Blackwork Embroidery E-Book

Jen Goodwin

• Herausgeber: Crowood
• Kategorie: Lebensstil
• Sprache: Englisch

Seitenzahl: 280

Veröffentlichungsjahr: 2020

Beschreibung

Blackwork has a rich history that has developed over the years into an iconic and sophisticated style of embroidery. This practical book presents a number of ways to approach blackwork embroidery, from forming basic stitches and patterns to developing complex shaded pieces with confidence. Through an assortment of exercises, it introduces the principles of shading along with several projects to further explore the potential of blackwork. Detailed instructions on designing and developing shaded pieces of blackwork embroidery are given along with guidance on how to choose suitable images for translating into stitch. Step-by-step instructions on how to form basic stitches and how to form patterns are included as well as almost 250 shaded patterns, indicating how differing patterns appear when worked in different thicknesses of thread. Finally, patterns are grouped by family for easy identification and pattern blending.

Leseprobe

BLACKWORKEMBROIDERY

Techniques and projects

BLACKWORKEMBROIDERY

Techniques and projects

Jen Goodwin

First published in 2020 byThe Crowood Press LtdRamsbury, MarlboroughWiltshire SN8 2HR

[email protected]

This e-book first published in 2020

© Jen Goodwin 2020

All rights reserved. This e-book is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights, and those responsible may be liable in law accordingly.

British Library Cataloguing-in-Publication DataA catalogue record for this book is available from the British Library.

ISBN 978 1 78500 776 7

This book is dedicated to my brother. During my apprenticeship Mark would always tell me that I would forge a career from stitching and he had no doubt I would write a book someday. Over the years since he died, each time I achieved something new I wish he was still here to see it and I am disappointed each time I remember that he can’t join the celebrations. I promised myself that if I did get published then he must get an honourable mention for that blind faith; nobody would be prouder to see this than he would be. This book is for him.

CONTENTS

CHAPTER 1 Introduction and History

CHAPTER 2 Materials

CHAPTER 3 Getting Started

CHAPTER 4 Designing for Blackwork

CHAPTER 5 Blackwork Patterns

CHAPTER 6 Darning Patterns

CHAPTER 7 Other Useful Stitches

CHAPTER 8 Stitch Exercises and Projects

CHAPTER 9 Developing Shaded Blackwork

CHAPTER 10 Finishing and Framing

Appendix

Templates

Acknowledgements

About the Author

Index

CHAPTER 1

INTRODUCTION AND HISTORY

The history of Blackwork is a long and convoluted one with common myths surrounding its origins. It was originally considered to be derived from Spanish Blackwork which had been brought over to England by Catherine of Aragon after her marriage to Henry VIII.

However, this has been largely disproved as there is evidence of Blackwork embroidery already being present in England. The easiest reference to date with accuracy is found in Chaucer’s Canterbury Tales published in 1387, which refers to coal black silk worked both front and back on the collar of a smock; this is 114 years before Catherine arrived in England in 1501.

Spanish style embroidered cuff, 2018, graphite illustration by Katy Harald.

EARLY BLACKWORK

Sadly, there is very little evidence of early Blackwork left in existence and the pieces that have survived are often badly damaged; despite that, it is quite common for museum collections to hold fragments of embroidered textiles that have been cannibalized and salvaged from the original textiles. It is also possible to find examples of fabric which had obviously been stitched at some point; the stitches have now rotted away, leaving the bare fabric with needle marks dotted along the design lines.

This makes it challenging to accurately identify the work as Blackwork. It is possible to make an educated guess by assessing the designs marked on the fabric and comparing them to examples that do have some stitching remaining. The Victoria and Albert Museum in London holds many examples of these in their collections, mainly from the sixteenth and seventeenth centuries. It is assumed the reason that these stitches have been lost is due, in part, to the harsh dyeing process used on the silk threads.

Dr Susan Kay-Williams, Chief Executive of the Royal School of Needlework and researcher of historical dyes in textiles, says:

‘The making of the colour black was complicated and often embroidery threads were not necessarily dyed with the best dyestuffs, so making them more likely to fade or change colour.

Until the nineteenth century, black was often produced from overdyeing red, blue and then adding iron or tannins, gall nuts or walnuts. As such, these ingredients could lead to the rotting of the fibres over time.

From the nineteenth century onward most black cloth or thread was made from the heartwood of the logwood tree which was found in north America and some of the Caribbean islands.’

It was easier and slightly cheaper to source undyed silk so many embroiderers had their own recipes for the dyes used. This in turn had a knock-on effect to the longevity of the threads produced. This is also the main reason that so much of the Blackwork which has survived appears to be brown in colour as these homemade dyes were not colour-fast.

Jane Seymour, Queen of England by Hans Holbein the Younger, 1537. Holbein stitch is beautifully depicted along the edge of the cuffs. (Fine Art/Alamy Stock Photo)

BLACKWORK AND THE TUDOR COURT

It is not difficult to guess why Blackwork in England was associated with Catherine of Aragon as it appears to have become quite fashionable to wear embellished garments during the period when she was still married to Henry VIII, most notably from 1530 in the later part of their marriage.

Embroidered smock, detail from the Victoria and Albert Museum collection. Silk and cotton. England, c.1575–85. This detailed image shows many recognizable Blackwork fill patterns which are still commonly used. (© Victoria and Albert Museum, London)

True Spanish work had a distinct look which differs from the style that is now considered to be Tudor Blackwork. Whilst it was usually worked in black thread on linen, often along the edges of shirts, collars and cuffs, it was far more flowing in design compared to the more linear patterns associated with the Tudor period.

It can be assumed that this difference is due to the arabesque influences which were popular in Spain at this time, creating a mix of both interlinking elements and geometric designs. What is usually thought of first when considering English Blackwork is double running stitch. The nature of this stitch allows for identical stitching to be seen both at the front and back of the cloth being worked, which lends itself well to the decoration of collars and cuffs of clothing. As this was often depicted in paintings from this period, double running stitch has become known as Holbein stitch. It has been named for the eminent painter Hans Holbein the Younger who depicted the embroidery so well in his work that the patterns can still be accurately recreated in stitch.

Holbein came to England in 1532 and became Henry VIII’s official Court Painter by 1539 where he produced numerous portraits which featured Blackwork embroidery on the clothing. It is this wealth of paintings that have proven to be the most reliable historical reference, clearly showing how the classic linear embroidery patterns of the Tudor period had been applied to the garments being worn.

Towards the end of the Tudor period the more geometric filling patterns started to gain popularity. These were often worked as flat patterns without shading worked into motifs and surrounded with an outlining stitch. These patterns were always regularly counted over the linen and it is still possible to count out patterns accurately from historical examples held in museum collections. Interestingly, as the linen was so much finer and the thread count was far higher than the linen commonly worked with today, the patterns were often counted over a larger number of threads. Modern Blackwork patterns are usually counted over two threads of the fabric whereas historical patterns are often seen counted over four threads of the linen.

There are many different suggestions as to why Blackwork came to be worked onto garments. Some suggest that the linear patterns were worked onto gathered lengths of fabric applied to the collar and cuffs to imitate more expensive handmade lace. Others suggest that the black stitching was a good way to both strengthen and disguise dirt on these hard-wearing areas. As with most fashions though, once it became popular, Blackwork became an embellishment that indicated status and standing with the most impressive embroidery being worn by nobles and royalty to emphasize their higher status in society.

It is easy to see how the more common lace ruffs of the Elizabethan period, some of which were very grand in size and style, were inspired by the Blackwork embroidered elements popularized during the Tudor period.

BLACKWORK AND THE ELIZABETHAN COURT

Blackwork noticeably altered in style during the rule of Elizabeth I, becoming far more figurative, often featuring flowers and animals with Goldwork additions. Some of these changes are first seen in historical examples of coifs. A coif is a close-fitting cap, which was originally only worn by men who were of high standing in their professions, for example highly trained lawyers.

Common motifs often seen in surviving examples of Elizabethan embroidery, drawn by Jen Goodwin.

Historically a Serjeant-at-Law, a precursor to a barrister, would be presented with a plain linen coif when appointed. These were worn at all times in public to mark their status. This is where the phrase ‘called to the coif’ originated, and as the British justice system has developed so has the terminology used. When modern barristers are appointed, they are now called to the bar.

However, over time coifs became far more commonly worn by women to cover their hair. These were far more elaborate, and many surviving examples show shared motifs. This is in part due to the introduction of the printing press making pattern books available for the first time.

A very important book which was popular was A Schole-House for the Needle. This was written by Richard Shorleyker in 1624. The motifs depicted could be copied and transferred to fabric before being stitched depending on the embroiderers’ preferences. These floral motifs also doubled up symbolically as each flower had a common meaning.

Daisies were known for innocence, roses for love, pansies for thoughts, honeysuckle for devotion and holly for foresight, to mention a few. Other common elements were oak for steadfastness (acorns represented strength and potential), pears for fertility and abundance, and pomegranates for resurrection and chastity.

Symbology featured so strongly historically due to the amount of illiteracy amongst the population. It was far easier to convey messages visually when so many people could not read and those who could read struggled to access affordable books. It can be assumed that the reason embroidery became a pastime for upper-class ladies is due to the fact they could afford and read these new and exciting pattern books.

Quene Elizabeth’s Sleeve Unpick’d, 2010, pencil drawing by Nicola Jarvis. This illustration beautifully depicts how Blackwork fashions altered during the Elizabethan period.

The style of stitching used also altered during the Elizabethan period. Geometric fill patterns were not used as commonly but fine seeding became more popular. This seeding was often shaded to create dimension within the motifs; these are the earliest examples of shading featuring in Blackwork embroidery.

Fine gold passing threads were also worked into complex braid stitches which would be used to create slightly raised gilded stems interlinking the motifs with spangles appearing sparingly to catch the light and add sparkle.

OTHER FORMS OF BLACKWORK

There are several other loosely related techniques that can be called cousins of the more commonly recognized styles of Blackwork which also deserve a fleeting mention.

Assisi work is an Italian form of counted embroidery. This style is recognized by the fully embroidered background of cross stitches with voided areas forming the patterns; these patterns are then further detailed by a back stitch edging being worked. Although historical examples are rarely worked in black thread, with the majority of the examples being worked in reds and blues, they were being produced at a similar time to other examples of Blackwork. Assisi embroidery often depicted religious themes as well as Renaissance mythology with fantastical beasts often featuring in scrolling borders.

Privately owned band sampler, loaned by Loraine McClean. The front of the sample is shown on the left-hand side, on the right is the reverse showing both the Blackwork pattern carefully worked in Holbein stitch but also the vibrancy of the original colours used in the sampler.

Elsewhere in Europe early Blackwork embroidery had an illustrative quality to it where embroiderers were creating pieces that had a similar look to early woodblock printing. These pieces were worked in a mixture of straight satin-like stitches and stem stitch outlines.

Blackwork can also be occasionally spotted in colour on band samplers from the early 1600s. The exceptional example held by a private collector and shown here not only demonstrates some of the commonly used motifs mentioned earlier but also beautifully executed stumpwork embroidery along with the perfectly worked Holbein stitched areas.

Illustrative Blackwork embroidery, 2019, by Jen Goodwin. This modern reproduction has been worked in a mixture of straight stitches, stem stitch and French knots on a hand-painted background.

The sample shown has recently been removed from the frame for conservation purposes, which has allowed comparative photographs showing both the front and back of the work to be captured. This not only shows how the Holbein stitch perfectly mirrors both front and back of the fabric, but the reverse of the work also demonstrates the incredible strength of colour of the original silks on the front of the sampler.

BLACKWORK MOVING FORWARD

Blackwork fell away from popularity and was rarely seen after the Elizabethan period; sadly, it was somewhat forgotten. In the 1950s flat pattern samplers were being created again as part of the Royal School of Needlework’s training school. These examples show large bold motifs being worked with a mixture of geometric fillings and darning patterns along with Goldwork details. These samples, which form part of the RSN’s collection, can almost be seen as transitional examples of how the technique of Blackwork was evolving again. They are clearly influenced by historical pieces, yet the designs are obviously more modern in style.

This new style of Blackwork embroidery continued to develop in the 1960s when different thread thicknesses started to be used and experimented with. Several embroiderers associated with the Embroiderers Guild were responsible for this jump, most notably Moyra McNeill and Elisabeth Geddes who authored Blackwork Embroidery in 1965.

Royal School of Needlework Collection, ref 2059. Worked by Dorothy Abnett at technical evening classes, 1956. This sampler shows a variety of different fill patterns which have been outlined and accented with gold in an Elizabethan style.

Cat Looking Through Railings, apprenticeship piece by Jen Goodwin, 2001. This piece of Blackwork does not show the same level of delicate shading as more recent examples, as this piece does not include the finest gossamer silk thread.

This principle was then adopted and further developed by the embroiderers at the Royal School of Needlework during the 1980s when their apprenticeship scheme was developed.

Elizabeth Elvin, former Principal of the Royal School of Needlework, says:

‘Blackwork was being taught at the RSN but it was not that popular and needed to be revamped. It was decided to do slightly smaller pieces as many of the earlier works were rather large but didn’t contain the variety of stitches, so they always appeared rather flat, a little like the sixteenth century pieces.

We looked across the board to see if we could bring this technique to life with more shading, depth and many more stitches, also we were very keen to wean people off cross stitch which was all the rage in the late 1980s.

So when the three-year apprenticeship started up at Hampton Court Palace in the late 80s the iconic Royal School interpretation of Blackwork was born.’

Modern Blackwork is far more complex in comparison with the historical examples, mainly due to the intricate shading which has been adopted. Pictorial images are depicted by utilizing different thicknesses of black thread to create a wide tonal range which results in a detailed piece of embroidery with a three-dimensional appearance.

This style has continued to develop, now showing even more complex shading and blending than ever before. This has been in part due to the addition of very fine gossamer silk being included in the palette of threads; this addition has only occurred in the last fifteen years.

It can also be noted when viewing the last image that the further experimentation with the patterns to make them both lighter and darker as needed, depending on the image being worked, has allowed for the more dramatic look that modern Blackwork is now known for.

But Blackwork has room to evolve yet further. Historically Blackwork started life as an embellishment for collars and cuffs and this old idea of adorning the wrist or neck with stitching makes Blackwork jewellery an obvious leap.

Blackwork embroidered jewellery, 2019, by Jen Goodwin. These modern wearable versions of Blackwork embroidery combine Holbein stitch with resin in wooden frames, ensuring the embroidery is preserved permanently.

CHAPTER 2

MATERIALS

There is a wide range of tools, equipment and materials available for the embroidery enthusiast. Many of these are interchangeable from technique to technique and some are more typically used when working Blackwork specifically. This chapter will look at some of the basic materials needed for stitching.

Assorted Blackwork materials including evenweave fabric, various black threads and Goldwork materials.

FABRIC

Fabric is an essential element for all stitching as this is the material that supports all of the embroidery. Some of the most common fabrics used for Blackwork embroidery are listed below.

Aida

Aida is commonly seen as a cross stitch fabric, but it also makes a useful base for Blackwork due to its square structure. It is a woven fabric that creates an interlocked grid which helps to regulate the size of the stitches to create a uniform look across the pattern. This is the easiest fabric for a beginner to start with. The rigid structure allows individual stitches to be worked vertically, horizontally and diagonally to create Blackwork patterning.

Various sizes are available, with 14-count being the most common. The number refers to the number of stitches that can be worked per inch for the fabric. Higher counts mean there are more stitches per inch, therefore designs can appear more detailed once finished. Aida is also available in a wide range of colours and finishes, including metallics, which gives plenty of creative options when designing work.

Evenweave

When considering modern Blackwork, an evenweave is the most commonly used fabric. As the name suggests, this is an evenly woven fabric that has the same number of threads running horizontally as it has running vertically but does not form an obvious square pattern like an aida. Stitches are usually worked across two threads of the fabric, again in horizontal, vertical and diagonal directions, to create patterns.

The most common choice for evenweave is a woven linen. This fabric has natural imperfections visible in the weave (slubs) which results in some irregularly sized threads. Slubs can make threads in the evenweave appear wider, with others appearing far thinner in comparison. These irregularities are to be overlooked when stitching. Do not try to make stitches longer or shorter to compensate for the slubs as this will only cause problems with pattern accuracy later on.

Cotton evenweave is also available. This does not have the same natural imperfections as linen, and it is often cheaper to purchase. It is really down to personal preference when it comes to deciding which type of fabric to work with.

Blackwork does not need to be worked onto a white fabric; evenweave is available in a variety of different colours.

Evenweave is sized by the number of threads per inch (tpi) with 28 tpi being a common starting point when working Blackwork, mainly because this equates to the same size as a 14 count aida.

However, a more detailed Blackwork piece will often be created by using a higher tpi fabric. When converting between the tpi of linen to the square count of aida, the general rule of thumb is to halve the number, i.e., 36 tpi linen equates to size 18 aida.

Waste canvas

This is loosely woven canvas that has a similar grid pattern to aida. This canvas is tacked to a closely woven fabric to provide a temporary grid structure. The Blackwork patterning can then be embroidered over this grid work to achieve an accurate and consistent stitch length. Once the embroidery is complete the waste canvas is then carefully withdrawn by pulling out each individual strand, leaving the embroidery in place.

Punched/perforated paper

This is a slightly more unconventional material to work upon but a useful one nonetheless. If working onto punched paper it is possible to create self-supporting three-dimensional pieces. The process of stitching onto perforated paper is very similar to working onto a standard fabric. The main difference is that paper is too stiff to be worked in a hoop and instead needs to be worked in the hand. However, this stiffness makes it far easier to constantly tension each stitch.

Other fabrics

There are many other fabrics that can be used for Blackwork embroidery. Often some of the most interesting stitching is created by thinking ‘outside of the box’ when it comes to choosing materials. Some tussah silks have a regular defined grid, as does hessian, which lends these fabrics to counted work. It is possible to buy overdyed linen or even take fabric paints to evenweave to create bespoke backgrounds to suit a specific design. There are also very large-count fabrics available which would lend themselves to bold contemporary work.

EMBROIDERY THREADS

Like fabric, threads are an essential element of embroidery and there is an enormous range available to choose from. Some are commonly used for a range of different techniques and some are more typically saved for Blackwork specifically.

A tin of assorted black threads, all of different weight and thickness to allow for detailed shading.

When stitching, it is important to ensure short lengths of thread are used. This helps to maintain the condition of the thread in the needle and these lengths should be no more than 12 inches or 33cm long. When lengths are too long they become fluffy and dull, which alters the appearance of the finished embroidery. Learning to identify when threads start wearing will benefit your embroidery in the long term, especially when working with threads that have different finishes. The condition of a matt thread will be more difficult to assess compared to one with a sheen. As soon as you see the thread condition changing it is time to cast off and start a new thread.

Stranded cotton

This is the most common embroidery thread to buy and use and is sometimes known as mercerized cotton or mouliné. Stranded cotton is a twisted six-strand thread that is usually sold in 8-metre skeins and it has a light sheen. Stranded cotton is one of the most popular embroidery threads due to the wide range of colours available. This thread comes in hundreds of different colours. Do not feel that because this technique is known as Blackwork that only black threads can be used; all colours lend themselves to Blackwork.

A sample demonstrating the full tonal range traditionally used for shaded Blackwork from broken stitching used in light areas to additional pattern stitches for heavy areas.

Once cut, the six-strand length can be divided down into individual strands. For a fine stitch a single strand can be used; a second strand can be added to the needle to create a thicker stitch if necessary. However, if using more than one strand in the needle it is very important to remember to remove each strand individually and ply them back together again before threading up. Otherwise the threads will remain twisted and they will not form a smooth, flat stitch. It is also possible to use two different colours in the needle; this can create some quirky shading options within a design; do not be afraid to experiment with colour.

Coton à broder

This is a thicker thread which has a light twist and a slightly matt appearance. Due to the thicker nature of this thread it is used in Blackwork to stitch the densest areas of a design. Again, short lengths are necessary as fluffy stitches will detract from the finished embroidery. Coton à broder comes in a variety of sizes; the standard size used for Blackwork embroidery is number 16.

Machine thread

Machine thread as the name suggests is intended for use in a sewing machine. The thread is tightly spun and is very durable. It is available in many different weights and colours but the most common size used for Blackwork is 50. Even though this is a tightly wound thread, it is important to restrict the length to 12 inches to prevent the thread becoming fluffy or worn.

Gossamer silk

Traditionally this is the finest thread used when shading Blackwork. This is a superfine twisted silk which creates incredibly fine stitches. When working with gossamer, it is a good idea to knot the thread into the eye of the needle as it can easily slip during stitching. It is also important to keep an eye on the tension of each stitch as gossamer can be a very bouncy thread to embroider with. Stitches that are not properly tensioned will sit proud of the surface of the work, often distorting the crisp pattern being worked.

Hanks of hand-dyed gossamer silks in rich blue tones by Debby Kirby.

Ultrafine invisible thread

There is an even finer thread than gossamer which can be used for Blackwork embroidery if an even more delicate stitch is required; however, this is not commonly used. Ultrafine invisible thread is used for conservation and restoration work and has a translucent appearance ensuring it blends into the background when used as a mending thread. Ultrafine invisible is another thread that requires knotting into the needle, and it can be even more tricky to tension.

Diamant metallic thread

Diamant thread is a metallic thread which is occasionally added to Blackwork to add a glistening highlight. Most often this is restricted to either gold or silver to prevent a coloured metallic becoming too dominant. This is a twisted 3 ply metallic which is divided into individual strands before using it for embroidery. Diamant is made up of a fine metallic thread wrapped around a central core. This thread can be prone to damage if handled in a rough way or if it is overworked. If it appears that the metal is opening up or flaking away, it is time to change the thread.

Blending filaments

Blending filaments are similar to Diamant threads. However, a far wider range of colours and finishes are available which can make them a more subtle option to embroider with. Filaments are finer than Diamant threads; they are usually made of a fine cotton or polyester thread which acts as the core with various different fine plastic or polyester threads wound loosely around it. These plasticized filaments are prone to stretching out during stitching and the core thread can, in turn, snap if over-tensioned. This does make working with a blending filament challenging, but the overall effect that can be achieved is often worth it.

Other threads

There is a wide variety of other threads which can be considered for Blackwork although these are not commonly used. However, if an unconventional thread would benefit the overall finished piece then it should be included.

Floche

This is a French thread not commonly found in the UK but has become very popular in the USA where it is readily available. It is thicker than a single strand of stranded cotton but it is not divisible in the same way. It handles in a similar way to a coton à broder; however it is slightly softer therefore it is more prone to distressing if too long a length is used. This is a fun thread to experiment with but it is unlikely to become common thread for shaded Blackwork as stranded cotton and coton à broder are sufficient when creating contrasting tones.

Linen threads

Linen threads were traditionally used on historic Blackwork pieces, often worked onto fine, handwoven linen fabric. This thread has natural imperfections which are the result of the spinning process the fibres go through. Linen is an unforgiving thread to stitch with as it is prone to becoming fluffy and it can snap easily. The most noticeable difference between cotton and linen threads is the finish – linen has a rough, matt appearance.

Perle cotton

Perle is a high gloss cotton which is available in a wide range of sizes and colours. It is not commonly used for Blackwork as its high shine contrasts strongly with the rest of the cotton threads which only have a slight sheen. However, there are times when this contrast can be useful to draw the eye to specific areas of a design. This high shine can be problematic whilst stitching though as the thread distresses quickly and needs changing often.

Silk ribbon

Silk ribbons are an easy addition when small textured areas are required, as ribbon stitches stand slightly proud of the surface of the work. These stitches need to be carefully placed to ensure the ribbon does not dominate the overall piece once finished. If adding ribbon, keep in mind the size of the ribbon chosen. It comes in a range of widths, so try using several different sizes to create an interesting focal point.

Ribbon embroidery details worked in a variegated grey silk ribbon onto a general stitch sampler to add interesting textures to the overall piece.

Chenille threads

Chenille thread is an unusual addition to a Blackwork piece but an interesting one. It is a fluffy and fragile thread which is prone to shedding the short fibres which are bound to form the thread’s core. However, when couched to the surface of the work a texture is added that could not be achieved in any other way.

EMBELLISHMENTS

Blackwork is a stand-alone style of embroidery, often seen without added embellishments. However, by adding other materials to a design a very different contemporary look can be achieved.

Gold

Goldwork is a unique style of embroidery which complements many other embroidery techniques. During the Elizabethan period Blackwork and Goldwork were commonly mixed together on garments. For basic metallic highlights it is best to stick to using Diamant threads, but there are many other Goldwork techniques that can be combined with Blackwork which will make a far more complex image.

Couched threads

Couched threads sit on the surface of the embroidery, held in place by overlaying stitches. The tails of the metal threads are then plunged to the back of the work to secure them. There are a wide variety of couching threads available, with different sizes and textures to choose from, depending on the look required. It is worth experimenting with different combinations of gold thread; there are many different looks possible, from a smooth flat gold to a glistening sparkle.

Assorted couching threads; with gold, silver, copper and modern colours displayed in Jen Goodwin’s studio.

Pearl purl

Pearl purl is a sturdy spun wire that sits on the surface of the work and can be stitched in place in different ways depending on the embroidery design. For a solid gold edging pearl purl can be invisibly stitched down; the embroidery stitch falls into the core of the metal to create the illusion of a floating gold line. Alternatively, pearl purl can be over-stretched and wrapped with a different embroidery thread, most commonly with a stranded cotton. This is then stitched down with the same core thread to create a bold corded look.

Spun purls

Purls are finely spun metal threads which have a hollow centre to allow them to be stitched down invisibly. The hollow metal is cut to length, threaded onto the needle and stitched in place carefully, often over padding, to shape the flexible wire. There are four common styles of spun purl to choose from depending on the shine and texture required for the embroidery. The easiest type to combine with Blackwork are check purls, either bright check for a high sparkle or wire check for a more subtle effect.

Spangles and sequins

Spangles are disks of gold or silver. However, unlike sequins, spangles have a seam running through them from the manufacturing process. Sequins make a great alternative if pops of colour or different finishes are required. They even come in a wide variety of shapes too. When stitching spangles in place, a small bead or chip of purl is the easiest option to act as a small stopper preventing the spangle falling off.

Beads, crystals and pearls

Beads are possibly the quickest and easiest way to embellish embroidery. Glass beads come in a wide variety of colours, shapes, sizes and finishes depending on the design. Metal beads can also give another different finish to the stitching.

NEEDLES

Needles are an essential element of all needlework. The aim of the needle is to carry the thread through the fabric by making a pilot hole. It is important to use the correctly sized needle for the size of the thread and the type of fabric being embroidered.

If the needle is too large it will create a hole that is too large for the thread to sit in comfortably. Also, by repeatedly punching through the fabric with a needle that is larger than necessary the base fabric is weakened and occasionally holes can form.

If the needle is too small, it risks damaging the embroidery thread by not creating a large enough pilot hole for the thread to run through. This then repeatedly drags the thread through the fabric, putting too much strain on it, and often leading to fluffy threads that are prone to breaking.

Assorted needles of different types and sizes.

As well as many different sized needles, different types of needle are available, each with a slightly different shape. It is also important to choose the correct needle for the type of embroidery being worked.

Tapestry needles