Showing posts with label Slate Frame. Show all posts
Showing posts with label Slate Frame. Show all posts

Monday, December 31, 2018

Transferring a Design

I'm starting a new piece, this time a rendition of my wife's heraldry. Here is Cwen's registered device:
Per fess sable and argent, two decrescents and a bear stantant gaurdant within a bordure all counterchanged

I offered to make this in metal thread similar to the rendition I had recently done of my own device. Since her device is in sable and argent, I had the idea of doing "or nue" (shaded gold) using silver metallic thread rather than gold.


The first step, of course was to draw out the design. I'm never terribly happy with my drawing skills, but I eventually came up with the following. I was pretty happy with this design, and Cwen liked it as well. 


The bear sticking out its tongue was particularly amusing, a detail I copied from a number of heraldic devices I found online, such as this one from the city of Bern:
Image result for heraldic bear arms

I'm embroidering this badge on black linen. After stretching the linen in my slate frame, I got ready to transfer the design. The badge will eventually be appliqued onto another item, so I didn't need to be too careful about centering the badge in the frame. I roughly centered it, and pinned it into place.

One of my Xmas gifts this year was a pricking and pouncing set, used to transfer designs from paper to fabric. The pricker is basically a pin vise used to hold a small crewel needle. You use this to poke holes in the design through the paper. I poked holes every few millimeters. I had done this before with a plain needle, but found the vice made it much more comfortable to hold the needle while this task. Pricking holes in a large or complex design can be a bit tedious, so anything that makes it more comfortable is welcome!

Once all the lines had been pricked, I got out my new pouncer. This is basically a wooden knob with a bit of felt glued to one end. It would be really easy to make these! But, my set came with one pre-made. 


The set came with dark grey pounce, made from crushed charcoal and cuttlefish bone. This pounce is a pretty dark grey, so I didn't think it would be terribly visible against the black linen background. But, I read a great hint that you can use flour in a pinch as white pounce. I tapped the pouncer into a small amount of flour, and then rubbed the pouncer around the design, over all of the holes. 

Once I had gone over the entire design, I unpinned one end and peeled the paper up to confirm that the entire design had been transferred. The flour worked pretty well! I found I'd pricked a few too many holes in the face, so a bit too much flour came through and the design there was a bit less clear than I would have liked. But, it was good enough that I could make out the entire design. Good learning for next time!

Knowing that the fine powder wouldn't last long, I traced over the lines with a white chalk pencil, then did a quick backstitch over the lines with white thread to ensure the design would remain visible while I worked the embroidery.

Finally I stitched some guidelines across the piece to help me keep my silver work straight as I work the item, and it was ready to start the silverwork.

Next time: Argent nue?

Tuesday, December 25, 2018

Or Nue Heraldic Bee, part III

As described in the last two installments on this project (see part I and part II), I had created an Or nue depiction of my arms, and decided to mount it to some very nice maroon wool I had to make a pouch. Now that the goldwork was done, it was time to affix it to the wool and complete the pearling and goldwork around the outside of the Or nue.

My first step was to mount one side of the wool outer pouch material to my slate frame. I read a few articles online with some suggestions on how to do this:
The last one in particular had a great suggestion about using pins along the hem of your fabric to help distribute/support the tension on the fabric across the width of the piece. I ended up using this idea. I first attached a linen strip to each of the two end pieces, and then affixed the embroidery fabric to the linen strips using a herringbone stitch. 

I then pinned the hem along the sides, and inserted the side slats. As I laced the sides to the slats, I used a backstitch just inside the pins. This really helped keep the sides straighter as I put tension on the width of the fabric.  Once the two sides were laced up, I pulled on one of the end slats to stretch out the length of the fabric as much as I could, and then inserted the cotter pins to maintain that tension. In the picture below, the longer laces at the top and bottom are the sides of the work (ie, the frame is rotated 90 degrees). The fabric has been hemmed over about a half inch along each of the sides, and the stitches were run through the hem.


Once the fabric was framed up, I measured out the center point, and used it to center the cut out goldwork on the wool, and pinned the work into place. 


I then used the same green silk to applique the goldwork onto the wool ground. The edge of the goldwork was a bit rough looking. I also noticed that in a few places, the white linen ground under the goldwork was peeking out from under the applique. To fix these problems, I  took a pass around the work in split stitch. Even though the edge will eventually be covered up by pearl purl, I liked how this really helped smooth out the work and made it look a bit more finished.