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.
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.
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.
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 awkwardfoot snugly within the paint lines, so a good result.
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.
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!