but his will be my last post on the subject for some time. I think that I have overcome my fear of the technique and will be more inclined to use it in future but for now I have lots of projects planned, none of which include LSS.

Happy Stitching

Friday, 6 April 2012

Camellias - finished

The last flower was not the final last thing on Camellias. Three leaves remained. These were outlined with a couched line of gold thread.

When I look back on my journey with Camellias it has been the most difficult since I began Japanese embroidery but also probably the most rewarding because I have climbed a mountain.

At the outset, it is no exaggeration to say that I was terrified on long and short stitch and even more scared of random long and short stitch. It seems ridiculous to talk about being afraid of a technique but that is exactly how I felt.

The best way to tackle your fears is to face them head on and over the past year I have done 3 online courses that covered long and short stitch as well as stitching Camellias. I don’t feel that I mastered this technique but I have overcome my fear of it.

Indeed, I have come to relish the challenge!

Camellias: 110 hours

Happy Stitching

Monday, 6 February 2012

Chinese Flower, finished

Next on my list of things to finish was Chinese Flower.

When I began this piece in September, I never imagined it would still be on the frame in January. I have taken a lot of time and care over the stitching but even so I am amazed at how much stitching time this small piece took (unfortunately, I did not record my hours but as a rough guide one each leaf took 3-4 hours to stitch).

I cannot sing the praises of this on-line course enough. I think the design is really pretty. The transfer on the fabric was excellent; the grey lines are dark enough to be seen clearly but cover nicely with the thread. The instructions are very good, with clear indications for colour placement, stitch direction and order of stitching. I also purchased Trish’s DVD, The Long and the Short of It, and found this indispensable. I initially watched it all the way through but then review the relevant sections for each lesson. Optional assessment was offered as part of the course for a limited time period (beyond the end of the course). I only completed Lesson one during that time frame. Trish’s response was timely, gracious and very helpful. Even though it was well past the finish date, I did send a picture of my finished design purely for her to see and Trish responded with some very lovely comments about my stitching.

As for stitching the design, well I loved it! The printed design looks a little cartoonish and I could not image how I would transform that into anything closely resembling Trish’s stitched sample. I tried to everything I had ever heard or read about long and short stitch and follow Trish’s instructions as closely as possible. From the very first element, the rose bud, I was staggered to see what was emerging from my needle and as the project progressed I felt more and more confident about my stitching.

I could not wait to start the kingfisher. I was aiming to make the colour transitions and appearance of the leaves and petals as smooth as possible so, at first, I found it difficult to achieve the more irregular look of the bird’s feathers. I eventually got the hang of it and, once I had, I really enjoyed the freeness of stitching with abandon!

I am such a silkaholic that I did not think I would ever be satisfied with a piece stitched in cotton floss but I am quite impressed with how it came out. I’d be interested to see the same piece stitched in silk for comparison but I won’t be undertaking that any time soon.

If you have been thinking about taking this course (if/when Trish reruns it), I whole heartedly recommend it and I am delighted with my version of the Chinese Flower.

Happy Stitching

Tuesday, 31 January 2012

Floral Melody - finished

Like most people, I associate the New Year with fresh starts and new beginnings but for the first few weeks of 2012 I am focusing on finishing.

First up, the big one! I had hoped to finish Floral Melody by Christmas 2011. I didn’t quite manage that deadline and FM had to go on hold over the festive period. It seemed to take forever for things to settle down and for me to get back into my usual routine but I eventually got there and Floral Melody eventually got finished!

It took 300 meters of thread, 138 hours of stitching time and goodness knows how many beads (and I have no intention of counting them). In addition to the beading techniques, one important thing that I leant at Phase 3 is that if there are two identical sides to a project, work on both sides simultaneously. If you complete one side then go back to work the other, you will certainly forget what you did first time around. Also, I needed to ensure that I had enough beads to do the same thing on both sides. I could have divided the beads up before I started, but I didn’t, so I needed to keep track of usage. Most importantly, I found that when I had completed the first side on Poppy Pouch, it felt like I had finished completely. I had to dig deep to find the resources to start afresh on the second side.

This time, I made sure that I worked on both sides throughout, ensuring that I never got too far ahead on one side. When the finish post was in sight, this time it really was the finish.

Over the past few weeks, I have focused most of my stitching time into this project and now that it is finished, I can reveal why. Phase V class is only taught in Atlanta by Matsukawa-san and I could only enrol for that class once Floral Melody was completely finished. In anticipation of finishing on time, I had booked my flight and reserved my hotel room but my heart was in my mouth until my place on the class was secure.

Last weekend I completed Floral Melody, sent of my booking form and have been accepted on the Phase V class. And tonight I have heard from my good friend and travel companion, Sue, that she has completed her Phase IV. For those unfortunate enough to have access to Skype, I apologise for the slightly disturbing image of me doing a happy dance earlier this evening.

Happy Stitching

Tuesday, 30 August 2011

Floral Glove, finished

I have finally finished my Floral Glove Scissor Case. I feel like this project has taken me a very long time. Indeed, it has been my evening project since April and, although I have not worked on it solidly, it has taken a great many (uncounted) hours of work.

I seriously underestimated how much work this would be, especially the finishing. I am not complaining at the amount of time invested. The project was part of an online course offered by Thistle Threads that extended over six months. The embroidery materials were sent at the beginning of the course and a further pack of finishing supplies was sent later. The instructions were released for down load in monthly instalments together with a history section. The cost of the course, at $35 per month, was not trivial but I think I’ve had good value for money. The materials are all of the finest quality. The instructions are comprehensive with both written directions and lots of step-by-step photographs. The history section is equally comprehensive with each month taking a detailed look at the materials and techniques used to create the exquisite Stuart period gauntlets that inspired this project.

Thistle Threads listed this course under their On-line University so I think that it is reasonable for the project itself to be substantial and challenging. It was naive of me to imagine I could complete it in 3 or 4 weeks! In fairness, I have dragged my feet over the finishing part. This is my least favourite part of any project. I’ve pushed myself to do it (by banning myself from starting my next project until it was done) and I am very glad that I did. Not only do I love the finished article but I have learned some useful finishing methods along the way.

Tricia of Thistle Threads has said that she will offer this course again if there is sufficient interest. If you are remotely interested in taking this course, contact Tricia. I’ve learnt a lot from the course and highly recommend it.

Happy Stitching

Monday, 6 December 2010

Loving Couple, finished

I love The Ducks!

I didn’t know it then but I think I fell in love first moment I laid eyes on them and every time I’ve seen them, probably at every class and every show or exhibition I have ever attended, I’ve fallen deeper in love. More than I realised, I have longed to stitch them.

When, after a five year wait, my time to stitch them came, I savoured every moment, every stitch. I relished my time at the frame and was totally seduced by the sheer beauty of the design as it developed before me.

I found some of the techniques on Mr Duck extremely challenging but I was elated when I finally got the hang of something I’d struggled with.

What a proud and handsome fellow he is.

I love Mrs Duck’s simple beauty; her elegant curves, the glint of gold in her feathers and the wonderful expression on her face.

Loving Couple has become a very special piece for me. I always try to stitch to the best of my ability but I have really strived to do my absolute best on this piece and now that they are finished, I love My Ducks.

Happy Stitching

Tuesday, 2 March 2010

Himotaba, finished

Himotaba has been my greatest challenge so far in Japanese Embroidery. I suppose each Phase should be more challenging that the last, and this certainly makes sense with Phases I-III, but it is not necessarily the case with Phases IV-VIII which concentrate on different techniques.

I know that others have found Phase V, cords challenging but had tried not to let their experience influence me. Even so, when I began this Phase I found myself intimidated by every thing about it; the fabric, the colour schemes and the techniques.

I had heard that the gold fabric was very unforgiving but from the beginning I enjoyed stitching on it. It is a very smooth fabric that framed up very taught and barely stretched throughout the project. It is true that the stitch holes do not heal but I found it easier to place my stitches precisely in the first place.

The colour palette was selected by my tutor and at first I was disappointed with it. These strong colours are definitely not what I would have chosen for myself; I only really liked the red and the gold at the outset. I have to admit that all the colours have really grown on me. Individually they each suit the gold fabric and they work really well together. I'm still don't think that I would select these strong shades for myself but I have enjoyed working with them and think that they are well suited to this design.

The real challenge has been learning some of the braiding techniques. At times I have been utterly frustrated and thought I would never get it. The wicker braid (cord #4) was by far the most challenging. The cord I enjoyed most was the one I thought would be the most difficult, the double central in real gold.

What I have enjoyed most was fading from one colour or type of thread into another (cords #3 and #8) and fading out the ends of the cords.

I am really please to be finished with Himotaba. I did enjoy stitching it but not to the same extent as the other pieces I have done. Having said that, I think I will be doing more cords in the future, especially the double central.

I'm having doubts about the tassel. I think this is only a crisis of confidence that will pass. Looking at the before and after pics, I think that adding the extra lines was the right thing to do. The tassel looks more in balance with the cord and overall weight of the whole design.

I've kept a careful account of time taken on this Phase.

Preparation (outlining cords with Japanese running stitch or gold and padding): 23 hrs
Cord #1 Double Central and tassel: 18 hrs
Cord #2 Imitation Wicker: 10 hrs 30 mins
Cord #3 Single Central: 14 hrs 45 mins
Cord #4 Wicker: 25 hrs 15 mins
Cord #5 Single Central: 15 hrs 15 mins
Cord #6 Imitation Wicker: 9 hrs
Cord #7 Rein Effect: 9 hrs
Cord #8 Double Central: 14 hrs 30 mins
Grand Total: 149 hrs 15 mins

I predicted that this would take between 120 and 150 hours stitching time.

And finally ...

... the back.

The main reason I am happy to have this finished is that I will begin Phase VI on Monday and I am really looking forward to this one.

Happy Stitching

Thursday, 17 September 2009

Calm Flow, finished

I only had a very short time for stitching this morning but I was determined to finish Calm Flow today and finish it I did.

Usually I savour the final few stitches, linger over them. This morning I didn't have time to linger. If I was going to finish Calm Flow today, I needed to get on with it. So I got on with it.

As I was driving to work, I felt very dissatisfied. When I have spent time with a project and enjoyed it, as I have this one, the final stitches are special. This was different. I did not feel that I had honoured our final moments together. All the beads were stitched in place but I felt that I had deprived myself of something special.

Oh how weird, earlier this evening I heard someone quote a line from a film. Whilst I was typing this post the film 'Enter the Dragon' is on the television and I heard the same line "It is like a finger pointing at the moon. Don't concentrate on the finger or you will miss all that heavenly glory." I concentrated on the finger. I missed the heavenly glory.

Fortunately the moon will rise again. Tomorrow I will spend my 'stitching time' savouring the beauty of Calm Flow and the time we have spent together.

Happy Stitching

Friday, 10 April 2009

Venerable Friends, Finished

Last weekend was mostly spent gardening in the lovely spring sunshine but I did couch the remaining pages of the last book with tight twist karayori. I love this thread, its tight overtwist creates a smooth firm thread, similar to gimp in appearance. Sunday evening I twisted a white and gold kinkarami no katayori, another thread that I particularly like. The gold twisted with the silk appears as random flecks throughout the thread.

All that remaind was sinking the ends of the couched pages and couching the book binding in place, I thought that I would complete that easily with my 30 minutes stitching plan.

On Monday, I sank the page ends. I always underestimate the amount of time this process takes. On Tuesday I only had time to twist a 2-1 white couching thread. On Wednesday, no stitching as I had an early dentist appointment. Thursday, a full 30 minutes for stitching, threads made and ready to go, surely I would finish today!

I have been working on Venerable Friends, on and off since February 2007. I think the last few stitches should be savoured, not rushed. After 30 minutes I was tantalisingly close to finishing but I had to leave for work. It took great strength of will to pack up with only 10-15 minutes work remaining.

This is a long bank holiday weekend, our intention is to begin decorating the hall, landing and stairs, but recognising the significance of finishing this particular journey, J suggested that I do that before the decorating (he swore it was not an avoidance tactic on his behalf). It took a mere 20 minutes to couch the last length of thread in place and sink the ends. After 2 years and 44 days I have finished my Phase III.

But wait! I've missed a bit. I still have to couch the outline of the top right-hand corner of the book.

Another 40 minutes twisting threads, couching and sinking and this time the stitching is finally finished.

This design has truly become my friend. I liked the design when I saw Jane stitching it on my very first Japanese Embroidery course, but to begin with I was unsure about the colours selected for me. They were a little dark for my taste but they have grown on me and now I would not change any of them. The green for the gold leaf cloud, which was the colour I was most at odds with, looks stunning twisted with the gold and the blue background of the shippo cloud, which I also strongly disliked, is, I think, the perfect foil for the red, white and yellow used for the shippo.

This has been very happy stitching.

Wednesday, 28 January 2009

... Finishing ...

The Japanese bead embroidery that I have recently completed also requires 'finishing'. For beadwork there is a slightly different but equally lengthy process.

Before I describe whatI did, I would like to remind readers that I am a student of Japanese Embroidery, not a tutor. I like to show you what I have done. The best way to learn these techniques is from a tutor; mine is a Kurenai-Kai Graduate Authorised tutor. A full list of authorised tutors is available on the Japanese Embroidery Centre web site. The book "Japanese Embroidery Through the Millennium", also available from the JEC, has detailed instructions for all the Japanese Embroidery techniques that I have used.

If you decide to try this finishing process on your own embroidery there are a few things you should bear in mind:

- if you are not absolutely certain that the products you have used are colour fast, stitch a small sampler incorporating a little of everything used and test the process on that to see if any of the colours bleed;

- it goes without saying that water and electricity do not mix; I cannot stress strongly enough to unplug the iron before putting it anywhere near a wet towel;

- equally obvious are the risks to both your hands and your embroidery of being in close proximity to a hot iron; the towel also gets extremely hot during this process.

If you do plan to try this technique, please exercise all appropriate caution.

So back to the bead embroidery. I began as with the silk embroidery by examining the front for missing or lose beads. I then examined the reverse for loops of thread. Loops occure when the thread becomes over twisted; the thread begins to twist around itself and can form a knot. I did not cut of these threads; if the knot comes undone at a later date, the beads will come undone. Instead I secured each loop with a stitch, pulling it taught and snug to the back of the fabric. I then trimmed any long thread tails to 2mm.

Using a spray bottle filled water, I sprayed the back of the work, wetting the threads thoroughly and left it to dry over night.

When completely dry, the process of making up the finished object can begin. For this project I cut 1 piece of foam and 1 piece of interfacing to the same shape as the beading but trimmed the foam to 2mm smaller than the beading on all sides. I attached first the sponge and then the interfacing to the back of my work with spots of glue around the edge of the design. I placed the work, beaded side down on a folded towel, placed moderate weight on the design (several books) and left it to dry over night. I'm not a fan of gluing textiles but this is in accordance with the instructions I recieved and the PVA glue has not come through to the front or marked the embroidery at all.

Next, I trimmed the excess fabric 1cm from the beaded edge and clip the curves. I turned the seam allowance to the wronge side and secured it with glue. Again, I weighted the work and left it to dry overnight.

I then cut the lining fabric to the same shape as the design but a little narrower allowing for the fact that it will be folded in halve when lined. I hand stitched the lining in place, using blanket stitch and easing to fit. I folded the work in half and stitched the bottom and side edges together, leaving the top open.

Finally, I stuffed the item to shape, steamed it for several minutes and left it to dry overnight.

Happy Stitching

Wednesday, 10 September 2008

Karahana, Finished

Back in May, Pam left a comment about the couched threads

… I am curious about the couched thread between the leaves -- is that removed afterwards and then something else put in the space? …

I’m sorry that I ignored your question at the time Pam, but I wasn’t ready to reveal the 'secret' of the couched threads. You were half right, the threads are removed but nothing is put in their place, they are there to create an even space between the individual elements.

When I completed the first petal, I was sorely tempted to remove the yellow thread between the petal and the turn over to see how it looked but that would have been like reading the last page of the book when I had only read the first chapter. I determined to leave the couched threads in place until all the gold work was complete and then savour the moment when I removed the threads and could see Karahana truly finished. (Yes, I do realise how sad that sounds.) And as if that isn’t sad enough, I decided to remove the threads in reverse order to that in which they were stitched.

First to go was the short length of orange thread between the fifth and sixth petals.

These first two photographs show how different the gold looks with the spacer threads removed so that the background silk shows between the separate elements.

It can be a bit fiddly removing the couching stitches; I find the easiest way (once the first few stitches are removed) is to gently tug on the spacer thread. This lifts the couching thread and forms a loop into which you can insert your tekobari and then gently remove the stitch.

Some of the stitches won’t come, usually because you have caught the thread with a subsequent stitch. When this happens, it sometimes helps to turn the frame over and work from the back.

This is when you are grateful that your sensei advised you to couch the spacing threads in white couching thread. Imagine if you had used the same orange thread that you used to couch the gold!

Eventually, the only spacing threads that remain are the double row that I couched between the flower center and the petals back in March.

And then even they are gone and Karahana is finished.

It feels as if I have been stitching this Phase for a long time, but both Phase I and II took me 12 months where Karahana has only take 6 months. I have really enjoyed stitching this design and hope to do another gold work design in the future but in the short term I will be happy to get back to stitching with silk.

Thank you to everyone who left comments or emailed support and encouragement throughout this project, I greatly appreciate your kind words about my work.

Happy Stitching

Threads Across the Web

Monday, 24 March 2014

Pouchette - Finished

Wednesday, 11 April 2012

Purple Pansy

Friday, 6 April 2012

Camellias - finished

Monday, 6 February 2012

Chinese Flower, finished

Tuesday, 31 January 2012

Floral Melody - finished

Tuesday, 30 August 2011

Floral Glove, finished

Monday, 6 December 2010

Loving Couple, finished

Tuesday, 2 March 2010

Himotaba, finished

Thursday, 17 September 2009

Calm Flow, finished

Friday, 10 April 2009

Venerable Friends, Finished

Wednesday, 28 January 2009

... Finishing ...

Wednesday, 10 September 2008

Karahana, Finished

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