The Challenge Series Swaps

Candlewicking
(Details about the Swap Here)
(Printable Version Here)

 

Did you all miss AskSREBrad? Did your August just droop because there was no Trapunto Article? Did you wait with baited breath in hopeful anticipation for September so that you could catch a glimpse of the Candlewicking article and swap. Did you turn away in frustration when it became increasingly clear that AskSREBrad was not going to publish a Candlewicking article.

 

Or had you forgotten about him completely (oh how shallow and fickle the public can be)?

 

Watch out, he has returned. We have inadvertently taken a month off from the Challenge Series, but now we are back in black (wait, that is something else). Nonetheless, we are back and we are picking up where we left off (without that pesky Trapunto article, though)

 

So, here we are with Candlewicking.

 

Imagine if you will, that AskSREBrad is a young pioneer girl in the early 1800's (ok, I know that is a stretch, but a young pioneer man just wouldn't be stitching away, be thankful for the times we live in). AskSREBrad is loading up his home in a covered wagon so that he may head out west to find new land and new adventures. Space is limited so only the necessities can be included. You throw in your candle making supplies (so you can see, remember, no electricity where you are going), your food, your clothing, your bedding, and your family (nope, can't leave them)

Jump ahead a year or so and you are well settled on your new homestead. You begin to hear and see some examples of a new embroidery styles from Europe. Beautiful Silk threads are being couched and knotted on richly woven fabrics. White work is the rage as well. You look around and all you have are some homespun cottons and....wait.....what is that.....candlewick cotton.....mmmm... let us see....look at that....yes, that will work.

It may not have been quite that simple, but Candlewicking Embroidery is truly an American invention borne of neccesity and ingenuity. Due to the lack of money and supplies, American pioneers found that emulating a style can become a style unto itself.

Candlewicking, for those of you unfamiliar, is a form of embroidery where traditionally a white single ply thread is stitched in an outline on a piece of muslin. Highlighting these stitches and accentuating the technique is the placement of knots (colonial or French) throughout the piece. Simple stitches are mostly used; backstitch, stem stitch, lazy daisy, satin stitch and the above mentioned knots. After the piece is stitched it is washed in hot water to cause the fabric to shrink around the stitches which highlights the raised aspect of the work.

From far away, Candlewicking looks similar to Trapunto, except the raised parts are on top of the fabric not underneath. It is also similar to chenille and one technique of Candlewicking, which is seldom seen today, is the woven method, where threads are couched down in loops. This is very similar to chenille, but most of us are more familiar with the embroidered version.

Originally designs were drawn directly onto the fabric surface with charcoal or pencil. (Today that is still an option, as well as iron on transfers) Quilting patterns were and still are a great inspiration for Candlewicking patterns and many of the designs are direct copies of quilting designs. Similar to Redwork, versatility, any line pattern can be adapted to Candlewicking. This makes coloring books and outline design books a great resource. Copy a design onto white paper and play with adding dots (to represent knots) to see how you can enhance the design. Remember, the blank spaces are as important as the embroidered spaces, so always look for secondary patterns that appear there.

What do you need in materials? Not much. If you are going for traditional work, grab some high quality muslin and some Candlewicking thread. Candlewicking thread is sold in most craft stores, it is a off white one ply thread. If you cannot find Candlewicking thread or want to try something different, Cotton a brodier or any fine ply of knitting or crochet threads will work. Even perle thread will add interesting luster to the project. Stranded thread does not work well, though because of the way it will lay. Usually two or four strands of thread are used to stitch.

Often you will see Candlewicking combined with Crewel work. While that is lovely, here on the silk ribbon list, we are going to combine our lovely art with Candlewicking for even more glorious results. AskSREBrad is even sure some adventurous soul will venture out of the white world of Candlewicking and use color threads.

Candlewicking on the net is a bit sparse, but here are a few links to help you out.

http://www.white-works.com/candlewicking.htm
http://crossstitch.about.com/library/weekly/aa073000a.htm
http://www.bellaonline.com/articles/art1731.asp
http://crossstitch.about.com/library/freepatterns/candlewicking/blcw_acornleaf_double.htm
http://crossstitch.miningco.com/library/freepatterns/specials/blspecial_backtoschool_fall.htm
http://www.embroiderysa.co.za/best/candlewick1.html (Embroidery Machine Patterns)
http://www.needlearts.com/howes_needlework/
http://www.geriantics.com.au/editorials/161_candlewicking.htm
http://www.geocities.com/Heartland/Valley/7247/candlewick.html

Also, you might want to bone up on your knots.

Colonial
http://www.serve.com/marbeth/colonial.html
http://hometown.aol.com/hblossomxs/page14.html
http://www.cross-stitching.com/knowhow/technq11.htm
http://www.anu.edu.au/ITA/CSA/textiles/sharonb/stitches/frenchknot.html
http://www.canadianliving.com/crafts/features/embroidered-hanky/2.asp

 

French
http://hometown.aol.com/hblossomxs/page14.html
http://www.anu.edu.au/ITA/CSA/textiles/sharonb/stitches/frenchknot.html
http://www.canadianliving.com/crafts/features/embroidered-hanky/2.asp
http://knitting.about.com/library/blfrenchknots.htm
http://www.needlearts.com/articles/article_2/article_2.html
http://www.stitchguide.com/stitches/embroidery/stitch_pages/emb_french_knot.html
http://needlemaid.home.att.net/FrenchKnot.htm

 

 

Thus spoke SRE Brad.
Tune in next time for more wisdom.

 

 

 

 

 

 

 

Beading
(Details about the Swap Here)
(Printable Version Here)

 

AskSREBrad has a very special column this month featuring one of his new favorite topics; beading.
(No, dear souls, do no lament that AskSREBrad has left the word of silk ribbon for that oh so glittering world of beads. No, AskSREBrad has simply grown to love those shiny little baubles and is intrigued
with how they can glitz up his silk ribbon embroidery).

With this month's Challenge Series Swap AskSREBrad is introducing to a whole new
world (I can open your eyes, take you wonder by wonder, over, sideways and under,
on a magic carpet ride) and introducing you to some rather innovative artists.

 

But first, a brief yet inspiring tour of the world of beads. If you want a truly in depth look at the
history and the place that beads hold in this world, AskSREBrad urges you to read
The History of Beads; from 30,000 B.C. to the Present by Lois Sherr Dubin and Togashi.
It is a remarkable and fascinating look at all things bead.

 

Did you know:

Beads have been been around almost since the dawn of human history.
The word "bead" comes from the Anglo Saxon "biddin" meaning to pray and "bede"
meaning prayer.
Beads were used as currency (and still are) in some parts of the world.
Columbus offered beads to the Native Americans when he landed in America
Glass beads were in circulation in Russia since before the 10th Century
During the 18th Century, Russians used beads extensively for interior decorating
Check out the bugle work room Oranienbaum here.
During the 19th Century, a middle class market for beads developed
About this time (19th C), the making of beads became easier due to mechanization
of the process
Beads were (and still are) tumbled in a large drum to remove the molded seams
(and add other effects)
Swarovski invented a process for cutting large quantities of quality beads in the 1800's
In 19th Century Western Europe it became fashionable to apply beads to clothing,
especially gowns and special occasion wear.
By the end of the 19th Century, the Art Noveau movement introduced a new
breed of bead makers, including the styles of Tiffany.
Handmade Lampwork beads made by winding molten glass on a metal or copper rod.
Millefiori is created by adding layers of glass to create a pattern and then pulled onto
a long thin rod. The glass is then cut into beads to reveal the design within.
One hank of seed beads (size 11) contains approximately 4000 beads and is about 35 grams.

Fascinating is it not? Even more fascinating are the modern day artists who continue
to expand upon time honored traditions in beading and explore new frontiers. AskSREBrad spoke
with six artists whose styles represent a kaleidoscope of beadwork. Just six simple questions shows how much one little bead can inspire a person.

 

 

Besides authoring, One Bead at Time, Exploring Creativity with Bead Embroidery and creating a beautiful portfolio of beadwork, Robin Atkins, is also a prolific teacher, criss crossing the country spreading the joy of beads and inspiring her students through her mantra of "to empower
my students to reach into their own huge creative capacity, to let go of fears of failure, and to
produce something that has "heart", and therefore life itself!"
You can see Ms Atkins' work at her website, http://www.interisland.net/robinatkins/robinBeadArtist.htm

 

 ASB: What drew you to beads as a medium?
 RA:

I remember loving beads as a youngster. My tubes of "Indian beads" and my little wind-the-warp loom were precious to me. I had six opaque colors of beads (red, two shades of blue, a yellow-green, and white); and the loom instructions came with pages for graphing designs. Intrigued with the winding warp feature of my bead loom, I kept beading my design until I ran out of one of the colors. What began as a bookmark, turned into a 5 foot strip that hung on the door frame to our kitchen for many years.

I flirted with beads on and off for the next three decades, trying macramé, metalsmithing, and weaving. In 1988 I took a class from Carol Berry, a wonderful artist with a unique style combining metalsmithing and beads. She had been collecting unusual beads for several years, and graciously shared them with the class. I went bonkers! I fell head-over-heels in love with her beads! She and I bonded over our mutual delight in tiny glass treasures, and began serious bead shopping. In those days there weren’t many places to buy beads. We took one weekend trip from Seattle, Washington all the way to Blackfoot, Idaho, each spending about $400 on beads!

What drew me to them? Who can explain "love?" At first I suppose it was a fascination with all the beautiful colors and shapes. Then it was amazement at the great variety – all the different materials used to make beads, all the textures, all the sizes – in addition to the colors and shapes. Later, as I learned more about beads, it was the history and ubiquitous nature of beading that further delighted me – knowing that beads as adornment go back to first man, studying ethnic and historical beadwork, collecting old beads. There’s no end to it. As soon as I think I know about beads, someone shows me one I’ve never seen before!

ASB: What is your favorite technique?
  RA:  For the past ten years, it’s been bead embroidery – sewing beads on cloth! Although a sense of harmony and contentment fills me when doing other types of beadwork or other handwork like thread (or ribbon) embroidery, it is never so pervasive as when I'm beading on cloth. As I stitch bead after bead, I feel that I am ancient, sitting cross-legged under a Cyprus tree--a contemplative, whole, complete, and totally honest.
 ASB:   Where do you find your inspiration?
 RA:

 I work improvisationally – that is, without a plan or design. Many times I don’t know what my bead embroidery piece will become until I’ve worked on it for weeks. Yet, it’s not just random. The inspirations come from some intuitive level, maybe a "play instinct," permission to let myself choose fabric and beads and sew them on the cloth without input from my brain. Because I work this way, I don’t generally try to understand or analyze the inspirations behind my pieces.

However, if I must be more specific, I’d say I find inspiration from: the colors and designs of the fabrics I use, animals and plants in nature, symbols, my bead stash, folk art, childhood experiences, people I love and respect, my students and teachers, life issues, and important decisions facing me.

ASB:  How do you begin a new piece?
   Sometimes I have a theme in the back of my mind. For example, I made a piece for the 9/11 bead quilt (see www.beadquilt.org ). Of course the events of this human tragedy were very prominent in my mind. I went to my fabric stash and selected a piece of cotton that seemed compelling. Then I chose some beads the same way and put them in a project box. As I sewed beads on the square, it became clear that my work was helping to bring my heart into a more hopeful or optimistic place. So basically, I just choose a piece of fabric and beads that are compelling to me, without trying to figure out why. Then I pick up a bead I love and sew it somewhere on the fabric. Bead by bead my work develops and reveals itself to me.
ASB:  Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?
 RA:

 Not really. Every piece of bead embroidery that I do makes me feel stronger as an artist. Every piece is a new challenge; every piece is a new learning experience.

However, when I first began doing bead embroidery and working improvisationally, I felt there was a great turning point in my career as a bead artist. Before then I considered myself to be a good craftsperson. I could string beads and design necklaces, etc. that people would buy. But I didn’t feel like an artist. I think it’s because my work came from my head. When I began doing improvisational bead embroidery, my work started to come from my heart. That, I believe, is the difference between being a craftsperson and becoming an artist.

ASB:  Bonus silly question:
If you were a bead, what kind would you be?
 RA:

 Well, this may be "begging the question," but I’d be a different bead every day… maybe every hour – a magnificent old Chinese glass beads, a tiny size 16 Czech seed bead, a contemporary hand-made lampwork glass bead, a beautifully crafted silver bead from Bali, a carved Carnelian bead from Germany, a large ceramic bead with a Raku glaze, a clear amber bead… Yes, I think I’d need to be a different bead every hour! Even if I were young, one-a-day wouldn’t give me enough time to be all of my favorites.

Thank YOU for the opportunity to share my passion with your readers. My suggestion about incorporating beadwork in SRE is "just do it!" Experiment, play, have fun, try it!

In addition to my book, "One Bead at a Time," there are two new books about bead embroidery soon to hit the market that might help your readers get started. One is by Amy Clarke and me; the other is by Nancy Eha, who is aiming her work toward quilters. I don’t have specific information about Nancy’s, but here is the information about the one by Amy and me:

Title: Beaded Embellishment, Techniques & Designs for Embroidering on Cloth

Authors: Amy C. Clark & Robin Atkins
Book information: 135 pages; hundreds of illustrations and color photos
Chapters include: The History of Beading on Cloth, Getting Started,Techniques, Projects (10), Designing for Beading on Cloth, Gallery of Contemporary Bead Embroidery (work by 33 artists!)
Scheduled release date: October, 2002
Retail price: $21.95
ISBN #: 1931499128
Pre order from Interweave Press: www.interweave.com/books (search under beading category)
Pre-order from Amazon.com: http://www.amazon.com (search for book title or ISBN number)

Beady blessings to you all!

 

Robin Atkins

 

 

Jeannette Cook is one half of Beady Eyed Women, a store, website (http://www.beadyeyedwomen.com/), and producer of fine beading books such as: Beading with Herringbone Stitch, Beading with Peyote Stitch, Beady Eyed Women's Guide to Exquisite Beadwork: the Series (Peyote Stitch Primer, A Netting Primer, A Bead & Weave Primer,
A Fringe & Edge Tassel & Trim Primer, A Sculptural Peyote Projects Primer, and An Off-Loom Bead Weaving Primer).

Ms Cook is currently working on her latest class, "Geo-Magical Frenzy" in which you can
"create a wild frenzy of beaded components using tubular peyote, sculptural tubular peyote, ndebele, right angle weave and netting along with surface embellishment beading techniques to cover wire armature. Connect these components with lamp work beads and you have a fabulous necklace" and experimenting with silk ribbon and wire ribbons.


 ASB: What drew you to beads as a medium?
JC:  I began beading in the late 60’s when everyone was wearing love beads and dressing in wonderful “costumes” every day. It evolved from love beads and embroidering my jeans, to bead embroidery on vintage clothing and finally bead embroidered leather jewelry and large beaded purse pieces.
ASB: What is your favorite technique?
 JC:  Freeform Sculptural Peyote Stitch is my very favorite stitch. You can use all different sizes of beads in one piece. The work evolves this way.
 ASB:   Where do you find your inspiration?
JC:   Everywhere, really. I get color inspiration from the beads themselves. Lampwork beads really get me creating! I look outside at my pond and waterfall and get inspired. My flower garden helps, as well as the magazines with amazing wearable art featured in them.
ASB:  How do you begin a new piece?
JC:   I begin by gathering a color pallette of beads. This can take a long time! Sometimes a couple of hours to gather everything together and get started.
Then I am off and beading.
ASB:  Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?
JC:   My first Sculptural Peyote piece from a class I took with Joyce Scott about 16 years ago. It was a two day workshop. I learned five basic variations on Peyote Stitch. I just kept inventing new ways to do Sculptural Peyote after that! I never wanted to do bead embroidery again. I wrote a book on it a few years later and have been teaching my variations for 14 years now.
I am now experimenting with silk ribbon and fine French wire ribbon as well as multimedia projects that use sticks, paper, found objects and beads of course.
ASB:  Bonus silly question:
If you were a bead, what kind would you be?
JC:

 I would definitely be a lampwork bead. The kind with a lot of swirls and dichroic glass encased in a thick clear glass coating!

Jeannette Cook

Ms Cook also shared two of her creations with us
(click on the thumbnail for a larger image)

Click Here!

 

 

Nancy Eha is well known in the Crazy Quilting and Embellishing community. Her book,
Off the Beadin' PathI is a wonderful resource for creating your own style with beads.
Her website, http://www.beadcreative.com proclaims, "Bead Creative is dedicated to the joy of creative discovery" . Here you will find where Ms. Eha further delves into the world of beaded embellishment, sharing her quilt and bead creations and listing her extensive teaching schedule.
Ms Eha says, "My earliest Crazy Quilt projects used primarily beads and beading as embellishments.
This time I am adding embroidery, silk ribbon embroidery, painted lace, and silk prints as well"

Click Here!
(click on thumbnail for a larger image)


 ASB: What drew you to beads as a medium?
  NE: The color and sparkle of beads drew me to beading. The infinite creative possibilities keeps me working with beads. I am endlessly amazed of the beauty that can be created with small pile of beads!
ASB: What is your favorite technique?
 NE:  I have never met a beading technique I didn't like! I am probably best known for combining numerous beading techniques with other needlework forms ( silk ribbon embroidery, embroidery, etc.) while creating vibrantly colorful, textural, obsessively beaded creations.
 ASB:   Where do you find your inspiration?
NE:   I am a self proclaimed Certified Beadaholic, seeing the world through beady eyes.. I am always wondering what "that object" would look like beaded. So I never run out of inspiration.
ASB: How do you begin a new piece?
NE:   I begin with a theme in mind. Then anywhere from 1 month to 2 years I collect imagery (photos, fabric, color chips, etc) which reinforce the theme. As I begin to work, I work in a collage fashion. Bead an area, then decide where and what to bead next and add it to the evolving composition. I create without a ""road map", charts, drawings, etc. Planning, following a plan precisely, and knowing exactly what the outcome will be takes all the fun out of creating for me. Instead I start with a rough idea or theme in my head and then work intuitively. Sometimes I get what I expected when experimenting, some times I have a "learning experience" and get something I did not plan on. But that is ok too. It may still work in the piece, or I have an outcome I can use in a future piece. The more you experiment and take creative risks, the better you know your chosen materials.
ASB:  Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?
NE:  My turning point was going where no one else had gone with fabric beading techniques and documenting them in my book: Off The Beadin' Path. Prior to publishing my book, the only fabric beading books available were about beading on evening wear, bridal fashions etc. And beads to embellish fabric on quilts and needlework pieces where used only to add mere sparkle, appearing as though they were an after thought.. What I teach/apply are techniques which bring the beading forward as a or the primary design element in a piece..
ASB:  Bonus silly question:
If you were a bead, what kind would you be?
NE:

 If I was a bead, I would be a large flamboyant bead made entirely out of smaller glass.

Some ideas for combining silk ribbon embroidery and beading,
Beads as SRE flower centers
Couching SRE down on fabric with beads

Nancy Eha

 

 

Perhaps the most well known among the silkribbon@yahoogroups subscribers, due to her
popular silk ribbon embroidery books, Ribbon Basics: All the Stitches & Techniques of Silk Ribbon Work & Embroidery, Ribbon Designs to Cherish, Making Decorative Fabric Covered Boxes and, Romantic Silk Ribbon Keepsakes, Mary Jo Hiney has also written a wonderful beading book entitled The Beaded Object. Ms Hiney has combined beadwork and silk ribbon embroidery many times and a "newbie" in silk ribbon embroidery is often introduced to the possibilities of these combinations through
her work.

 

 ASB: What drew you to beads as a medium?
MJH: I guess I was first really exposed to beads, and sequins, etc. when I worked as a wardrobe dresser for live television, in Hollywood, of course. I had the distinct opportunity to see the early work of people like Bob Mackie. I always felt the costumes were too glitzy, but at the same time got an education on the properties of beads. I am much more interested in beads as an embellishment rather than beads for jewelry making.
ASB: What is your favorite technique?
 MJH: hmmmm...I don't have a favorite technique. For the past ten years, I have done a ton of design work. Every project has a different need. Being able to do a lot of design work has given me many creative opportunities, so I've explored a lot of them. What I like about beads is the additional texture they add to a project, and I work with larger and smaller beads.
 ASB:   Where do you find your inspiration?
 MJH:   Everywhere. Old movies, new movies, magazines, websites, flowers, fabric, color, life, old clothes, antiques, well-told stories, history, architecture, everywhere, everything. But, this said, I work in partnership with the spirit of God. The career I now have is one that God dropped in my lap 10 years ago, and I walk through the doors that He opens for me.
ASB:  How do you begin a new piece?
 MJH:   I usually do some research and then give the piece some direction with buzz words. I contemplate the textures I want to use and then gather those textures and let them hang out together. I also think about the construction of the piece, what problems I will have to solve and how best to do that so my finished piece has professional polish. When it comes to design work, I do not like poor workmanship. I feel refined workmanship is the most important quality a person can give to their work. Nothing looks worse than good design accomplished with poor workmanship. After contemplating how I'm going to construct my piece, I'll do some initial sketching or patternmaking and then get started. Sometimes, I have to make a prototype. Other times, I can just dig in. It depends on what I'm making.
ASB:  Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?
MJH:   Definitely. My husband and I had a cottage manufacturing business from '83 - '91. During this time, we had a number of employees off and on. Although I learned a ton from this experience, it felt like prison to me. With the recession of '90-'91, our business failed. At that point, I started working in my garage, working alone, making one of a kind pieces for stores, exploring ribbonwork. I and my creativity had been freed. A store in Carmel, CA had a few of my one-of-a-kinds. Jo Packham, owner of Chapelle, ltd. walked in this store and flipped for my stuff, gave me a call and got me started on the first of my 13 publications with Sterling/Chapelle. Cool, huh. See what I mean about my career being dropped in my lap? And that's the truth, Edith Ann.
ASB:  Bonus silly question:
If you were a bead, what kind would you be?
 MJH:

  I would have to be a bead with wings, one that light could shine through.

 

Mary Jo Hiney

 

 

Many of my readers might not be familiar with the art of French Beaded Flowers, but let
AskSREBrad tell you, here is a technique that is ripe with possiblities when it comes to silk ribbon
(and even crazyquilting). Dalene Kelly is the author of French-Beaded Flowers, New Millennium Collection and her website Beaded Flower Patterns.com, showcases just what can be done with this technique. Ms Kelly even gives you free instructions and a pattern :)

 

 ASB: What drew you to beads as a medium?
DK: I love the pure and everlasting quality of working with glass. While other mediums eventually fade or deteriorate, the beads are timeless. For this reason, I usually shy away from most dyed and lined varieties.
ASB: What is your favorite technique?
 DK: I am totally addicted to French beaded flowers. I love the 3D quality and versatility of the finished item. I also appreciate the fact that 2 people, following the same pattern, will usually have different looking pieces. There is a lot of room for creativity.
 ASB:   Where do you find your inspiration?
DK:  Since my second love is gardening, the two go together quite nicely. Although winter forces me to design my flowers from photos, summer fills me with inspiration.
ASB:  How do you begin a new piece?
DK:  I begin by studying a flower from all different angles. Then I begin to bead. When the flower is done to my liking, I commit the pattern to paper.
ASB:  Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?
DK:  Not really. I have my "favorite" piece, which is a magnolia. My "dream" piece, which is a rock covered with monarch butterflies. And, I have my "atta girl" pattern, which is my bleeding heart. I rejected a lot of petals before I finally made a bleeding heart that looked like the ones in my garden.
ASB:  Bonus silly question:
If you were a bead, what kind would you be?
DK:

 Fire polished, cut, AB crystal, it most describes my life and personality.

Dalene Kelly

 

 

Artist, Teacher, and Studio Owner are just three of the many words that describes NanC Meinhardt. Not only does Ms Meinhardt teach an ongoing series of bead workshops, she also opens the doors of
her studio in the Northern suburbs of Chicago to a steady stream of other artists/teachers who teach and spread the joy of beading. Ms Meinhart herself creates beautiful flowing beadwork in a range of styles
and techniques as she has "claimed a more personal vision for (her) future rather than a path well worn and already known...." Her website, www.NanCMeinhardt.com is a constant changing reflection of today's modern beadwork.

 

 ASB: What drew you to beads as a medium?
 NCM: I have always been drawn to color suspended in light. I did a lot of photography and spent a lot of time in the darkroom making inter-negatives and inter-positives which caused even black and white to be suspended in light or space. When I painted, I created my own glazes mixing enamel paint with polyurethane and built up many layers.........sometimes the paint was mixed into clear colorful glazes and sometimes the paint would create wonderful suspended patterns on the surface. Beads seemed to fall rather naturally into the same theme.
ASB: What is your favorite technique?
NCM: Without a doubt..................free form right angle weave!!!!!!!!!!!!!!!!!!!!!!!!! It is both strong and supple. I can use it to express the slightest nuances of shape and form as well as creating lush surfaces in a single layer of beadwork. I have thought up my own ways to increase and decrease using filler beads and something I call a "filler bead inside increase" to achieve the effects I desire. It is just one of those "perfect fits".
 ASB:   Where do you find your inspiration?
NCM: From traveling the internal universe. My work is psychological in nature: I love to follow a thought, idea, color, feeling or whatever and see where it leads. I meet my work along the way.
ASB:  How do you begin a new piece?
NCM:  I know my answer isn't very helpful, but I ........just start. I spend a great deal of time beading so it is really difficult for me to pinpoint where in that process of working with beads that a particular piece begins. I think pieces are always beginning and continuing and ending and beginning again. Sorry, I told you my answer to this question wouldn't make a lot of sense.
ASB:  Do you have a piece that you consider your "turning point" piece? A piece that brought you to a new level in your medium?
NCM:  Well....perhaps the "Let Me In, Let Me Out" mask series. If not a turning point exactly then I would define it as a signature piece. A true turning point piece would be the first piece in which I used beads (a book that I embellished with beads until it was so encrusted that I never included the photographs I which I had intended for the inside of the book) and was so seduced by the medium that I left the world of photography behind.
ASB:  Bonus silly question:
If you were a bead, what kind would you be?
NCM:

 That's easy............F648!! I call it the bead that makes you weep and it seems to have that sort of effect on others too: definitely a magical draw. It is one of the very few beads that I know by number.
Well, you asked!!

NanC Meinhardt

 

AskSREBrad wants to thank all of the artists who answered his questions. AskSREBrad
knows that he is inspired by the work they share! AskSREBrad hopes that you too,
gentle readers are not only inspired, but will come to look at what you do in a different light on your path to discovering your own art in silk ribbon embroidery.

A few links for you journey:

http://beadwork.about.com/index.htm?rnk=c1&terms=beading
http://www.beadandbutton.com/
http://www.suzannecooper.com/classroom/flat/flat_class.html
http://www.dragonwings.net/Hairsticks.html
http://www.jewelrycrafts.com/beadproj5.html
http://www.beadwrangler.com/insidethreads.htm#Chart
http://www.bead-patterns.com/
http://search.bellaonline.com/home_and_garden/hobbies_and_crafts/beadwork/
http://shalas_beads.tripod.com/Index.htm
http://www.manfredinidesign.com/home1.html
http://www.easystreet.com/~sequoia/beads.html
http://home.flash.net/~mjtafoya/patterns/abcshal1.htm
http://store.yahoo.com/beadranch/index.html
http://members.tripod.com/~beadingheart/wedding1.html
http://www.ravensdesigns.com/
http://www.beadjapan.net/DaisyNepal_inst.html
http://www.beadjapan.net/hollybrace_inst.html
http://www.annbenson.com
http://www.geocities.com/Vienna/Strasse/5640/
http://www.beadbooks.com/catalog/books/bk-1313.htm
http://kimberlychapman.com/
http://www.beadtown.com/instruction/fringe.htm
http://www.beadworkbycaren.com/
http://www.guidetobeadwork.com/
http://www.cynthiarutledge.net/
http://hometown.aol.com/jcandyl/TUTORIALS.html
http://www.easystreet.com/~sequoia/beads.html
http://www.manfredinidesign.com/home1.html
http://shalas_beads.tripod.com/Index.htm
http://www.angelfire.com/co2/beltana/peyote.html
http://www.rings-things.com/Projects/68002-21.htm
http://beadedflowers.tripod.com/international/patterns/tazetta.htm
http://www.coysdelight.com/
http://www.rbrown.co.nz/bead.cfm

 

 

Thus spoke SRE Brad.
Tune in next time for more wisdom.

 

 

 


Tatting
(Details about the Swap Here)
(Printable Version Here)

 

Schiffchenarbeit
Occhi
Makouk
Frivolite
Frivolitet
Sukkulapitsi

What do all these words mean?
Come on, keep thinking, you must know?
I'll give you a hint, look at the title of this article.
Tatting.
Now was that hard?
Plain and simple, no matter what language*, tatting is found in almost all parts of the world in some form or another. You think tatting was reserved for dusty corners of old furniture covered in antimacassars and doilies? Well guess what, tatting is experience a resurgence in popularity not seen since the 1920's.

Want a definition? (I know you all love my definitions). OK, I will give you one; "Shuttle and Thread make a lace, the stitch is formed over the hand" Want more? "Tatting is a series of knots, two half hitches equal one stitch, that is place together in an way to simulate lace". How's that one?

Now that you know what it is, how about a picture of some tatting. I happen to have an example right here:

 

Nice, huh? Did it myself (ignore the tails that haven't been worked in). Before I get into to how this feat is accomplished, let me tell you a little about where it came from.

Most authorities on the history of tatting agree that tatting started somewhere around the 16th and 17th centuries (granted that's quite a wide span of years, but there isn't an ancient book that said, "Thus she created Tatting"), although examples resembling a type of tatting have been found in Egyptian tombs. It is thought to originally derived from knotting. The shuttle used in tatting is very similar to the needle used in net making.

Knotting had been around for many centuries as a decorative way to embellish clothing. China has a long history of both practical and decorative knotting (it was even used to count the days). During the 17thy Century, the Dutch, while trading in China, fell in love with it and brought it back to Europe. Soon, all the rich and fabulous were doing it, Queen Mary is said to have been a big knotter (sounds dirty, doesn't it?).

Since, Ladies of the court were expected to be using their hands at all times (ok, enough gutter, mind), either fanning themselves or embroidering, knotting became quite the rage. It was small and portable and it allowed the hands to appear elegant as they worked. Original shuttles were larger than todays (which allowed a variety of fibers to be knotted, even gold thread) and this led to great adorning and bejeweling. The elegance of your shuttle was correlated with your status (sort of like the cell phone today). It is said that at one elaborate royal wedding, an Infanta was given "5 gold caskets, each containing a gold shuttle".

The French in all of their finery found the shuttle to be irresistible when it came to adornment. The French ladies even carried a "knotting bag" which of course was heavily adorned. All the fashionable ladies would not be seen without this bag, even going so far as to include it in their portraits. Madame Pompadour (mistress to Louis XV) was a big proponent of knotting.

Somewhere along the way, people began to start calling it "tatting" although the origins of the word are vague at best. Various theories have been put out, including a derivation of the word tatters (due to the look of individual pieces of tatting before it was put together to form a more complete piece), but no explanation is 100% convincing. We do know that in 1843 the word tatting first appeared in print. "The Ladies Handbook of Millinery, Dressmaking, and Tatting" was published featuring patterns. Up until this point, patterns were handed down by word of mouth. It is also of note (A Sharp) that at this time, tatting contained no chains, only rings.

Jump to 1850 (not so hard to do) and the "mother of modern tatting" comes upon the seen. One Mademoiselle Eleanore Riego de la Branchadiere was running a "fancy house" (no, not a nice name for a brothel) that sold linens and other delicate items. Mlle Riego (as she called herself, thank goodness, I don't have to keep typing Mademoiselle Eleanore Riego de la Branchadiere) published a series of pattern books (11 in all) featuring tatting. Mlle Reigo is also credited in using a needle for the first time to join picots (in 1851 an unknown writer published how to join with a shuttle). For the record, a picot is the space between a stitch (this creates little loops that make tatting look "hairy", you can join these to other rings to create a larger piece) The other technique that Mlle Riego is known for is her use of a central ring with picots that is used as a center motif. She then created a "wheel" around that center, thus creating the doily look most associated with tatting. (Here's a bonus fact - use it at your next party. The doily is credited to Mr. Doley (or D'Oyley or Doily) who ran a shop on the Strand in London. He sold small pieces of cloth with fringe on them to put under finger bowls to avoid marking tables).

In 1886 Therese de Dillmont published the "Encyclopedia of Needlework" which covered tatting using two shuttles and two colors. Ms. de Dillmont is credited to having invented the Josephine Knot (or here for a needle version) By the end of the 1800's though, the popularity of tatting faded, mainly because of the amount of time it takes to create a tatting piece. It had a brief surge between 1920's and the 1940's but by the 1950's it was only mentioned in passing in most needlecraft books.

One final note on the history; needle tatting was around as far back as the 1800's, but because of the popularity of adorning the shuttles, needle tatting did not become the rage. Many people find needle tatting to be much easier and most shuttle patterns can be converted to needle tatting. A great resource for needle tatting can be found at Handy Hands Tatting.

Through the wonders of the internet, though, tatting has made a remarkable comeback and now is quite popular. I'll share some of the hundreds of links at the end.

I will not pretend to be able to explain to you how to tat. There are fabulous tutorials on the internet (some with moving pictures) that can do that for you. I can tell you that once you figure out how to "flip the knot" and understand what that means, tatting is relatively easy. I can also tell you that if you are having trouble learning from books and the net, find a tatter to teach you (meet me at my house at 8 tonight).

Two stitches are used, which mirror each other. This stitch is the half hitch, the second mirrors the first vertically. This creates what is known as the "Lark's Head Knot". Although one website emphatically describes why this is a misnomer. Other names for the two half hitches; ring knot, cow hitch, bale sling hitch and tag hitch. The first half of the stitch is similar to cast on stitches used in knitting and in Brazilian Embroidery (the second half is the same stitch reversed). Needle tatting is an easier alternative (although you aren't creating true tatting with needles, according to the purists) Here are some differences between the two styles.

This month's challenge to our silkribbon@yahoogroups members is to combine tatting with silk ribbon. As in our past challenges, I am sure what they come up with will be innovative and beautiful. I also hope you try your hand at this simple art. You will be surprised at how easy it is to create small motifs.

All I have left to say is "Bring on the Links".

Enjoy!

Online Instructions:


http://www.picotnet.com/TatOnline/tatting_instruction.htm
http://www.crafts4kids.com/projects/tatting.htm
http://www.georgiaseitz.com/classes2/crotat.html - CroTat!
http://www.craftown.com/instruction/tatting.htm
http://www.is-koeln.de/spitzentraum/DOL/tatips.htm
http://www.wcnet.org/~scwheels/page14.htm
http://www.thisntat.com/lessons1.html
http://www.craftown.com/instruction/tatting2.htm
http://www.hhtatting.com/learn.html
http://www.interlog.com/~gagechek/slb/index.html

 

General Info:

http://www.hhtatting.com/pattern.html
http://www.sandbenders.demon.co.uk/tatting/tatting_terms.htm
http://www.nlibin.addr.com/index.html
http://www.shuttleshop.com/
http://www.thisntat.com/index.html
http://www.geocities.com/Heartland/5082/
http://www.shakal.org/crafts/tatting.html
http://www.corporaterefugee.com/tatting.html
http://www.is-koeln.de/spitzentraum/DOL/tatting.htm
http://www.hottub.org/~audrey/kersti/tatting/
http://www.fibreartsonline.com/fac/lace/laceResources.htm
http://lace.lacefairy.com/tatlinks.html
http://www.hhtatting.com/ (Needle Tatting)
http://www.bellaonline.com/subjects/1216.asp
http://www.webring.org/cgi-bin/webring?index&ring=etatters
http://www.tribbler.com/tatman/needle-tatting.html
http://www.users.bigpond.com/casmitchell/
http://www.tribbler.com/tatman/
http://www.frontiernet.net/~schyler/ndl_knot.html
http://pages.pinkpig.com/maus/
http://www.snowgoose.cc/
http://members.tripod.com/~Habit_Tat/index.html
http://www.is-koeln.de/spitzentraum/DOL/tatpatfinder.html
http://www.beanile.com/ - Beads and Tatting
http://www.logicaldatasys.com/tatting/Tatting.html
http://home.netcom.com/~ntrop/mimi/tatting.html - Tons of Links!

 

*Schiffchenarbeit - German,
Occhi - Italian,
Makouk - Turkish, Frivolite -
French, Frivolitet - Swedish,
Sukkulapitsi - Finnish*

 

 

Thus spoke SRE Brad.
Tune in next time for more wisdom.

 

 

 

 

 

Stumpwork Embroidery
(Details about the Swap Here)
(Printable Version Here)

 

This month you get the highlights; Stumpwork Bullet Points -

 

Thus spoke SRE Brad.
Tune in next time for more wisdom.

 

 

 

 

 

 

Brazilian Embroidery
(Details about the Swap Here)
(Printable Version Here)

 

Get out your vibrant colors, we are heading South (no, not Florida, farther than that), for that
tropical sensation Brazilian Embroidery. Evoking the "carnivale" atmosphere of Brazil, this
embroidery style is known for its flashy colors and dense stitching.

If you are going to talk about Brazilian Embroidery, you have to talk about Rayon (no, not Enron, Rayon, the fiber). Rayon is the key element in this style of stitching. In 1664, the earliest known recorded
mention of an artificial fiber was made. Robert Hook, an English Naturalist (why a Naturalist was
looking into artificial is beyond me), suggested that a fiber could be produced that would be
equal to or even better than silk. But alas, Robert could not come up with a way of making this fiber.

Cut to 1855, still in England, a Swiss Chemist named Audemares was granted the first patent for
"artificial silk" This fiber was made by dissolving the fibrous inner bark of the mulberry tree which chemically modified it to produce cellulose. He then took needles, dipped them into the solution
and drew out the threads. The one thing he missed, though, was to replicate how the silkworms did it; extruding the liquid through a small hole (how gross is that?)

Now move along 25 or so years and meet Sir Joseph W. Swan. Sir Swan (say that five times fast)
was an English electrician and a chemist (egads, the money to be made) who became fascinated with Edison's incandescent lamp. With an idea of forcing an Audemare-type liquid through fine holes
(aaah, those silkworms again) into a coagulating bath (why does the production of fiber sound
like a horror movie), Sir Swan was able to create a carbon filament. These worked so well that
Edison used them in his production of electric lamps.

Now you are asking how does this relate to sewing? Well, Sir Swan asked Mrs. Sir Swan
(or is that Lady Swan) if she would like to whip up a few samples of crochet using this fiber.
She agreed and they exhibited all of this at the England Exhibition 1885. Unfortunately, for us,
Sir Swan was much more interested in the electric lamp (he was an electrician, for heaven's sake)
so he abandoned the textile side of his new fiber.

Hang on to your hats, folks, we are getting close to the big one!

Meet Count Hilaire de Chardonnet, who lived in, you guessed it, France. It is 1889 and Count Chardonnet is at the Paris Exhibition showing off his fabrics made from "artificial silk". This caused
a huge sensation (kind of like falling in love) throughout Paris. So much of a sensation that in 1891, the Count built the FIRST commercial rayon producing plant (factory, not flora) in Besancon, France.
This made Count Hilaire de Chardonnet (say it with me) "the father of the rayon industry".

Here is a tidbit to throw around at your next cocktail party; even though Rayon is man made it is not synthetic. That is because it is made from cellulosic material.

Ok, now let's go to Brazil, circa 1960. One Mrs. Elisa Hirsch Maia, known as Madame Maia
(I want to now be known as Master SREBrad), was playing around dyeing native cellulose
(not sure where you buy native cellulose) because she just was bored to tears with the cotton
threads and floss that were then available. In doing this, Madame Maia created a whole new style
of embroidery, Brazilian.

The Varicor company, based in Brazil, began to produce multi colored Rayon threads. These threads caught on so quickly and became so popular in Brazil that Brazilians called it Vari-Cor Embroidery (clever, huh). Soon the rest of the world discovered this type of stitching as well, but because it was so associated with Brazil, it became known as Brazilian Embroidery.

Varicor is no more, but EdMar in the United States is the largest manufacturer of Rayon Threads, today.

Brazilian Embroidery uses stitches found in all other forms of embroidery, so what makes Brazilian Embroidery different from your everyday basic embroidery?

Well, we have been talking about Rayon, so that's the first and foremost difference; the use of Rayon. Other differences that stand out in this art form are the three dimensional effect (stitches built upon
stitches and "raised" stitches that are anchored to the fabric), use of bright colors, and filling the background of the motif with fine a "growth" of thin threads. This density of design is the most striking aspect of the work.

So what do you need to practice Brazillian Embroidery? Rayon thread, Milliner or Straw Needles
(these type of needles are the same diameter throughout the entire length of the needle, therefore
making it easier to slide bullion wraps off the needle), a hoop (yes, it's best to hoop this one), and
some material on which to work your magic (doesn't have to be an even weave fabric).

"But, AskSREBrad, I don't know what stitches to use", you say. You must know by now that AskSREBrad always answers your questions (except that one rather impertinent one) so here are
the more popular stitches (with hand dandy links to instructions on Sharon Boggon's Stitch Directory))

Bullion Stitch (or Knot)
Cast on Bullion
Double Cast On Stitch
Stem Stitch
Outline Stitch
Couching
Detached Chain
French Knot

"Thank you, AskSREBrad, another question; is there anything I need to know when working with
Rayon Threads?" My you are inquisitive today, aren't you? Yes, there are a few things. Sit back,
grab that beverage of choice, and relax while we talk about the twist (Cue, Chubby Checker song)

Most yarns, threads, and flosses have what is called an "S" twist, but Brazilian Rayons have a
counter clockwise "Z" twist. How do find out which way your thread swings? One method is to
hold the thread in your left hand between your thumb and index finger. With your right hand,
twist the fiber to the right. If it tightens up, it is an "S" twist, if it loosens, it is a "Z" twist. Similiary,
if you twist it to the left (and shake it all about) a "Z" twist will tighten and an "S" twist will loosen.
Righty Tighty="S" Lefty Tighty="Z"

Why this is important is because when you are going to town on those beautiful, bountiful boullions,
you will want to wrap in the correct direction (wrap me the right way, baby). For all right handers,
you will wrap toward your body on a "Z" twist fiber and away from your body on a "S" twist.
Reverse this technique for all you lefties.

Because Rayon is available in different thicknesses, it is not meant to be split. Only the very thickest thread, which has some 16 strands in it is sometimes split into smaller threads. Key to size, the thicker
the thread, the thicker the flower (size does matter).

When you are developing your design for a Brazilian piece, remember, dimension, dimension, dimension. You do this by layering your work. A good rule of thumb is to follow this course of stitching:

1) Main flowers
2) Flower Buds
3) Leaves
4) Stems and Main Branches
5) Fine growth (usually in a lighter shade than your main branches)
6) Finally, small flowers (often called field flowers) in French knots or Beads.

Ok, now you want to see some samples of Brazilian Work. There are not a lot freebies on the net,
but there are lots of pictures for inspiration, check out some of these sites:

http://www.geocities.com/Wellesley/Atrium/4226/tlc1.html
http://www.edmar-co.com/pk.htm
http://www.vc.net/annag/default.html
http://www.charismathreads.com/
http://www.nordicneedle.com/Merchant2/merchant.mv?Screen=CTGY&
Store_Code=NN&Category_Code=A03.00.00 http://www.designsbyathread.com/designs_2000.htm
http://www.designsbyathread.com/Yiours%20in%20Stitches.htm
http://www.blackberrylane.com.au/begginners.htm
http://fgdesigns.heritageshoppe.com/designs/designs.html
http://www.jdr-be.com/JDROLDFAVORITES/newdesigns.htm

How about more bullion stitch help?

http://www.heirloomembroidery.com/bullionstitch.html
http://www.needlearts.com/articles/article_4/article_4.html
http://www.coatscrafts.co.uk/en/1/funapr.html
http://www.americanfolkarts.com/BullionKnot.htm
http://www.caron-net.com/classes/classmayfiles/clasmay2.html
http://www.embroiderersguild.org.uk/stitch/stitches/bullion.html
http://www.parddu.net/stitches.html

 

Want some good tips on Brazilian Embroidery? Go here:

http://www.geocities.com/Wellesley/Atrium/4226/index.html

 

Want to know where you can buy some Rayon thread? Here are the silkribbon@yahoogroups.com member vendors who carry the goods.

The Dyepot
Jenny June Fancy Work

 

Want to know some books to bone up on the subject (my you're getting pushy) Here's a few:

Books by Maria A. Freitas:
Apples to Zinnias
The Art of Dimensional Embroidery

Books by Ruth A. Maryott
Forever Flowers Garden Quilt
Joy of Three Dimensional Embroidery
Borders, Bugs, and Other Fun Things

JDR Brazillian Embroidery Book - Ria Quik Ferrel
Take a Stitch - Rosalie Wakefield
North American Flowers in Three Dimensional Embroidery - Mary Kurbis
Brazillian Embroidery Instructions - Barbara Dimke Johnson
Leaves - Threads in Bloom (Sharon Shetley)
A-Z of Bullions - Published by Inspirations Magazine
Brazilian Three Dimensional Embroidery - Rosie Montague

That is it, AskSREBrad is spent. Now the challenge is for the silkribbon list to combine the wonderful worlds of Brazilian and Silk Ribbon Embroidery. You can keep tabs on the swap here.

 

 

Blackwork Embroidery
(Details about the Swap Here)
(Printable Version Here)

 

Time keeps on slipping, slipping, slipping...
Time is short.
Time was not on my side.
So this month you get the highlights!

Blackwork Embroidery Bullet Points

 

Thus spoke SRE Brad.
Tune in next time for more wisdom.

 

 

 

 

 

 

 

Shadow Work Embroidery
(Details about the Swap Here)
(Printable Version Here)


Shadow Work Embroidery is the art of illusion.

No, David Copperfield isn’t performing Shadow Work
at his next magical appearance.

Shadow Work is an embroidery style that has a rich history from a
country known for its colorful weaving and textiles. It is deceptively simple in its execution. Unfortunately, it is an oft overlooked style of embroidery and it offers a unique opportunity to add to your silk ribbon embroidery.

Here is the nuts and bolts definition of Shadow Work embroidery: “a technique in which stitching takes place on the reverse of a transparent fabric, the design showing through to the front in a very subtle manner”.

"Huh", you say? "But, where did it come from?"


Let’s go back a bit.


No, further than that.


I’m talking centuries, here.


It is conventionally believed that Shadow Work or shadow stitching originated in Japan and China. Although when it spread to India, it really grew as an art form.

India was always known for its rich and colorful textiles and in that country textiles were rooted in ritual and customs. The ordered Universe was considered to be one continuous fabric with its grid pattern of warp and woof over which is painted life in all its cycles, illusions, and dreams. As far back as the 3rd Century BC, greek traveller Megasthenes (bet he was a hit at all the hot parties) talked of the “fine flowered muslins of India”. Legend has it that the Chikan (literally translated as Embroidery) work was introduced by Nur Jahan, the beautiful wife of Mughal emperor, Jahangir. The capital city of Utter Pradesh, Luknow perfected and became widely known for its Chikan Work.


Chikan Work (or Chikankari) is composed of many stitches and designs. Lace work, openwork ground
(called jali, an effect of drawn thread work achieved by not drawing out any but using finely stitched buttonholes that are tightened together to effect a net), tiny raised flowers similiar to French knots, and flat stem stitch are all used in Chikan. The traditional motifs are of creeper, vine, flowers, foliage, mango, almond, parrot, and peacock are achieved with these stitches. A variation of Chikan Work is the bakhia, which is Shadow Work. Bakhia is done in herringbone stitch and worked on the reverse side of the fabric,
what we conventionally call Shadow Work today. Often the front side is the design is produced with tiny backstitches over the shadow to give a sharper appearance. Another bakhia technique is to cut out tiny flowers and leaves and applique them to the wrong side of the fabric.


Chikan Work still flourishes today in Lucknow. You can find many examples of this exquisite work in the local markets of the area. Chikan Work can even be seen on runway models of famous Indian couture designers such as Muzaffar Ali and his wife Meera, Abu Jani and Sandeep Khosia (whose Chikan Work were seen on Dame Judi Dench at the 1999 Oscars) and Tarun Tahiliani, (the “high priest of Indian Fashion”).

From India, Shadow Work spread throughout the word. It can be found in portraits from the Middle Ages and on noble ladies' apparel from the courts of Burgundy. Today Shadow Work is loved by Martha Pullen (heirloom embroiderist, extradonaire), who features it in almost all of her magazines and Marsha J. Michler who published Shadow Work Embroidery: With 108 Iron-on Transfer Patterns. (ISBN# 0486402894). Many patterns even exist for creating Shadow Work with your sewing machine and embroidery machines.

What? You want more books? How about these (check your local library or needlework store):

Silken Inspirations : Shadow Work Embroidery Designs
by Allison Seils (ISBN# 0964061600)

Designs for Shadow Work Embroidery and Fine Embroidery
by Donna Krezelak. (No ISBN# Available)

Designs for Shadow Work Embroidery and Fine Embroidery Book 2
By Lane Edwards (No ISBN# Available)

Designs for Shadow Work Embroidery and Fine Embroidery Book 3
By Lane Edwards (No ISBN# Available)

Shadow Work, The Easy Way
By Martha Pullen. (No ISBN# Available)

A Treasury of Shadow Work Designs for Heirloom Sewing
by Julia Golson (No ISBN# Available)

White Work
by Carter Houck (ISBN# 0486236951)

French Hand Sewing by Machine - The Second Book (contains Shadow Work Monograms)
by Martha Pullen (No ISBN# Available)

Shadow Redwork (Gee, you can combine our first swap with our second and save time)
By Alex Anderson (ISBN 1-57120-156-4)

Also check magazines such as Inspirations, Martha Pullen's Sew Beautiful, Australian Smocking and Embroidery, Threads, Creative Machine Embroidery, and Australian Embroidery and Cross Stitch.If you are still looking for pattern ideas, redwork patterns, coloring books, many Dover Press books, even your own personal line drawings are great resources for Shadow Work.

Threads for Shadow Work can be any thread you are comfortable using, the thicker your thread the darker your shadow. Any sheer fabric can be used such as organdy, voile, batiste, fine linen or muslin, sheer silk, or even synthetic silk. Stitches you will need to know include:

(click on any of the stitches for a link to
Sharon Boggon's Needlework Stitch Dictionary for great instructions)

Herringbone
Double Herringbone Stitch
Back Stitch
French Knots
Stem Stitch


So now you know all about Shadow Work’s history. Here on the silkribbon@yahoogroups mailing list we’re adding the challenge of using silk ribbon embroidery along with Shadow Work and I am sure the list will come up with many innovative ways. Whether using silk ribbon to create flowers that are pale like the shadows or bright bold colors that stand out in contrast, the designs that will be shown on our swap page will surely be delightful.

Chikan Works Links

http://handicraft.indiamart.com/process/chikan/
http://www.india-crafts.com/textile_products/chikankari.html
http://www.hinduonnet.com/folio/fo9906/99060480.htm
http://www.womannova.com/docs/fashion/fs_04_04_chikan.htm
http://www.coop4coop.org/highlight/dastkar/glossary.htm
http://www.eshakti.com/eshakti/community/fashion/chik.asp
http://www.shalincraft-india.com/cottonsari2.html
(saris for sale featuring Chikan Work)

Shadow Work Embroidery Links

http://virtualgardens.net/SafeHaven/lessons/shadow_work.htm
http://www.sew-whats-new.com/fme/shadowwork.shtml
http://www.heritageshoppe.com/heritage/stitches/advanced/advanc05.html
http://www.sews.com/books/shadowwork/shadowwork.html
http://www.angelfire.com/tn/sweetcreations/shadowembr.html
http://www.fayandkay.co.uk/shadow.htm
http://www.webindia123.com/women/craft/shadow.asp
http://www.webindia123.com/women/craft/Photoshad.asp
http://www.1uptravel.com/art-culture/embroidery.html
http://www.india-crafts.com/textile_products/chikankari.html
http://www.berlinembroidery.com/shadowwork.htm
http://www.caron-net.com/dec99files/dec99cla.html
http://www.hgtv.com/HGTV/project/0,1158,CRHO_project_26506,FF.html
http://www.geocities.com/Paris/3939/5techn.htm
http://www.caron-net.com/dec99files/dec99cla.html

 

Thus spoke SRE Brad.
Tune in next time for more wisdom.

 

 

 

 

Redwork Embroidery
(Details about the Swap Here)
(Printable Version Here)

 

Just what is Redwork Embroidery?

Redwork Embroidery is simple line drawings worked in simple stitches with Red floss.

Easy, huh? Well, did you know the history of Redwork? If not…read on……..

Imagine, if you will, what it must have been like for the average embroiderer in the late-1800's. The silk threads available for embroidery were both hard to find and expensive (bummer). But one day, you hear tell of a wonderful cotton dyed thread that is easy to find, color fast, and inexpensive (cool). The dye process, centuries old, began in Turkey. It is complicated but effective, utilizes the Madder plant, oil, and secret ingredients (I'll never tell). Because of its origins, the process and the thread become known as Turkey Red. (so it really doesn't have anything to do with the bird)

Like a wildfire, Turkey Redwork spreads throughout Europe. The Kensington Girls School uses it so extensively, that the outline stitch they primarily work in becomes known as the Kensington stitch and everyone begins to copy it. Newspapers and Ladies Magazines (no, not Rosie) begin giving exclusive Turkey Redwork patterns with subscriptions, as well as including them within their pages.

Linens are the primary choice for Turkey Redwork in Europe. When the technique spreads across the ocean into America (thanks to those Redwork loving German immigrants settling in Pennsylvania and Ohio) other household items begin to be used. Summer coverlets, protective chair back covers (antimacassars), splashers for behind the sink, napkins, tea towels, dresser scarves, chair cushions, sofa cushions, basically anything that would sit still long enough began to be embroidered.

As the technique becomes a bit of a phenomenon (bigger than the Pet Rock), those wacky newspapers (No, not the Wall Street Journal) and Ladies Magazines encourage women to get friends to subscribe, with an offer of a stamping outfit (what shoes do you wear with a stamping outfit?). This included perforated patterns, marking powder, and instructions (gee, that's helpful). Ads for "Start A Home Business" so ladies could make money at home (Tupperware, anyone?) by stamping fabrics for "friends and neighbors" were run by manufacturers selling kits with materials, varieties of designs, and marking tools.

In the 1870's everyone saw the introduction of iron on transfers, which delighted them to no end. This made it easier to embellish even more! Eventually, dry goods stores and catalogs began selling muslin squares with a pattern on them for one cent. These "penny squares" became very popular and were soon being used to make quilts and coverlets. Around the 1920's other colors of thread became just as plentiful and Turkey Redwork became passé.

Redwork is back and the silk ribbon list is going to make it better than ever by combining it with silk ribbon embroidery!

Some things to remember when doing Redwork is that it is traditionally worked on muslin or even weave fabric (Osnaburg looks particularly fetching). One note, whether using muslin or Osnaburg, make sure you prewash because of shrinkage. Stitches used (click on any of the stitches for a link to Sharon Boggon's Needlework Stitch Dictionary for great instructions) include basic outline stitch, the stem stitch also known as the South Kensington Stitch, split stitch also known as the Kensington Stitch, French knots, and the feather stitch. Cut your floss in 18 inch lengths and separate it so that you work in two strands. Stretch your material taut in an embroidery hoop for best results. An easy way to transfer your pattern to the fabric is to tape the material over the pattern on a window and trace it lightly with a pencil. DMC Floss number 304 or 498 is usually considered the closest to the original Turkey Red in color.

 

Click Here for Larger Pic!When working the sample piece I used YLI 7mm (though 4mm would work just as well)ribbon color number 049 . Since I was working in the spirit of traditional Redwork, I tried to use simple ribbon stitches such as the(links to CDA's Ribbon Embroidery Page) lazy daisy stitch, straight stitch, and the Japanese ribbon stitch. Even though I was working in only one color, I became fascinated with the texture that the ribbon added to the piece. I also had fun playing with how each stitch added it's own texture.

Patterns are plentiful on the Internet. Below are just a few of the sites out there:

http://www.thecalicocat.com/redwork.htm
http://www.lewiswritingservices.com/betty/redblue.htm
http://www.grandmasatticquilting.com/Redwork.htm
http://www.lastingtreasuresredwork.com/Mainpage.htm
http://www.themoseshouse.com/redwork_embroidery.htm
http://www.geocities.com/Heartland/Ranch/5791/transfers/itransf.htm
http://www.botsands.com/Home/Decorating/redworkembroide_sdw_hb.htm
http://www.fs.fed.us/r6/uma/urban/flowers.htm
http://www.redworklady.com/
http://www.ados.com/~ringaring/lylmsterdozen.htm
http://www.geocities.com/Heartland/Ranch/5791/transfers/itranlg.htm
http://www.patches3.com/freestuff.htm
http://www.lindalowers.com/Redwork/Redwork%20Patterns/Hen.gif
http://quilting.about.com/library/weekly/aa000724.htm?terms=Redwork
http://crossstitch.about.com/cs/styleredwork/index.htm?terms=Redwork

Stained Glass Patterns, but great line drawings:
http://www.spectrumglass.com/PatSet.html

 

Coloring books, many of the Dover books, and stained glass patterns are also great resources for Redwork patterns. Just about anything that can provide you with a line drawing can be used for the technique. If you are comfortable with drawing your own pattern your ideas are only limited by your own imagination.

I hope that this little history lesson and challenge inspires you to go out and try your own Redwork piece. Remember to check back on the Challenge Series Swap Page often to see the exciting work that the swap participants share with the list and the world.

 

 

 

Thus spoke SRE Brad.
Tune in next time for more wisdom.