On the day that I should have been at my fifth class, a FoF about what was accomplished at my fourth class, and what I’ve done since. The fourth class, my goodness – I’m half way!
The first thing was to discuss with the tutor (Becky Quine) whether to leave or unpick the couched cloud. She said for rococco you would normally ignore the wave but couch by distance, making bricking easier. That makes sense but I wish I remembered where and when I was told to go by the wave; I’m fairly certain I didn’t just make it up! Becky agreed that the couching on the cloud was a little wide because of my trying to follow the wave but advised leaving it as taking it out might cause damage to the fabric (even though I hadn’t plunged them yet). So I plunged and secured the threads, and we’ll see what the assessors think.
The picture above shows the start of the mixed couching on Bruce’s back. I had decided to use alternating pairs of very fine rococco and Jap; Becky said to use the larger rococco only as the very fine doesn’t come in the kit you get at the beginning of the module and it might be an issue in the assessment. I told her that I didn’t get the kit because I had pretty much all the materials already so Angela said to work from stash; and had also approved my using different sizes of rococco because the size isn’t specified in the brief. We agreed that I’d note my decision to use the very fine rococco in my log.
As I was couching a pair of the rococco I noticed the gold wrapping was rather gappy, showing the core thread. It would have annoyed me whenever I saw the piece if I left it, so I took it it out and picked a better bit to replace it with. Towards the end it needed a single very short line of rococco to cover the felt completely, which was fiddly but necessary to make sure it looked neat and tidy. Well, except for the spaghetti ends sticking out everywhere.
To practice creating a nice edge I first plunged the side that will be bordered by the couched Jap in the haunch, then the edge that would remain exposed. And that’s what the front looked like at the end of my fourth class.
Besides stitching there was a lot of discussing various bits of the design. I asked about the teeny details such as Haasje’s nose and Bruce’s nostril – as I can’t possibly do them in any of the threads in the brief, do I just leave them out or would I be allowed to stitch them in a thin metallic thread? Becky confirmed that for anything this small a thin or stranded metallic like Ophir is permitted. Unfortunately Ophir has been discontinued and I never managed to get hold of any, but in my goldwork stash I have a very thin Kreinik Jap #1 and a Madeira 3-ply Heavy Metallic, 1 ply of which should work well. I’ll take them to my next class to see what the tutor thinks of them.
At home the first task was to secure all the plunged ends of the mixed couching on Bruce’s back; as I mentioned in an earlier FoF, I couldn’t manage with the John James needles and I broke my last curved beading needle after only half the oversewing. Fortunately the Creative Quilting needles arrived not too long after and I could finish it. They are very nice to work with indeed, stronger than the beading needle but a bit finer and more flexible than the JJ ones; just what you need in a dense area such as this.
Next was the front leg. I’d worked out two possible arrangements of the couched Jap, and I felt I couldn’t properly visualise them on paper – some sampling was called for!
Now this sampling was not done as neatly as I hope the real leg will be done, simply because I didn’t want to spend an inordinate amount of time getting it neat when the aim of the sampling was simply to compare the look of the two “layouts”; moreover, in order not to use up lots of precious Jap I used some unidentified Jap of a similar thickness which I rescued from a tangle in my mother-in-law’s work chest, and which is decidedly less than pristine in places. Because of this, it didn’t behave as well in tight turns as the proper stuff will. But it definitely gave me some idea of which I preferred.
I expected to like the one on the right best, and I do like the way the lines run in that one (more like the way you would fill in that leg if you were drawing or painting it), but the version on the left is a lot neater. Purely in isolation that would be fine, but I feel that the gold going across the top makes it look cut off from the rest of the body, instead of flowing into it. Hmm, some thought and tutor input needed there.
So that’s where I am at the moment, and the question is, What next? I do need to get some homework done, especially now that my next class may well be a couple of months away. Well, not the front leg. That needs bouncing off the tutor. I was advised to do the line of grass later as it is so close to the bottom of the frame and it might get damaged if I lean on it to get to higher-up bits of the design. Still, I keep it covered when not working on it, I don’t lean on my frame much anyway as it’s so small, and it’s done in couched twist which seems quite sturdy, so as long as I don’t put the chips in I should be OK. I’ll probably do some work on the rear leg as well, as I’ve discussed the arrangement of that (starting with a loop start in the toe) in quite a bit of detail with two tutors. And then? If there’s no class in sight yet, I will put it away and go back to the racehorse – that way I will keep in practice with goldwork, and not risk ruining anything important . And if there are still no classes when the horse is finished, well, I may just possibly have bought two of Alison Cole’s goldwork kits the other day which arrived at unprecedented speed and are therefore winking at me seductively from my craft room desk…