Seeing Red and Starting Over
The Red Cord was used to couch the Red Passing thread. It worked great from the start, for about 3 stitches. Then, as the metallic cord was pulled through the fabric, the cord separated, showing the white core.
Planning Ahead
In Ecclesiastical Sewing projects, planning ahead – For the IHS Goldwork Design on Rose Vestments, new techniques are being considered. One option involves cutting IHS letters from card and padding with gold wire thread. Getting accurate shapes was a challenge, but found Pellon Clear Fuse, which worked well for tracing the letters onto card padding.
IHS Embroidery Update
IHS Goldwork Embroidery for the Rose Vestment Set Altar Frontal. Inspired by a detailed Fleur end in a design notebook, Silk Wrapped Purl was used for the cross. The technique involves a central line splitting into two at the Fleur ends. Adding a second gold thread using the “turn one, cut one method” from the A to Z Goldwork Book by Inspirations
Goldwork Progress
Tips and techniques that can make goldwork progress
– IHS Ecclesiastical Embroidery Design for a Rose Vestment Set. Using the couching technique, she starts with horizontal and vertical rows, opting for a turn-one, plunge-one method to manage thread ends. The needle is placed between gold threads, angled under the previous row, and pulled tight. The chosen couching style creates a brick pattern with alternating stitch placement…
Challenges with Goldwork Embroidery
At the start of the goldwork embroidery project, there were some issues. The gold threads got stuck and wouldn’t go through as planned. Despite trying different things, they just wouldn’t cooperate. The problem was found—it was the muslin backing causing entanglement between layers. So, the decision was made to start over. The silk dupioni was securely attached to the Alba Maxima Linen, allowing for corrections. This time, the plan is to stitch from the center outward, hoping for a smoother process.
Large Agnus Dei Update
In the Agnus Dei Ecclesiastical Embroidery Project, significant progress has been made on the upper sky. Using long-laid stitches and horizontal guide marks, the detailed stitching maintains parallel and straight alignment. Frequent thread changes are necessary due to the 6 1/2″ stitch width, but the process speeds up as intricate details around the cross are left behind. The joy of completing a major portion of the sky-laid work is evident, with two-thirds now finished.
Agnus Dei Progress
The update on the larger of the Agnus Dei pieces’ from The Tale of Two Lambs.
IHS Ecclesiastical Embroidery A Little Progress
Working on the IHS Ecclesiastical Embroidery with gold threads is exciting. The sparkle and shine bring joy, but dealing with the cross ends is a bit tricky. Inspired by a vintage banner, branching gold threads from the center and facing challenges with plunging through three fabric layers. Considering adjustment for the better results. Happy stitching dreams!
The Second Lamb in The Tale of Two Lambs
The Ecclesiastical Embroidery Design for the Altar Frontal features the largest Lamb, measuring about 15″ in width. The sky is stitched in Royal Floss, a vivid blue from the Belding Brothers Company. Goldwork details use #4 Smooth Passing with Silk Core from Access Commodities. The design aims for a bright and radiant sky, symbolizing the glorious Resurrection.
IHS Ecclesiastical Design First Stitches
Starting on a new embroidery project brings joy and excitement. The initial stitches on the Rose Set IHS Ecclesiastical Embroidery Design mark the beginning of creative possibilities. The goal is a stunning, “bread and butter” style of goldwork embroidery, keeping it simple with no extra padding and special techniques,
From the Beginning in The Tale of Two Lambs
Starting with a small Agnus Dei hand embroidery design, The Tale of Two Lambs turned into two projects – in sizes small and large. Limited Ecclesiastical designs led to this traditional choice. The smaller Agnus Dei, at 8 1/2″, fits a chasuble’s back. As the project continued, minor changes improved the second design. The small lamb’s hill, initially stitched in camouflage green, became serene blue. Using Soie Ovale for the sky presented challenges, but the finished product was pleasing. Careful placement of gold passing thread helped secure the silk strands, enhancing the design.
Progress on Ecclesiastical Embroidery
Ecclesiastical Sewing made a good progress on Embroidery project. Finished the background using Soie Ovale flat silk, giving it a smooth look. Managed those tricky silk strands with “The Best Laying Tool.” Now, onto the detailed goldwork Italian Stitch with Elizabethan Twist.
Weekend Reading and Musing
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.
Goldwork Embroidery and Meandering Thoughts
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.
Sources of Inspiration from Lucy Mackrille
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.
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