Goldwork Embroidery E-Book

Lizzy Pye

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

Veröffentlichungsjahr: 2020

Beschreibung

Goldwork must be the most dramatic of the embroidered arts. The smallest addition of metal thread to a piece of embroidery can lend immediate visual impact, and yet the technique can also be beautifully subtle. A design stitched in goldwork will be rich in texture, shine and sparkle, and metal threads can be combined beautifully with other techniques. Aimed at guiding you through each stitch and technique, and with tips for moving on to your own designs, this book is full of practical instruction. With its high level of detail and over 600 photographs, it will be a treasured companion, whether you are a novice or an experienced embroiderer.

Leseprobe

GOLDWORK EMBROIDERY

Techniques and Projects

GOLDWORK EMBROIDERY

Techniques and Projects

Lizzy Pye

First published in 2020 by The Crowood Press Ltd Ramsbury, Marlborough Wiltshire SN8 2HR

www.crowood.com

This e-book first published in 2020

© Lizzy Pye 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 Data A catalogue record for this book is available from the British Library.

ISBN 978 1 78500 648 7

Embroiders' acknowledgements The author and publishers would like to thank the following embroiders for permission to use their work as the opening images to the following chapters – Chapter 2: Becky Quine; Chapter 4: Helen Richman; Chapter 7: Death by Chocolate by Jo Heyde; Chapter 8: Jay Feather by Helen Richman; Chapter 9: Waterfall by Becky Quine.

CONTENTS

Introduction

CHAPTER 1 Materials and Equipment

CHAPTER 2 Design

CHAPTER 3 Getting Started

CHAPTER 4 Padding

CHAPTER 5 Couching

CHAPTER 6 Cutwork

CHAPTER 7 Other Techniques

CHAPTER 8 Additional Techniques

CHAPTER 9 Projects

CHAPTER 10 Finishing a Project

Acknowledgements

Suppliers

Further Reading

Index

INTRODUCTION

Goldwork is a fascinating type of embroidery which has captivated audiences for more than 2,000 years. It can be any work in which gold is stitched to cloth, and has varied as much through history as it has across the world.

Stitchwork in metal threads has always denoted wealth and power. By the nature of the work it must be valuable, not only for the physical content but also because of the lengthy hours of labour.

Chinese rank badge with a crane design. The bird is couched with Japanese thread in silver and gold – the silver with matching thread to blend in, and the gold with the traditional red thread which brings out the warmth in the metal. The background is worked mainly in couched silver Japanese thread – various different colours of silk thread are used for the couching to enhance the design. The crane has been worked separately and applied – it may be a later addition.

This book does not set out to recall the entire history of the work, but in order to engage with traditional techniques we must begin by touching on its origins.

The earliest gold threads were pure gold, flattened and cut into strips. It became common to wrap gold or gilded silver around a core of silk thread, animal gut or paper. This is what is commonly called ‘Japanese thread’. The same techniques are still in use, but the gold content is far smaller. The plated metal is typically wrapped around a cotton core in modern threads, to make all sorts of different types of thread such as smooth passing and rococco.

When wire drawing developed, it became possible to coat a fine silver wire with gold, which could then be formed into many of the purl wires we still use today. Initially this would have been a very slow process in which a metal bar was drawn through progressively smaller holes until the desired diameter was reached. Modern machinery allows the metal to be drawn through many holes in one operation.

To thoroughly research goldwork, one must look to all corners of the Earth, from the first production of ‘Japanese’ thread in China, through the glorious purl embroideries of India, to the ecclesiastical splendour of Britain. So many hands have touched this technique that one could not hope to learn it all.

Begin in the East with the ceremonial garb and well known rank badges of Imperial China. In Chinese goldwork, the dominant technique is the couching of bright, metal-wrapped thread known today as ‘Japanese thread’. Swirling waves of gold and stunning backgrounds complement fine silk embroidery featuring cranes, tigers, and many more symbols.

Antique Japanese threads in silver and gold, stored in paper twists.

Indian purse, eighteenth to nineteenth century, from the author’s collection. Most of the metal looks silver now, but some parts were originally gold. Fine metal threads are strapped over string padding and the shapes outlined with a wavy thread similar to check thread. The central shapes are stitched with cutwork in a combination of purl wires.

Travelling north, as did the gold threads themselves, it is worth looking at traditional Russian goldwork. Pieces of high quality were produced from the moment that Christianity was accepted in the country, and likely before that. In this distinctive style, the gold threads and wires were often combined with pearls, giving a pleasing contrast and added richness to the work.

If one begins to look west, the goldwork of India and the surrounding regions comes to the fore. In contrast to Chinese work, the gold embroidery of India is almost exclusively worked with purl wires, with little or no couching. There are many forms of goldwork in this part of the world, the most famous of which is Zardosi embroidery. There is a focus on rich, dense textures with the inclusion of looped purls and spangles, and the combination of metal thread with bright-coloured silk embroidery and even beetle wings.

Throughout the Middle East beautiful goldwork was stitched for religious artefacts and other ceremonial purposes.

Further west in Europe early goldwork was typically seen on articles of a religious nature, with pieces for the Christian Church worked mainly in couched threads. The technique Or Nué, shaded with silks over a ground of metal threads, was worked throughout Europe but most notably in Italy.

One of the most famous types of embroidery is Opus Anglicanum, which translates simply as ‘English Work’. This embroidery featured beautiful silkwork, usually religious figures, with a striking background of gold embroidered with the underside couching technique. This work was extremely expensive, yet it was exported in great quantity to other parts of the world, especially the Vatican.

Part of an ecclesiastical sampler from the Royal School of Needlework’s embroidery collection. It features traditional couched Japanese thread with bright blue silkwork.

In Britain, much of the early embroidery for the Catholic Church was sadly destroyed by decree of King Henry VIII in the sixteenth century. However, this could be said to have kick started goldwork’s popularity in secular society. Goldwork took a prominent place in fashion from then until the late nineteenth century, with stunning pieces luckily preserved in museums all over the world. The couched threads of earlier times were joined by a gorgeous variety of purl wires allowing for highly raised work for military use, and all kinds of intricate details in fashion.

In the twentieth century goldwork was mostly reserved for the military, and ceremonies such as royal coronations. However, it can be seen to great effect on the gowns of designers such as Schiaparelli and Dior. Designers still favour gold for their finest work, and looking back down its fascinating history can inform and inspire our embroidery today.

Coronation gold sampler on silk velvet, worked by the author. The motifs in this design are those chosen by Queen Elizabeth II for the Robe of State for her coronation on 2 June 1953. Laurel leaves, olives and wheat ears symbolize victory, peace and prosperity.

CHAPTER 1

MATERIALS AND EQUIPMENT

METAL THREADS

The most important materials for goldwork are of course the metal threads. As you can see from the examples in this book, not all goldwork must be gold. There are so many threads to choose from, and once you start to stitch you will soon find your own ‘go to’ threads.

In goldwork there are two main types of thread: metal-wrapped threads, which are secured by stitching over them with a sewing thread; and purl wires, which are hollow and are usually stitched through in a similar way to beads. There are also plenty of additional materials to consider, such as spangles, kid leather and plate.

Metal threads, including metal-wrapped threads, purl wires and spangles.

Most of the threads are available in a range of weights or gauges so that you can choose according to the needs of your design. The finest threads are most suitable for detailed, intricate designs. The larger sizes make more of a statement and are good for bolder designs. A good variety of threads are available in a range of colours.

When choosing gold threads, you will need to think about the type of techniques you wish to include in your project, how shiny or glittery you want it to be, and sometimes your budget.

The price of metal threads varies by weight, so heavy things such as broad plate and spangles tend to be rather pricey, whereas Japanese thread and smooth passing are on the lower end of the scale.

Gold or Gilt?

Historically gold threads had a very high gold content, but nowadays the story is different. In fact, the highest quality gold thread is only 2 per cent gold and the more commonly used version is ‘gilt’, which contains about 0.5 per cent gold. Silver is available in 90 per cent silver or silver plate. In general, the higher the content, the warmer the tone of the colour will be, which makes for a very pleasing finish; however, the price difference is considerable. For most projects gilt and silver plate work perfectly well, unless a piece demands an exceedingly high quality or the threads must match those of a historical piece.

METAL-WRAPPED THREADS

Imitation ‘Jap’ (Japanese Thread)

The ‘imitation’ here is the plate. Cotton thread is wrapped with a wide strip of metal-coloured synthetic plate. It is very shiny, and can be vulnerable to damage.

Smooth Passing

This thread has a cotton core, but unlike Japanese thread, the metallic strip with which it is wrapped is finer, producing a sturdier and more versatile thread.

Check Thread

Similar to passing thread, check thread has a distinctive zigzag but is small enough to sit well against smooth threads in combinations.

Rococco

Rococco has a defined zigzag wave, making it a useful decorative thread.

Twist

Usually three strands of metal-wrapped threads twisted together to create a decorative texture.

Elizabethan Twist

A twist of super-fine strands of thread each wrapped with metal; this thread is useful for small details.

Millary

A combination of metal-wrapped thread with a coil of firm wire makes for a very decorative thread.

PURL WIRES

Smooth Purl

A smooth, shiny, super-fine wire coiled into a cylinder. The coiled wire is cut into short lengths that are stitched through like beads.

Rough Purl

A smooth but matte-surfaced super-fine wire coiled into a cylinder, which is cut and stitched like smooth purl.

Bright Check

A bright, shiny, super-fine wire shaped into a faceted coil, which is cut and stitched like smooth and rough purl.

Wire (Dull) Check

A matte-surfaced super-fine wire shaped into a faceted coil. It is used like bright check.

Pearl Purl

A round-profiled wire in a tight coil. This wire must be ‘relaxed’ to allow a thread to pass between coils.

Lizerine

A square-profiled wire in a tight coil. Like pearl purl, it must be ‘relaxed’.

MISCELLANEOUS

Spangles

These sequin lookalikes are made of plated metal, curled into a circle and then pressed flat.

Plate

Plate is a shiny, flat strip of metal; whipped plate is wrapped with a very fine wire.

Kid Leather

Fine leather coated with a metallic foil.

PADDING MATERIALS

Felt

Choose a good quality felt, preferably with a high natural fibre content (usually wool or cotton). Felt is available in many colours to match the metal threads.

Extra Thick Felt

Traditionally ‘carpet felt’ is used to create highly padded shapes. Good carpet felt is hard to get hold of these days, so a very dense thick wool felt is an ideal (and much more pleasant) substitute.

‘Soft String’

Soft string is a cotton thread/yarn that will compress down well when stitched. There are a few brands of tapestry cotton available in a wide range of colours to match the metal threads.

‘Hard String’

Parcel string is used for padding to create basket-weave patterns. It can be dyed or painted to match the metal threads if required.

Interfacing

Firm interfacing of the thickness usually used for curtain pelmets or firm waistbands is suitable for padding very defined shapes. It can be painted to match the metal threads if necessary.

Card

Thick paper or card may be used as a substitute for interfacing. It is more readily available, but it can suffer in damp environments.

SEWING THREADS

Machine Threads

Machine sewing threads are used to secure the metal threads and wires. A 100 per cent polyester thread is best because there is a little give in the thread, which makes it more resilient to the abrasive metals.

Stranded Cotton

Stranded cotton is useful to add some colour to a design. It may be used to secure metal threads or for decorative stitching.

Silk

Silk is available in lots of different thread types, from stranded to floss. It may be used in the same way as stranded cotton.

Synthetics

Man-made fibres, such as rayon or viscose, are more readily available than silk. They usually have a higher shine than real silk. Take care as they can be very slippery and springy when stitched.

OTHER MATERIALS

Beads and Charms

Beads can be a lovely addition to goldwork embroidery. Try a variety of colours, shapes and sizes.

Sequins

Sequins are stitched in the same way as spangles, and can add some extra colour and shine to a design.

Braids and Cords

Gold decorative trims are traditionally combined with military goldwork, but colours are also useful for a more modern interpretation.

FABRICS

There is no reason that any particular fabric cannot be used for goldwork, so don’t be afraid to try goldwork on anything in your fabric stash. However, there are some combinations that are known to be successful.

The traditional fabrics are listed here with some tips that will help you to decide how to use your fabric, and which techniques are most appropriate.

Velvet

Usually silk or cotton velvet (synthetic can be rather springy, which makes it more difficult to work with and viscose degrades quickly). Velvet is usually the ground fabric for ceremonial garments such as the coronation robes of the British monarchy. The deep pile texture adds to the richness of the fabric and makes the metal threads stand out beautifully.

Silk

A heavy satin, dupion silk or taffeta may be used to give a gorgeous lustre that is very effective with goldwork. These fabrics are available in a wide variety of colours and finishes, which makes it easy to choose a suitable colour.

Linen

Fine textured, closely woven linen is the perfect ground for goldwork because it is naturally sturdy. Linen is one of the traditional fabrics for ecclesiastical embroidery, which has always included a lot of heavy stitchwork.

Damask

Usually made from silk or cotton, damask is another fabric traditionally used for ecclesiastical work. The fabric is one colour, but has a woven pattern that makes for an interesting ground for goldwork and silk embroidery.

You may have noticed that these fabrics are all rather unusual and/or expensive; this is because goldwork was traditionally either an investment, or quite deliberately stitched to show off wealth and power.

Nowadays the gold itself is not nearly so pricey, and many embroiderers are stitching for pleasure, so we may broaden the range of fabrics to include some more everyday examples.

When you first try goldwork you may wish to practise on some simple calico or quilter’s cotton. It is a good idea to use a double layer of these for goldwork, simply to hold the weight of the metal threads and to avoid causing any distortion as you stitch.

Many fabrics that you may wish to use will need some extra substance to help support the metal. For any fabric except sheer fabrics, the best way to add this is to back the fabric with medium-weight calico, plain cotton or linen. This is particularly important for any fabric with an open weave or felted texture to make sure there is enough strength to support every stitch evenly throughout the design.

When choosing fabric, consider the texture and how this will interact with the gold; try to choose fabric that has an all-over texture and preferably a smooth finish, rather than intermittent features such as slubs in silk, which could be difficult to stitch through and may push the gold threads out of line. As you gain confidence you may wish to bend this rule.

Consider the colour: are you looking for a high contrast with the metal, or do you want a subtler effect? For high drama you might choose a strong red, navy or black; for a subtle look, you may wish to try a soft pink with gold, or light blue with silver.

Some fabrics are woven in such a way that they shimmer with two colours when draped (many taffetas, velvets and dupion silks are woven this way – it is known as ‘shot’); these can be stunning for garments or accessories, but the qualities will likely be lost in a framed embroidery, and they can highlight flaws such as holes from finishing gold threads.

Sheer fabrics such as organza with a firm texture are lovely for goldwork, but you do have to be more careful when taking couched threads through to the back as you can easily make visible holes or tear the fabric. When working on sheer fabric it is often best to stitch straight to the fabric with no padding. Very fine, soft fabrics such as chiffon are not really suitable to stitch goldwork on, but can form lovely additional details.

If you doubt the strength of your chosen fabric, choose techniques that will mean you pass less gold through the fabric. Cutwork, chipping and couched pearl purl are all good for less sturdy fabrics.

In summary, there is no real right or wrong choice of fabric for goldwork. However, it is important to consider your project carefully both in terms of your comfort and ease whilst stitching, and the practicality of the piece once complete. The best idea is always to practise on as wide a variety of fabrics as you can, to gain experience of the play between fabric and threads.

FRAMES

Choosing a frame is very important, because goldwork is best stitched with the fabric at high tension. For small projects a good ring or hoop frame will be sufficient, but for anything larger than 20cm (8in) a slate or roller frame is preferable. This allows you to keep a large area of fabric stretched all at once, and with a much greater and more even tension than can be achieved with a hoop. With a slate or roller frame you will also need webbing tape and parcel string.

Hoop frames (various sizes with seat and clamp attachments).

Slate frame, roller frame, trestle supports, webbing tape, string, bracing (spring) needle and bodkins.

NEEDLES

When undertaking any embroidery project, it is important to choose the correct needles for each task. Generally, needles should be large enough to allow the thread to pass through comfortably, but small enough not to leave a large hole in the fabric.

Goldwork usually demands a selection of fine embroidery needles, and one or two large sharp needles to allow you to pass the thick metal threads through to the back of your work. If you use a slate frame you will also need a very large bodkin or ‘bracing needle’.

EMBROIDERY NEEDLES

Embroidery needles have a sharp point and a narrow shaft. The long eye allows reasonably easy threading. Use the smallest size that you can comfortably work with: the finer the needle, the more accurate your stitches will be.

SHARPS

Sharps are usually slightly finer than their equivalent size in embroidery. They have a narrow shaft and a small eye. Use these needles for stitching where the thread must pass through the gold with a doubled thread.

CHENILLE NEEDLES

Chenille needles are sturdy needles with a long, wide eye and a sharp point. Use them to pass thick metal threads to the back of the embroidery: this is known as ‘plunging’. Choose the size according to the thickness of the metal thread: the needle must make a large enough hole for the thread to pass through it easily.

TAPESTRY NEEDLES

Tapestry needles are sturdy needles with a long, wide eye and a blunt tip. These needles are not used very much in traditional goldwork techniques, but they can be very useful for weaving techniques.

CURVED NEEDLES

Curved needles are just as their name indicates: needles with a curved shaft. They come in various sizes and different curves. For goldwork you will need a fine needle with a sharp point.

TOOLS

SCISSORS

For goldwork you will need at least two pairs of scissors.

The first pair should be good quality embroidery scissors exclusively for cutting your sewing threads. I also keep a pair of curved scissors handy for any trimming of threads in awkward corners.

The second pair should be a good quality pair of straight embroidery scissors exclusively for cutting the metal threads. You can get ‘goldwork scissors’ which have a serrated blade; these can be excellent, but make sure that they have a fine tip and narrow blades. Any embroidery scissors with these qualities will be perfectly good for goldwork.

Scissors for gold should have narrow blades (left and right), whereas scissors for thread may be wider (centre).

Goldwork scissors should have narrow blades when viewed from the side.

Mellor

The mellor is a little known tool that makes goldwork embroidery so much easier. The flat end can be used to manoeuvre threads into position without having to handle them too much. The pointed end can be used to hold your stitching threads while you guide the stitches into place, meaning much more accurate stitches and less damage to the delicate metals. This tool is also known as a mellore.

Thimble and Needle Grabbers

For obvious reasons, when you are using very fine or very sharp needles, a thimble is a sensible addition to your toolkit. A leather thimble can be handy so that you can still feel what you are doing. Needle grabbers are textured rubber discs that are indispensable when tying back threads with a curved needle on taut fabric.

Stiletto

A stiletto is a tapered length of wood or metal that may be used to create holes to pass very thick threads through to the back of the work.

Beeswax

Beeswax protects the sewing threads from being damaged by the metals.

Tweezers

Tweezers are very useful, particularly if you should need to unpick anything. The metal threads should be handled in your fingers as little as possible to prevent tarnishing, so having a pair of fine-tipped tweezers is essential.

SEWING KIT

It is always good to have a well-stocked sewing kit, including the following:

Tape measure

Glass-headed pins

Screwdriver

Prick and pounce kit

Baby hairbrush

Extra strong (button) thread

Fabric scissors

Pinking shears

Paper scissors

Sewing kit with all the useful bits and bobs you need to get up and running with an embroidery project.

OTHER EQUIPMENT

TISSUE PAPER

Acid-free tissue may be placed over your embroidery to keep it clean and safe when you are not stitching. If you can’t find acid-free tissue, use an old sheet or pillowcase.

LAMPS

Good light is so important while you are stitching. Help prevent eyestrain by investing in a good daylight or white LED lamp. Bear in mind that standard bulbs can get quite hot, whereas LED bulbs stay cool.

MAGNIFIERS

A magnifier is a fantastic way to deal with intricate details; there are many types, including ones that clip to a table. Some even come with a built-in lamp.

Tissue paper, lamp, magnifier, beading mat, velvet board, and an example of goldwork.

VELVET BOARD/BEADING MAT

Plush-covered boards are brilliant for stopping chips of metal thread flying all over the place. Cut and store the metal threads on these surfaces while stitching.

Gather your preferred design equipment before embarking on a design session so that you don’t have to go hunting for something and interrupt your thought process.

DESIGN EQUIPMENT

PAPER

Any paper will do, whether it is an artists’ sketchbook or simple copier paper. For an initial sketch, white paper works perfectly well, but to really see what your design will look like when stitched, a colour similar to your fabric is ideal.

TRACING PAPER

You can use tracing paper to trace designs from all sorts of sources; these images can then be pieced together to make your own new design. Tracing paper may also be used to transfer your design to fabric.

PENCILS

A basic HB or propelling pencil is enough, but it can also be useful to have a selection of other grades such as 2B and 4B. These can help you in creating shaded drawings.

ERASER

A good quality eraser saves a lot of time and effort when working through your design. A separate eraser is usually best.

COLOURED PENCILS

Coloured pencils can be used to get a good idea of what your final piece will look like. You can also use coloured pencils to trace designs on to fabric.

PAINTS

Even if you are not a confident painter, it is well worth having a go at creating a design with paints. Paint is also the traditional medium for transferring designs.

ADHESIVE TAPE

If you make changes to a design, an adhesive tape that can be repositioned easily is very useful.

CHAPTER 2

DESIGN

Creating and planning a design is a very important and exciting stage of your goldwork project. Try not to give in to the temptation to make it up as you go along, at least not when you first start to design your own embroidery. It is always possible to revise a plan while you work, but having a framework will allow you to stitch at your best and to make sure you have enough materials for the project.

This chapter will guide you through the various considerations of designing for goldwork, enabling you to make decisions about the design itself and the placement of techniques.

CHOOSING A SUBJECT

The best way to choose a subject or theme for your project is to go with your gut instinct – something you love. More often than not, you are stitching for a purpose: a gift for a loved one, a project for your local community, or perhaps something for your home. Therefore, you may wish to consider what other people will appreciate and what will suit the purpose. For example, if you are embarking on a project for a gift you may wish to depict one of the recipient’s favourite things.

You can gather ideas from anywhere – in fact you have been gathering ideas all your life without realizing it. It is what you do with your inspiration that will turn it into a beautiful piece of goldwork embroidery.

If you struggle to come up with something, try looking to the past. Goldwork has traditionally been used for all sorts of things, but one recurring theme is floral motifs. Look at scrolling stems with lovely flowers attached – and try incorporating birds and bugs.

The projects at the back of this book will get you started with the techniques, but once you have had a little practice you can really translate anything into goldwork. All sorts of themes lend themselves to goldwork, from sea monsters to family crests and skulls to monograms.

Source image collection – photographs, drawings and paintings.

Use tracing paper to create separate elements of a design, and move them around to create a pleasing composition.

DEVELOPING A DESIGN

Once you have settled on a theme or subject you will need to put your ideas on to paper. You can begin this process in many ways, depending on your own skills and confidence.

If you have a clear image in your head, you may wish to commit this to paper straightaway, but the chances are you have formed a vague idea that could do with some refinement. Therefore, the first thing to do is to research your subject. Look at books, magazines, the internet, your own photos or artwork, galleries, anywhere you can gather a collection of relevant images.

Once you have gathered your thoughts, it is time to start drawing. This might mean that you simply grab a pencil and paper and get started. However, if you have no idea where to begin, try copying images on to tracing paper first. You can copy more than one image this way, and then begin to add images together.

Once you have a rough design worked out you will need to start thinking of it in terms of stitching. This doesn’t mean you have to consider every stitch right now, but you should begin to think of the image in gold, rather than as pencil lines.

STYLIZING SHAPES

Some subjects in the world around us translate perfectly first time, but sometimes we need (or want) to make a design a bit more stylized. There are some simple ways to go about this; it is usually a matter of simplifying lines and emphasizing what is already there.

The following example shows how you can stylize a simple floral spray. In reality the flowers may be placed on a crooked stem with barbs and broken elements. It may be more pleasing for the stem to flow smoothly, perhaps with defined thorns and curling tendrils.

Once you are happy with your design, make a copy of it on to a single sheet of tracing paper. Make sure that the lines are as smooth and clear as possible. This final copy will be used to transfer on to your fabric. If you are technologically minded, try using a vector drawing program on a computer.

1Lay a piece of tracing paper over your initial sketch and create a new stem with a single sweep of your pencil.

2Draw the petal shapes, but with each line emphasize the smooth curves and sharp points; exaggerate any overlapping parts.

3Leave out any tiny elements that may be confusing, but accentuate important details such as stamens.

STITCH DENSITY

Designs usually work best with a good balance of densely worked stitching and more delicate open areas, so you will need to consider how much open space you may wish to have within your design. Conversely, some designs benefit from being extremely heavily worked, so use your judgement here.

There are usually obvious areas to leave blank – voids between parts of the design, for example – but you may wish to consider leaving some areas with more open stitches, too. Scattered spangles or chips can give an attractive contrast to more densely stitched couching or cutwork.

Consider how the colour of your background fabric may impact on the design. A high contrast will mean that more open stitches show up strongly, whereas a subtler background will make them less obvious.

Think about the style of your design. Certain styles demand heavily stitched areas with expanses of blank background, whereas others benefit from more evenly distributed open space.

This embroidery stitched by the author makes use of delicate stitchwork in open areas within the design to utilize the background fabric.