Tag Archives: Metal thread

Bling

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There’s something about the sparkle of metal thread that keeps drawing me back to it. Perhaps I was a magpie in a former life? Here’s an update on the piece that I was working on some time ago, based on motifs from Indian textiles. I’ll just show you some details rather than the whole finished piece, because it will be going into our exhibition in May – but once it is up on the wall then I’ll post pictures of the finished thing. I’m working on several other pieces alongside it, but this particular one has been quite time-consuming so it’s good to see it finally coming together. I really wanted to do something that was purely decorative and not ‘conceptual’ in any way. I prefer not to use an embroidery hoop where I can avoid it, so working on thick felt makes that easier as it isn’t too floppy. Unfortunately it makes it hard to photograph. Something about the way felt absorbs light seems to drain the colour out of the photo, so it either looks dull or harsh. The colours are better in real life, honest! I’ll post some of the other pieces that I’m working on in another post quite soon.

On the subject of bling, I ran a day workshop on goldwork last week for the West Sussex Federation of Women’s Institutes. They have regular craft days that are open to all the different local branches. It’s an opportunity to get together and learn something – and yes, some stitching did go on in between the chatting! I enjoyed teaching such a friendly and welcoming group, and their enthusiasm was lovely. I offered the choice of working from my design, or ‘going off-piste’ and working more spontaneously. Three people chose to work from the design and nine chose to work spontaneously. I have seen people getting quite stressed with goldwork because of the emphasis on ‘perfection’ and the difficulty of achieving that in the early stages. It’s hard to try to produce something perfect when you’re learning the techniques, and the traditional plain silk backing really emphasises any little mistakes. The idea of doing it more ‘free-form’ is to let the materials dictate the shapes, so that there is no ‘right or wrong’ place to position each piece. As I explained, the design did not need to be any more challenging than starting with a zig-zag or a wiggle, then letting those develop to complement the first lines, and then filling in spaces. Several people produced pieces that looked quite ‘art nouveau’ in their shapes, because they let the materials ‘flow’ quite naturally.

Working like that isn’t everyone’s cup of tea, and I did explain that it was abit of an experiment, but I was impressed that so many were willing to give it a go. The people who worked from a design also produced some pleasing results.

Now I must focus on finishing off the half-done pieces for the exhibition in May. Just to remind you, it’s from Fri 6th May to Sat 21st May (Tuesday to Saturday) 10.00 to 5.00, at The Studio Gallery at Worthing Museum and Art Gallery. See the ‘FIVE’ page on this website for more details.

 

 

Work in progress

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Here’s the latest piece of the ‘hand-stitched Indian doodles’ panel that I’ve been working on. This is another panel that will form part of the wall-hanging that I showed in my last post ‘Hand-stitched Indian Doodles’. I thought I’d add a couple of photos here, to show you ‘work in progress’. 

The background is pieced and patched dyed felt, in grey, red and greeny-blue, and the embellishment is added with a combiniation of silver metal-thread techniques, beading, and hand-stitch. This particular panel has an outline in couched silver ‘jap’, with cut-glass beads and a filling of ‘rough check’ cut into pieces and applied like beads. What I can’t capture in a photograph is that it reflects light and sparkles, especially aongside the other shiny bits of the other panels. When the piece is finished I’ll set it up in better light and try to take some pictures with a better colour balance and focus.

It’s slow work, but very absorbing. I must admit, I do wonder what I was thinking when I decided on the overall size. Metal thread work is lovely to do, but very time-consuming so it’s really better to stick to something teeny-tiny (note to self for next time!)

Another reason for slow progress is the impact of building and decorating work, and the dust and chaos that it brings. I’ve also had some pretty major dentistry this week (bone augmentation – but that’s probably enough info in case anyone reading is dentophobic!) But one good thing about this is that I have strict instructions not to over-exert myself or put my head upside down. I’m not sure how long I’ll get away with the argument that making cups of tea is exertion! But it definitely excludes sanding floors and painting ceilings, so I have the perfect excuse to snuggle up in the warm and get on with some embroidery. Every cloud has a silver lining, in this a case silver metal thread lining.

Hand-stitched Indian doodles

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I’ve been working on Indian designs lately so I thought I’d show some work in progress. The inspiration for this is some of the densely stitched metal thread work that I saw in India. At the moment each piece is a separate motif stitched on a square or rectangle of dyed felt, and they’ll eventually be joined together with some freer stitching wandering over the whole piece to unite them. I’m doing the stitching in a combination of silver kid, silver metal thread (purls and pearls) silver jap, embroidery thread and beads. The sizes and shapes of the squares and rectangles are based on the Fibronacci sequence, so the measurement of each piece is either 1,2,3,5,8,13 or 21cm. Once I’ve found an arrangement that works, they’ll all be pieced together and mounted together, possibly surrounded by something silver.

Here’s an initial arrangement done in coloured card (apologies for the strange colours and photo quality!) The idea is that I can juggle with the actual arrangement as I go along and the combination of shapes and sizes should balance each other. That’s the theory anyway – we’ll see if it works! It’s abit of an experiment as I normally have a clear idea of the overall design of a piece before I start stitching it – sometimes to the extent that maybe I ‘over-design’ it. It feels quite ‘free’ to just start each bit with whatever comes into my mind at the time – a very different way to approach it all.

Once they’re all in place, I plan to add some hand-stitching that will be freer in the way it wanders, to break up the rather rigid blocks of colour. I’ll post more images as it develops.

Deomlition

Oops

There used to be a front garden here

There’s been quite a gap since my last post here, but a few photos may show you why. We’re in week 4 of a 2 week building project, which turned out to be a much bigger project than we or the builders realised. The hall, stairs and landing are covered in dust-sheets, tools, plasterboard etc., and the front garden is full of rubble.

The builders are lovely, but I wasn’t planning on having them in the house all day Christmas Eve! It’s very lucky this wasn’t happening last year, when we had a house full of visitors all week. This year relatives are coming to us for Christmas lunch, but they’re all local so they don’t need to stay overnight. We’ll clear a path free of tools and rubble for Roger’s mother’s wheely-walker, and I’ve managed to get the living room relatively dust-free.

Buying a Christmas tree was delayed because of the building works, but I finally rushed out and bought one yesterday, a lop-sided B&Q left-over. Once I’d got that decorated, it did finally begin to feel like Christmas, so things are looking up. With the state of the world as it is, it seems churlish to grumble about abit of dust. Let’s just be thankful that we’re warm, dry, safe and have food to eat and people around us. Just as long as I don’t accidentally mix plaster-dust in the gravy!

Here’s wishing everyone a very happy, relaxing and peaceful Christmas and a creative New Year.

 

 

 

 

Goldwork embroidery: 3D floating fossil rock

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This embroidered floating fossil rock was a Goldwork piece for the City and Guilds Diploma in Stitched Textiles (Embroidery). It uses traditional metal thread techniques. Silk and viscose velvet was dyed with Procion dye, and the ‘veins’ in the rock were machine-stitched with Madeira FS20 thread in black and gold. The goldwork fossils are stitched with traditional metal thread techniques (leather kid, jap, purls and pearl purl) and the fabric is then scrunched and tweaked into the 3D rock. It floats on electro-magnets, using ‘Levitron Fascinations EZ float’ technology.

I hope you enjoy it.