Progress on the Easter Set Pulpit Fall showcases intricate goldwork using Elizabethan Twist. The careful manipulation of the gold thread adds to the elegance. Soie Ovale silk thread in Creme complements the goldwork, and the laying tool aids in achieving a smooth finish. Balancing the gold thread and maintaining precision are ongoing challenges.
Working on a design for the Rose Vestment Set, specifically for Gaudete Sunday and Laetare Sunday. The IHS Ecclesiastical Embroidery pattern is simple yet elegant, featuring the symbolic IHS with a cross, framed by quatrefoil designs. The meticulous transfer process is underway, using a homemade pricker and pounce method. Looking forward to the stitching phase and hoping this pattern adds beauty to Rose Vestments in worship.
Starting with a plan for a quick cleanup, it evolved into a comprehensive overhaul of scattered Ecclesiastical Sewing and Embroidery ideas. What began as a simple task extended into organizing notebooks, sorting patterns, and creating a system. Nine 3-ring binders later, everything has its place, labeled and easily accessible. This newfound order brings joy, making it quicker to find project details.
Summer travels brought unexpected surprises for the Ecclesiastical Sewing family in Montana. A visit to the Ursuline Center revealed a hidden treasure—a Sister’s art studio in the tower, showcasing two hand-painted Ecclesiastical Banners. One banner displayed signs of age with faded beauty, intricate details, and gold bullion fringe. The banners’ origin and age are unknown, making them even more intriguing.
Organizing Ecclesiastical Sewing and Embroidery books has improved project efficiency. A dedicated bookshelf ensures quick access to references, enhancing workspace tidiness and productivity.
Weekend thoughts on Church Sewing: Looking at a Chalice Veil design from “Design for Church Embroidery” by R.A. Alethea Wiel. It has an Agnus Dei and four angels, each symbolizing something. The balanced design, shapes, and careful placement make it beautiful. Thinking about its artistry makes us wonder about true beauty in modern designs and what we can learn. Also, seeing the design in Or Nue embroidery on different platforms adds a touch of history.
Tried a new embroidery stitch, feeling a bit scared. Sometimes, fear stops from starting. But taking a step, stitching, and learning are important. Each stitch is like a step toward getting better. It’s okay not to be perfect. The important thing is to keep trying, growing, and enjoying the journey.
Preparing to transfer Ecclesiastical Embroidery patterns on white fabric. Testing blue quilt pounce for clear, washable lines. Pouncing carefully to avoid powder loss. Tracing with General’s pastel chalk, Paper Mate Flair, and Stabilo pens for comparison. Learning as we go for optimal results. Stay tuned for the next steps!
Testing transfer methods for whitework embroidery. Experimenting with blue quilt pounce powder on linens. Trying a gray pastel pencil for clean lines. Seeking a washable solution to prevent discoloration. Updates coming soon!
Choosing gold threads for the Easter Set Pulpit Fall project. Considering Imitation Japan Thread and Tyre silk threads for couching. Excited to see the glitters in the finished goldwork!
Stitching progress on the Easter Set Pulpit Fall project, focusing on the quarter circle with silk embroidery. Using Au Ver A Soie – Soie Ovale in Crème, the flat silk creates a textured and elegant background. Goldwork couching up next!
The inspiration for current Ecclesiastical Embroidery projects comes from Lucy Mackrille’s book, featuring the Victorious Angus Dei with a quatrefoil frame. The Italian Stitch, damascene stitch, and goldwork embroidery threads are used, drawing from a wealth of knowledge provided by Mackrille’s book and online mentors. The fear of trying new techniques diminishes with thorough reading and guidance.
Receiving new Ecclesiastical Embroidery books among them is “Design for Church Embroidery” by R.A., Althea Wiel, originally published in 1894. This treasured book, now republished, offers a glimpse into historical Ecclesiastical vestment designs. One notable design, intended for a chalice veil, intricately symbolic of Christ, His Sacred Heart, and symbolic elements like grapes and vines. Another design features a simple yet elegant cross adorned with ivy leaves, suggesting color choices for stitching. These designs provide a valuable connection to the artistry of the past in Ecclesiastical Embroidery.
The choice of thread for the initial work is Soie Ovale in Creme, a large-size spool from Thistle Threads. This thread is employed as a laid thread to fill the background around the lilies in the four corners of the circles. The laid work with flat silk requires a steady rhythm. The areas between the lilies, expected to be tedious, turn out to be enjoyable and are progressing well. Despite occasional challenges, the stitching is underway, bringing the project to life.
Working on creating clear and simple step-by-step directions for sewing a square-yoke surplice, a traditional church vestment. Utilizing old vestment books, a two-piece yoke pattern is drafted for easy construction.
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