Right, where were we on Bruce – I’d almost got the couching back to where it was before my class, and I’d filled in a bit of the sun. Although undoing and redoing is part of the learning process and very useful, it nevertheless feels a bit deflating, and it took me a while to work up the motivation to finish those last re-couching stitches and get on with my homework. When I finally did, I succeeded in making things worse… How? Well, it happened while I was continuing with the Jap couching after I’d re-couched the buckling bits.

I finally realised why, when Helen tested my couching stitches, they were so slack. It surprised me at the time, because I’m quite finicky about my couching and I didn’t think my tension had been that loose – but as I was couching the Jap on ever thicker layers of padding, I noticed that whenever I pulled the couching stitches on the present round, this would compact the felt (not much, but just noticeably). Because of that, the stitches on the previous round then loosened – in other words, the couching stitches on previous rounds get looser precisely because I put a sufficient amount of tension on the present round. Was there a way of restoring the tightness of those stitches? Well, you could pull them from the back and secure them, which is what I tried to do.

But it’s not easy to see from the back which stitch tightens what when the couching is so dense, so some things got pulled more than I intended while others didn’t get pulled at all, meaning the surface was now if anything less smooth! Eventually I decided to tighten the worst of them from the front, by “looping” a small stitch around the base of the couching stitches, until it looked more or less acceptable again. I continued with the couching and finally came to the point where I needed to finish off the Jap to leave enough room for the chipping-in-a-pearl-purl-border. I briefly considered two patterns of staggered plunging, but the A pattern was a clear favourite both with me and others I asked, so I didn’t bother sampling them and went straight (or rather, staggered) ahead.

There is still some buckling on that haunch and on the thin part of the leg, but I’m afraid I will just have to live with that. I have no wish to try another experiment only to see it get worse! You have to know when to stop, and I’d reached that point. No more tweaking. Enough is enough. Instead I’m trying to concentrate on the things I’m pleased with, such as the smooth finish on the Jap’s staggered plunging, the tightness of my couched turns, and the chipping in the sun which is nice and dense and does all the things the brief requires, like covering all the felt, achieving a random effect, and not having any chips stand up perpendicularly.

Next was the pearl purl (PP) border. The brief asks for a closed outline with an invisible join. As I had never tried this before, it seemed a good idea to sample it first. Having decided to use size 1 (which is the slightly thicker one used for the kangaroo leg outlines, with the thinner Super PP reserved for Haasje) I had a go on my sample cloth. When coming to the finish, I cut the PP just a little bit too short, so the join is visible, but for a first go I was not unhappy with it. On to the real thing, remembering to cut the end of the PP just a tiny bit longer than the gap I was trying to fill, and voilà, one nearly invisible join. Hurray!

On to the front leg. First, remove the felt for a pristine work surface. Realise that removing felt completely is extremely tricky. Tweezer off most of the fluff caught in the couched twist border. Hope that the couching will cover up any remaining bits.

Here two tutor interventions came together. The first was Angela’s suggestion that I should plunge the couching on the front leg in a staggered seam rather than using the tight turns I’d demonstrated on my sample. The second was Helen’s realisation that there was no area of couching-straight-onto-the-fabric (i.e. with no felt underneath) in the design, which was required by the brief. The reason for this requirement is to see how well you cover the fabric without the safety net of golden yellow felt beneath, something which may actually be easier with plunging than with turning, much though I prefer to avoid plunging whenever I can. Actually it’s not the plunging so much, it’s the oversewing on the back which needs a curved needle and can get terribly crowded, but it seemed that plunge and oversew I must. However, first there was the thin part of the leg with the foot, which I did decide to fill with a turn, and I was really pleased with the way the central pair of Jap fitted in snugly and how I managed to brick the stitches relative to both sides. The turn and plunging on the foot was also successful in that very little fabric shines through.

Then it was spaghetti time! Filling the top of the leg was quite tricky, especially towards the middle where the lines became shorter and shorter until each pair was held down with only a single couching stitch. Herringboning the plunging was awkward, particularly at the bottom end where all the unplunged tails obscured the ones that needed plunging first.

But I managed, and didn’t pull out any of the short lengths when plunging (yes, this does happen). At this point some of the Jap did not lie completely flat towards the plunged ends, because some final couching stitches were needed which I couldn’t put in while the ends were unplunged and unsecured.

So that meant doing the securing first. It may seem that the spaghetti had disappeared, but alas, it had merely moved. To the back. Trying to fit in all the tails was an interesting puzzle; with about three-quarters done I began to have serious doubts about cramming in the remaining quarter!

And here is the front leg all done, with the final couching stitches added in. Am I happy with the result? Looking with a critical eye and with the brief in mind, I can see some areas where I will lose points. The top line is not as even as I would have liked, even though I did unplunge and restitch several of them; but more replunging would just have damaged both the threads and the fabric, so this is how it will be. Then a few of the Jap threads are showing their yellow core at the plunge point; you can to some extent counteract this by twisting the thread from behind before oversewing, but in a number of cases this simply didn’t work. On the other hand, there is little fabric showing and I think my couching is quite neat overall. The little gap at the top where the left and right side meet in the middle is too small for even a single thread of Jap to comfortably fit in, so I will suggest to Angela that I leave that as it is.

My next class is this Saturday and I’m hoping to do a bit more before then – I need to draw a diagram to scale of the cutwork on the tail, and I’d like to get the chipping on the haunch done. But for now here is a picture of Bruce as he is at the moment:

Have you ever heard of the Echternach procession? Its participants used to progress by taking two steps backward for every three steps forward. The fifth class of my RSN Certificate goldwork module (AKA Bruce) felt more like two steps backward for about one and a half steps forward – I ended up not even back where I started, albeit with a little additional chipping to keep my spirits up.

We started the class looking at Bruce’s ears. The original stitch plan has smooth chipping there, but the areas are quite small and I wondered whether longer, parallel chips might not look neater. I bounced this idea off the tutor (Helen McCook, with whom I did the racehorse workshop two summers ago) and she agreed that that would be a better idea, and approved the directions I had chosen for the longer chips. So stripy ears instead of spotted ones for Bruce, although not quite yet – first there’s all the couching to finish.

When I say “finish”, what actually happened was more of a “tidy up”. Having had a look at the foot, Helen suggested a few extra couching stitches closer to some of my plunging, which I put in. Two of them are marked with arrows in the picture, and I cannot for the life of me remember where the third one was, even after comparison with earlier photographs. But they’re there now, hopefully giving extra security to the foot.

Then we got to the painful bit. Not quite the most painful bit – that came later, at home, and will be fully revealed in a later FoF. But quite painful enough. Helen turned out not to be bothered about the thin part of the leg (which was my worry), but picked up on the underside of the haunch. She said it wasn’t as smooth as the rest (which was true) and that it therefore drew the eye because the rest was so even and smooth. We looked at the sloping sample, then she tested my couching stitches on the actual piece and said the tension wasn’t tight enough. After discussing a few more technical points she suggested that I take out the couching stitches along the bottom curve of the haunch and re-couch. Not a nice thing to hear, but as a very wise stitching friend said, “That is what tutors do. If you can accomplish your task without them, then they don’t have anything to do.” Very true.

Incidentally, although I would not wish difficulties on anyone, it was rather reassuring to find that the Diploma (that is, Advanced) goldwork student next to me was wrestling with the same problem: getting pairs of gold threads to lie flat when couching them onto a sloping surface. At least it wasn’t just me!

Anyway, I unpicked the couching from the outermost pair to the first of the mixed pairs, plus a tiny bit on the last two pairs. This was rather more awkward than it sounds – because the couching is so dense, because I couldn’t always tell where I’d started a new couching thread and because towards the leg there are several plunged and oversewn ends which lock everything into place, it wasn’t a simple matter of snipping the thread and then pulling out all the stitches in that row one after the other; they snagged, they dragged, they misbehaved. Still, during the class I managed to restitch from the outer edge up to the mixed couching, and Helen said it looked much better. When I showed it to my husband later that day, he agreed. I’m still not fully convinced. It looks better, yes, but does it look that much better? Still, if it looks better to the tutor’s eye (and therefore hopefully to the assessors’ eyes) then I suppose that’s the important bit!

There was another snag. Helen picked up on the fact that there was no couching-straight-onto-the-fabric anywhere in my design, even though that is required in the brief. How I managed to miss that I don’t know. How three tutors, all with access to my stitch plan and looking at the actual project, managed to miss it is anybody’s guess. But there it was. After a good long look at the design, and having come to the conclusion that I couldn’t really add another couched area without throwing the design completely off balance, I suggested that I could take out the felt on the front leg. Not an area I would have chosen for “naked” couching if I could help it, as it is small and the shape is quite complex. On the other hand, it’s only one layer, it wasn’t put in there to add height but merely to do what yellow felt does in goldwork, namely make it look better and disguise any gaps (which is of course exactly why the brief specifies an area of couching without this safety net), and most importantly, it hasn’t been couched on yet. So out it will come, after I’m done with the hind leg.

On the plus side, Helen really liked my couched twist and pearl purl outlines, saying (after some rather disconcerting pushing and pulling) that it felt nice and solid, and also approved the bit of chipping I did on the sun. It looks like Bruce is not a completely lost cause after all .

Well, couching them anyway! Just a quickie post about the added texture Angela and I agreed I’d incorporate into Bruce’s haunch. The first thing was to remove the two most recent laps of Jap, which fortunately turned out to be a less awkward process than I had feared. Then it was time to work the three pairs of mixed couching: rococco/Jap, double rococco, Jap/rococco. The decision for rococco as the non-Jap thread was one of necessity rather than design – I didn’t want to mix in twist because in the rest of the design that’s used for outlines, and I think it looks better overall to keep it as an outline thread only; and I didn’t want to use pearl purl because that is going to be used to outline the central section of chipping. The only option left was rococco, and actually that is quite serendipitous – as a fellow stitcher pointed out, the mixed section in the haunch now echoes the mixed section on the back rather nicely!

But nice though the echoing effect is, I am most pleased and proud about the fact that I managed to synchronise the waves in the paired rococco. Because the couching is worked around a curve, the waves of the inner and the outer thread of the pair slowly get out of sync, but with some judicious twisting of the thread I got them to lie nicely together around the entire lap – yay me .

I had planned to make a start on the couched Jap-with-turns, but there was too much going on and I didn’t get around to it. Which was just as well because – and if you are of a nervous disposition may I advise you to look away now – this is what Bruce’s backside looked like a few hours into last Saturday’s class…

Last time I updated you on my RSN Goldwork module, progress on Bruce’s leg was about to be interrupted by some sampling. To establish once and for all whether the buckling noticeable on the thin, steep part of his leg was caused by angling the needle when couching, I would couch all around a four-layer padded oval, angling on one side and not angling on the other. There was a picture of the felt I’d be using, but before attaching it to my sample cloth I decided I wanted it to be rather narrower, so I trimmed the four bits of felt and then secured my padded shape. Time to get couching! I started with a loop to minimise cut ends at the front (I was definitely not going to plunge and secure on my sampling…)

I didn’t fill the shape completely – after all, what I wanted was the effect on the sloping sides, so the top was irrelevant – and I was pleased to see the sample had a nice bit of height to it. Just so I wouldn’t forget how to stitch on which side, I marked them on the fabric. This was very helpful as it is easy to get distracted (you can call me bird brain; or, if our Lexi is anything to go by, cat brain).

Remember those words “once and for all”? Well, that didn’t quite work out. There was some difference between the two sides, with the straight-up-and-down couching showing (as I rather expected) distinct gappiness, but the angled side rather let me down.

You see, although there was noticeable buckling on the tight curves, the side was actually pretty smooth…

I hadn’t managed to reproduce the degree of buckling seen on the leg (indicated by the blue arrows), and so in one sense the experiment was a washout. On the other hand, it did clearly show that the only alternative, straight couching, was a definite no-no. It gave me more couching practice as well. And, as any sample cloths are handed in with the assessment piece, it shows the assessors I was willing to spend time and effort trying to find a solution to the problem; so on the whole a fairly useful exercise after all.

And that’s where I was at the start of the one-hour online consultation I’d booked with Angela: an inconclusive sample, and Bruce with ends of Jap sticking out of his thigh. To be continued…

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…

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 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 ; still, for me that makes it worth the effort.

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!

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.

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

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!