What are these flights of fancy that Mabel has? Well, they are short snippets about anything that I've been doing, stitching, designing, thinking about, experimenting with, and so on, which I think you may be interested in. They'll tell you about new designs, how I come up with names, changes I'm making in designs I'm working on and so on. I can't promise posts will be regular or terribly frequent, but I'll do my best not to neglect this page for long periods of time! By the way, most of the pictures are thumbnails, so you can click on them for a larger version; if you hover over one and a little magnifying glass with a + appears, it's clickable.

Speedy triplets

Well, a baby in triplicate. Last week we had the lovely news that a baby had arrived safely into the world: little Evelyn. Both the new parents and all three grandparents are church friends of ours (I actually taught the baby’s mum in Sunday school, which makes me feel terribly old), so three cards were needed. I had to find a nice baby motif, and also decide whether to embroidery the name on each card.

Now many years ago in one of the many cross stitch magazines that I used to pick up at car boot sales I found a very pretty pattern of a baby-on-a-frilly-blanket, and I stitched it for a friend’s daughter’s first Christmas. Some years later I stitched it again (with darker hair, to match the baby in question) for the newborn son of friends of ours. That was quite an interesting card to make as there was a power cut halfway through, and as I was going to see the family the next day I finished stitching it by the light of an Aladdin lamp.

Stitching during a power cut Card for baby Rakan

I felt this would be a good motif to use for the three cards needed this time, but doing it in the original cross stitch version would take far too long. Fortunately it wasn’t difficult to turn it into a line drawing and transfer it to three bits of fabric. For the threads I decided on floche with possibly some Blomstergarn (Danish flower threads) – I have a sum total of five skeins of it and tend not to use it much because cream, two yellows and two greens don’t give a lot of scope beyond the odd buttercup or dandelion. But I wanted to make the romper suits different colours so they don’t look like a job lot, and the yellow and green would make a nice bright splash of colour.

The materials for the baby cards

Baby #1 was soon finished and I was particularly pleased with the frilly blanket, but a few tweaks were needed. The eye was too dark, so I took it out and re-did it in a lighter brown after this picture was taken. I also decided that in the other two I would work the face outline in whipped backstitch instead of split stitch – it makes a cleaner line – and use a slightly darker pink. As for the name, the embroidery would have to be very fine and fiddly and take rather a lot of time, so I settled for writing it on the fabric in silver or gold gel pen when mounting them in the cards.

Baby number 1

Baby #2 had the tweaks incorporated, and I did like the face outline better this way. In my quest to make them all different I left out the detailing in the hair and stitched the romper suit in two shades of green with the darker one used at the tummy and the far sleeve; I also added some petite beads.

Baby number 2

Baby #3 was given a yellow romper suit and darker hair; I couldn’t tell from the few photos I’d seen what Evelyn’s actual hair colour is, but her mother is a fair ginger and her father quite dark, so it’s anybody’s guess. This time I added tiny sequins, which I wanted to put in the same arrangement as the beads. Unfortunately I miscounted when getting them out of the bag and I found I was one short, but by that time the bag had been put away in the craft room and Lexi was comfortably curled up on my lap with no intention of moving. Explaining to Mr Figworthy exactly where in the craft room to find a small bag of 2mm sequins was just too complicated, so I re-spaced the sequins I had.

Baby number 3

Now all that remained was to turn all three into cards. I found three aperture cards in colours roughly matching each of the romper suits, but that looked a bit dull so I mixed them up. I added the baby’s name making sure the whole thing still fitted inside the aperture, and then had a think about what to write on the card. “Congratulations” would be the usual thing but for some reason I didn’t like that; you sometimes see “A new baby!” or “It’s a girl!” but that sounded a bit obvious. And then I remembered the baby’s middle name – perfect smiley.

Three babies made into cards

Is it stash or stock?

I felt very virtuous this morning because most of the embroidery-related things I’ve been ordering recently have been necessary stock: postal boxes for my goldwork and appliqué kits, lightweight calico which is the backing fabric in all the non-counted kits, plunging needles and bamboo hoops for the goldwork kits. But then I came across part of a purchase which I couldn’t quite classify – is it stock or stash? Or both?

The items in question are two lengths of coloured purl. A dark pink one called Berry which will be used for the little flower in the goldwork kits, but which might of course also end up in some of my own projects. And a Bottle Green which is definitely for one of my own projects – a goldwork snowdrop I’m planning. But as that is likely to become at least a chart pack and possibly a kit, perhaps it still counts as stock?

There was no way, however, that I could pass off the things that came with the purls as stock – they were just pure indulgence. It started with a Facebook post by Sarah Homfray showing some octagonal display frames. As I love finishing projects in hoops I thought they’d be ideal, especially as they are the perfect size for a lot of what I do. And as they are quite bulky and fell into the higher postage band anyway this was a great opportunity to add the wingnut tightener I’d been eyeing for some time.

Octagonal frames and a wingnut twizzler

Then, as I thought the postage might stretch to a bit more, the purls were added. I like to be able to offer a nice range of colours for the small flower in the goldwork kit, and that snowdrop had been in my sketch folder for yonks so it was about time I did something about it. And then, as I browsed the rest of the site, I noticed some printed fabrics for two crewelwork fruit trees. They used to come as kits, I think, and they were a set of four: apple, orange, lemon and pear as far as I remember. I really liked them but didn’t really want the kits; I have plenty of threads and the stitching on them was fairly straightforward. Now the apple and orange were there as a “fabric only” option – great for relaxing in-between projects to use up odds and ends of threads in whatever stitches I feel like at the time! They duly made their way into the shopping basket, and as they didn’t tip the postage over into the next band, they were duly ordered with the rest. I’m going to enjoy those!

Printed trees and coloured purls

By the way, having stocked up on postal boxes and small bamboo hoops I’ve been thinking of converting some of the other kits I offer to boxed ones including a hoop, especially the kits aimed at beginners. On the other hand, a beginner at Shisha embroidery may well have done other types of stitching before and therefore already have the necessary hoops. What do you think?

When we had classes…

A belated Happy New Year to you all! This post was meant to appear earlier this week, and it should have started: “As I’m now halfway between classes, it’s about time I gave you an update on the Goldwork module”. Unfortunately, because of lockdown I am no longer halfway between classes, as they have been cancelled for the foreseeable future. Disappointing, of course (especially the fact that assessments are also on hold) but completely understandable, and so we just get on with things as best we can.

But first we must go back. I realise that the last thing I showed you (apart from a couple of looks at the back of the work) was the state of affairs after my November class, so today I’ll show what I did in the run-up to the December class, and next week what was done when I got there. You may remember I’d couched the cloud outline but was leaving the ends unplunged because I wasn’t altogether sure about the bricking, so ignoring that for the moment it was time to couch some pearl purl (PP). To get into it with something not too challenging I started with the outline of the sun.

The sun's outline in pearl purl

The next bits (the far legs) were more intricately shaped, and I wanted the line drawing near so I could keep referring to it. My needle minder was pressed into multitasking as a paper minder, and helped me keep an eye on the outline I was trying to create. You might think surely the paint lines would do that, and most of the time they do. But sometimes the paint lines (remember the smudged pounce debacle?) are not exactly like the line drawing, and although they have to be covered, a bit of careful placing of the wires here and there can improve the outline… I was going to say “considerably”, but in reality I’ll probably be the only one who notices smiley; still, for me that makes it worth the effort.

A way of keeping the line drawing near The far legs completed

For Haasje (worked in the thinner PP) having the drawing there was even more important – after all, it’s essential to the look of the finished piece that I get his expression right. And this was the bit where the pounce had got smudged most. In a couple of places my decision to create the outline I wanted especially for Haasje’s head may have left a teeny bit of paint visible, but I came to the conclusion that whatever the effect on the assessment, making Haasje look the way I wanted him weighed more heavily with me. And I’m happy with the way he’s turned out, even without his big spangle eye. But my goodness some of the smaller and curvier bits were fiddly!

Haasje outlined

The final bit of PP was the inner line of Bruce’s ear, and then it was on to the twist outline. As Helen had said single twist is always couched using the “invisible” method, that’s what I did, including some challenging pointy bits. I also had to work out which bits of Bruce’s outline were behind which other bits, so the overlaps looked as natural as possible. And then I plunged one bit of twist a little too short… fortunately I managed to tease the end back out and plunge it a little closer to the line. Phew.

Bruce's inner ear A pointy ear in couched twist Plunged just too short Re-plunged in the right place

The first ear was followed by back and tummy, head, other ear, front leg, and finally rear leg with haunch.

Bruce's back and tum outlined And his head And his other ear And his front leg And finally his rear leg

That’s a lot of twist, I can tell you, and at that point I’d reached homework saturation point. It was time to take Bruce and Haasje to class, show them to Becky Quine (who was taking over last minute from Helen Jones), and decide what to do next. To be, as they say, continued!

Stitching goodies under the Christmas tree

Did you get any stitchy presents this year? I was thoroughly spoilt – besides non-stitchy presents including a set of good kitchen knives from Youngest and a lovely cross pendant from my husband there was an embroidery book and box of inspiring stash (also husband) and a selection of really useful bits plus some unusual bling (from Eldest, DIL and grandson). And with only the tiniest of hints; aren’t they clever smiley?

I’d rather hoped to be able to pick up my signed copy of this book at my latest Certificate class which was meant to have Angela as the tutor, but they changed the teaching schedule so it was Becky Quine. I could have brought her Crewelwork book (which is from the same series as Angela’s, and Lizzie Pye’s for that matter) and have it signed as well, I suppose, but I thought that would be a bit forward. Anyway, as the new book had to be sent, my husband decided it would make a good Christmas present – which indeed it did! I’ve had a first read through and there are lots of interesting ideas in there; I particularly like the use of Turkey rug stitch for a girl’s plaited hair (shown on the cover).

Angela Bishop's book about embroidering people

A friend on the Cross Stitch Forum had alerted me to the lovely hand-dyed threads of Paint Box Threads; they sell them individually but also in “Inspiration Packs” containing interesting combinations with hand-dyed fabrics and speciality threads. This is the one called “Period Drama”. The sateen is lovely and soft and matches the threads beautifully. The speciality threads look interesting, there’s a sheer ribbon and a neutral & gold thread which can be couched, and something extremely hairy which I’m not sure how to use but it’ll be fun to try!

Inspiration Pack from Paint Box Threads What's in the box in detail

And finally there was this lovely selection. Well, when I say lovely in some cases I just mean “very useful”; I am the first to admit that the 10mm felt for really high padding is not the most attractive thing to look at, but I look forward to using it in future goldwork projects. I’m thinking possibly a toadstool… anyway, that’s for later. The other bits are three gorgeously shiny silks for couching metal threads, a light grey drawing pen for transferring designs, a dinky little pair of pliers which will be great for pulling needles through dense embroidery and bending wires, and some unusual goldwork materials. See the gold and silver looped wire in the pictures? On Jenny Adin-Christie’s website it is called “miniadice”, a wire I had never heard of before. A quick google yields only one other link (to a German website), so I guess it is not very commonly used. That means it’s not really suitable for any designs I intend to publish on the website, but I can still use it to interesting effect in purely personal projects.

A collection of goodies from Jenny Adin-Christie Couching silks, pliers, transfer pen and miniadice

With so many things to read and play with, it’s a shame the Christmas holiday is nearly over! But I’m sure I’ll find opportunities to use my presents even when work occasionally gets in the way smiley.

The joys of curvaceousness

No, this has nothing to do with the festive season or the fact that I inexplicably tend to acquire a few extra pounds at this time of year. It’s all about frames and needles! (Digression – my husband asked how the finishing of plunged goldwork threads was assessed as it would be covered up. I explained that, as far as I knew, if the metal threads on the front didn’t wobble and there were no unsightly bulges the assessors would assume the securing had been done properly. “Ah yes” he said, looking meaningfully at the various Christmas treats lying around, “wobbles and unsightly bulges can be quite a problem.” I ignored him.)

Remember the two SAL Trees of Life that went off for framing? Well, they came back looking rather beautiful in their shared accommodation! One of the things I really like about the finished look is those curvaceous apertures. Because the design for the Tree is just a little taller than it is wide, I made things a bit difficult for our poor local framers by asking the mount to be cut not with two perfect circles, but with two not-quite-circles-but-just-slightly-ovals. I think they came up trumps, don’t you?

The SAL Trees of Life framed

Over the weekend we finally got round to hanging them on the wall. They join a painting I brought with me from the Netherlands when I moved here, and appropriately hang right next to my craft room door. This also means I look at them whenever I’m working on my Certificate or other serious projects at the dining room table – ideal!

And hung in place Right by the craft room!

More curves entered my life this month, this time in the form of needles. I mentioned the ones I ordered from Creative Quilting, but I also found a set of six semi-circular and curved needles at Restore Products. Because the website didn’t mention the diameter I rang them and asked what sort of thickness they were, and the gentleman told me they were surgical needles which they themselves used for box making and mounting. I took the plunge and ordered a set, and they too arrived a little over a week ago. They were a bit of a surprise, being much smaller than I expected; I obviously hadn’t visualised the measurements on the website quite accurately enough. The smallest one, I suspect, will need an implement of some sort to manipulate it through the fabric, much like you see surgeons do in medical programmes. Perhaps the nifty little pliers I got for Christmas… but more about that some other time.

Back to needles. The Creative Quilting ones look the most promising, being more or less the size I’m used to but (as Becky had said) finer than the RSN kit needles and sturdier than the beading needles, so the Restore Products needles have been put away in my needle box for the time being. I’m sure they’ll come in handy at some point; tools and bits of equipment usually do, don’t they? The picture, by the way, shows both sizes of John James curved needles but I’ve only ever used the smaller of the two; I have no idea what I’ll ever use the larger one for, if anything. It doesn’t show a curved beading needle because I broke my last one while waiting for the new needles to arrive…

Various curved needles

And here is the result of me plying one of my new Creative Quilting needles: Bruce’s back is properly and fairly neatly secured! I still managed to pick up a bit of the main fabric once, but fortunately I noticed before pulling the needle through so I could remedy that quite easily. In the not too distant future I’ll show you what the front of this tamed spaghetti looks like smiley.

Bruce's back fully plunged and secured

A passing resemblance

Do you find that you have certain favourite materials and stitches for the various types of embroidery? I’ve been doing quite a bit of goldwork recently (you may have noticed…) and certain metals and threads have been steadily emerging as favourites whereas others are on the avoid-if-possible list. The larger sizes of rococco, for example, definitely fall into the latter category (I much prefer the also wavy but finer check thread); and passing thread in its various weights is one I reach for with much more enthusiasm than Jap, with which it shares certain characteristics. It’s a shame that Jap and rococco are required in my Certificate piece, whereas check thread and passing are not allowed.

Rococco and check thread

So what is passing, and how does it differ from Jap? Well, they both have a thread core (silk or cotton); the difference lies in what is wrapped around the outside. In Jap this is a relatively wide strip of metal foil paper, whereas in passing it is a metal wire or a thin strip of metal. This makes passing slightly stiffer, but also more suitable to take around sharp bends – Jap’s foil wrapping sometimes comes away from its thread core if the bend falls right in the middle of a wrap.

Passing and Jap Passing and Jap, close-up

A few weeks ago someone on the Needle ‘n Thread Facebook Group mentioned a shop called Tied to History which, they said, had some great bargains on discontinued threads, among them fine passing. This sounded interesting! I had a quick look, and before long several shades of fine passing had made it into my shopping basket, including a lovely rose gold which you may remember I thought might work for adding wavy highlights to Mechtild’s hair. When they arrived, I was not disappointed – lovely fine threads, much finer than any of the passing I had in my stash.

Passing threads from Tied to History

In fact what it most resembled was an unidentified metal thread I was given by my mother-in-law a few years ago. And like that thread, it seemed to be a bit betwixt and between: relative to the thread’s thickness, the wraps around the core are much narrower than in Jap, but rather wider than in passing. When I asked the seller about this, she said that she wasn’t an embroiderer herself but a maker of historic costumes; she hadn’t been able to find a thin enough metallic in the US, so had begun to source them herself, and eventually found these in India. She said she might well not be using the correct technical term for them. Be that as it may, they are lovely fine threads, and I look forward to using them!

Different weights of passing

But to do that, I need to undo the skeins. I started with one of the silver ones, partly because I bought two of them so if something went wrong I’d still have the other skein. Call me a pessimist, but metallic threads can be unruly and challenging, as I knew only to well after tackling the Jap that came in the bundle of gold threads my mother-in-law passed on to me.

Goldwork materials from my mother-in-law

And yes, before too long I ended up with an almighty tangle. Sigh. I contacted the seller, who said yes, the threads could be challenging to store; she usually popped them around a jam jar and took off as much as she needed, straightening the thread as she went. I can’t quite visualise the jam jar, but over the Christmas period, when the light is rather too bad for any serious goldwork stitching, I hope to take a leisurely afternoon or so to create shiny order out of metallic chaos. Wish me luck!

A passing tangle

A gold surprise, gold spaghetti and gold waste

As I got back from my Certificate class last Wednesday there was a padded envelope waiting for me among the Christmas cards. I opened it to find that it contained… a Christmas card! But there was a reason for the protective wrapping, which became apparent when I looked inside the very pretty stitched card – three little glassine bags containing three shades of gold bright check. What a lovely surprise to have some sparkle added to a dark December afternoon. Unfortunately the Certificate brief means I can’t use any of these kind gifts in Bruce the Kangaroo, but I’m sure I will find a good purpose for them.

A Christmas card and a lovely surprise

One thing the bright check won’t cause is the sort of gold spaghetti I ended up with at the back of my work after plunging the mixed couching on Bruce’s back. I’ll tell you more about the front of the work in a later FoF, but I thought I’d show you the slightly dispiriting sight that greets me at the moment when I turn over a frame whose front looks quite neat and tidy.

Goldwork spaghetti

The curved needles that come with the Certificate starter kit are fairly chunky which makes it difficult to pick up only the backing calico, and oversewing some earlier plunged threads I’d managed to catch the silk as well as the backing so that the sewing thread was visible at the front. This had to be unpicked (fortunately the silk wasn’t damaged) and re-done. I ditched the kit needle and used a curved beading needle I acquired a while ago. Well, I acquired two, but they are rather fragile and I broke one a few weeks ago. Now at the class Becky, the tutor, mentioned that a quilting shop near Hampton Court Palace did curved needles that were thinner and more flexible than the RSN ones, but sturdier than beading needles, so I rang them and ordered a couple of pairs. When they arrive I’ll get all those ends secured, and then Bruce and Haasje will go into hibernation over Christmas.

When I posted the spaghetti picture in a stitching forum, a fellow member asked about the wastage rate of goldwork threads, seeing that they are not the cheapest of materials to buy. Thinking it over, I found that actually it’s not too bad. Wastage in goldwork comes mainly in the couched threads where the ends of the thread get pulled through to the back (plunged) for the purpose of finishing off. The hollow wires that you treat like beads have (in theory at least) no waste at all because you cut them exactly to size; I say “in theory” as this takes a lot of practice, but even when you’re not yet very good at estimating the right length relatively little is thrown away – bits that are a little too long or short can usually be used elsewhere in the project. The same goes for pearl purl which is the only one of the couched materials to be cut to size and not plunged (because it doesn’t have a thread core). In fact, if you restrict your materials to pearl purl and the various flexible hollow purls and checks (and spangles), you won’t see any gold at the back of your work at all!

The back of this goldwork shows no gold at all All the gold is on the front

Anything with a thread core gets plunged, so you leave at least an inch on both sides; I actually tend to leave a little more when I pre-cut lengths, as I did for Bruce’s back where the lines are relatively short. The shorter the couched length, the greater the wastage as a percentage of the length used. But in Bruce’s hind leg, for example, where for the central part I’ll just be going round and round and round, the plunged bits will be a relatively small percentage.

Different lengths of couching

And even then I can’t really think of the plunged ends as “wastage” because, well, you need to finish off! In much the same way that you weave the thread end in when doing cross stitch or Hardanger you need to secure these gold threads. You only oversew about 10 to 15mm but you do need a bit more to pull to the back so you do tend to cut off a few centimetres each time after securing, and those offcuts can’t be used for anything else. Still, on the whole it’s fairly economical with the materials (depending to some extent on the design) – most of the gold is definitely on the front where it is seen!

Proper padding and a little bit of gold

After all the preparations I talked about in last week’s FoF, it was time for the third class in my Goldwork module. The first thing I did there was not concerned with the prep at all, but involved a little tweak to my sampled grass. Helen Jones, the tutor, suggested gently pinching the tips of the blades of grass with tweezers to make a sharper point, and it did make a difference. I still have to sample invisibly couched tips though! I also learnt that twist is always couched using the invisible in-between-the-plies method unless it is part of mixed couching, so both the grass and the kangaroo outline will have to be done in this way.

The tweezered points look pointier

On to discuss the soft string padding. Helen hadn’t seen the design or the extra bit of tail padding before, so we talked about possibly using thicker string or more strands as a documented design decision (as discussed with Angela last time), but when I remarked that I had sampled a blunt ending and moved the tail felt because the tail had to gradually get down to the level of Bruce’s rump, she suggested I cut 20 short lengths of my slightly thicker soft string, wax them, outline the tail on my sample cloth and see whether splayed out the twenty strings might not be enough to cover the base of the tail after all. They were. Helen said the sample I’d done at home was fine so she suggested I move straight on to the real thing. Away with the sampling cloth and out comes the slate frame!

On to the actual padding!

It took several goes and a fair bit of unpicking, because I wanted to get this absolutely right. The cutwork tail is going to be quite an eyecatcher, and having the proper foundation will make it much easier to get the cutwork even. So the tapering had to be gradual, and the securing stitches not stick out. It took most of the class, but then I did have a tail to be proud of! Well, Bruce did smiley.

The tapered end done, now for the chisel end Close-up of the tapered end Working on the chisel end The finished tail

Actually, it was rather nice to be able to spend such a long time just getting an important part of the project done just right. It’s not something you can easily manage at home, but in class, well, there’s nothing else to do but concentrate on your stitching!

And finally, I did manage to get on a little bit of actual gold thread that would be seen – but not without a design change. I was going to use a pair of rococco and Jap for the outline of the cloud, but the Jap looked dwarfed by the chunky medium rococco, so I changed it to a single line of rococco with a pair of Jap couched next to it. I got the rococco on in class and later that weekend added the Jap and the pearl purl outline of the sun at home.

The first gold

So the first gold is on – yay! Although… I’m not at all sure the bricking on the Jap and the rococco is up to scratch. The irregular nature of rococco when couched in curves makes it difficult to space the couching stitches evenly, which in turn makes it difficult to know where to place the couching stitches on the Jap; bricking based on the rococco will simply make the spacing on the Jap uneven as well, while spacing the couching on the Jap evenly upsets the bricking pattern. For now I will leave plunging and fastening off on the cloud, in case I decide to take it all out after discussing it with Angela. If a thing is worth doing…

Stabbing and padding and a soft string sample

Sometimes embroidery can sound quite aggressive, or just plain weird – stabbing, waxing, plunging… Never mind, we know what we mean! Before there can be any plunging at all, however, there is the very extensive prep stage to get through. Tempting to rush through it or skip bits, as it will all be covered up, but I know from experience that it does make a difference to the look of the end product, so I’m being a good little embroiderer and completing all the steps.

So the first thing was to finish stab stitching the silk and the calico together (to avoid any puckering when the embroidery is taken off the slate frame), just inside paint lines which enclose areas that will be covered, and exactly on the paint lines of areas that will only be outlined. Encouragingly, when I had finished this it was very difficult to see where the stitches were, but the picture taken with the light at an angle will show you the general effect.

The stab stitching finished and not very visible The stab stitching close up

Then it was time to put some near-golden colour on: the felt padding. I recut the front leg as the original felt piece simply would not fit properly inside the paint lines, and I lowered the bit of padding in the tail, having just in time realised that the tail would need to flatten towards the rump in order to prevent an ugly step in height.

All the bits of felt in position, except the hind leg Most of the felt attached

By that time the light was getting bad. Should I leave hind leg with its four layers and intricately shaped top? After some consideration I decided to attach the first three layers; after all, the fourth layer is the only one that will be seen, and even that only temporarily! Now to position them correctly. My Bohin chalk pencil proved invaluable in making sure that the outlines of all layers were more or less equidistant on the part of the haunch where all four pile up.

Chalk outlines to position the felt The first layer attached Layers two and three attached on top

The next day, when the light was better, I added the last layer. And boy was it fiddly! Still, I managed to fit that sizeable and awkard foot snugly within the paint lines, so a good result.

The final piece of felt padding added

On with the string padding. My homework was to get that finished too, but I was having second thoughts. I have done string padding before, once at a one-on-one RSN class and once at Helen McCook’s goldwork racehorse class, but in both cases the padding was tapered at both ends. Here I needed to have one end (the top of the tail where it attaches to Bruce’s rump) gradually decreasing in height but increasing in width – a sort of chisel edge rather than a fine point. Out of my entire collection of goldwork books (admittedly only about five, but these include the RSN guide and Alison Cole’s excellent volume) there was only one that described this process: Lizzie Pye’s. Her pictures were very helpful and informative but even so I decided to sample this method first – I wanted to bounce it off the tutor before applying it to the real project.

Cutting and securing a blunt edge The padding seen from the side

Besides all this foundation work I also did some grass sampling (well, I wanted to do some shiny embroidery). There are two methods of couching twist: taking the needle down in between the plies and making stitches that lie in the direction of the twist, so the couching thread “disappears”, or taking the needle over the top at right angles just as all other metal threads are couched. I tried both, the disappearing version on the left and the visible version on the right. I prefer the invisible method, but it is more fiddly, and it’s very difficult to make the pointy turns work so I had to use a few auxiliary stitches. More sampling needed to learn how to couch the points invisibly too. Nothing like a bit of a challenge to keep things interesting!

Invisible couching Two types of couching and some chipping