chindora: (Kimbi hat)
[personal profile] chindora
I know, I am still not finished with my sampler, and have not even started the pin cushions, but I have a few other projects in the wings that are pushing their way to the fore. One is a purse, an evening bag, that I have designed. It will have coiling goldwork vines of plaited braid, and polychrome silk embroidery.

I have been thinking about how to make my embroidery more relevant for me today, and I guess that a 21st century evening bag fit the bill. I love having my samplers and other period embroidery, but one of my daughters was the one who really encouraged me to try to do something that could be used and appreciated in a modern setting.

The design is based off of the textiles I have studied over the past eight years. I have tried to remain true to the period designs, and at the same time make the over all look appropriate for the modern aesthetic. I left out the caterpillars, butterflies, bees, grasshoppers and other little critters that were so commonly used to fill the empty spaces, and that are so dear to me, utilising only tendrils of gold thread and a toss of spangles instead. It about broke my heart to close the beak on the bird and to omit the half eaten worm that I usually have dangling from the bird's beak, but I was striving for elegant and beautiful. The sad face on the broken worm may be witty and entirely appropriate for the coif, but I felt it out of place here.

I had originally thought to make the bag out of a short black velvet, but I think I have shifted to black linen. I am not going to embroider the back, only the front. I am going to convince my mum to make a beaded chain strap that will make it a shoulder bag. The approximate size is 6.5"x7.5". I will line it in silk, not sure which one yet, and it will have a small picket inside. The top closure is a hidden zip.

I have no clue of how to effectively transfer the design. My thought process was to perhaps pounce it with a light powder and then do a tiny light coloured running stitch around the entire design. In theory that is not such a bad idea, but it will sure add a lot of work to the project.

Does anyone have a better idea?

Date: 2011-07-01 05:41 pm (UTC)
From: [identity profile]
I tape my designs to be transferred to a sunny window with the fabric over it. Works like a light box. Though I know some that pull the center panel of their dining room table and place a lamp under the table and a piece of glass over the separation, as another variant of the easy and cheap light box theory.

That is a great design.

Date: 2011-07-01 10:59 pm (UTC)
From: [identity profile]
I am glad you like the design. I do the window thing too, but I guess I figured it would probably not work so good with black linen. I can't figure out what I would use to actually mark the black linen with that would show up, and stay there for the duration of the working.

Date: 2011-07-02 02:44 am (UTC)
From: [identity profile]
And that is what I get for skimming when I am half asleep. I didn't read the black linen part. I would go for pouncing or using a tracing wheel.

Date: 2011-07-02 04:01 am (UTC)
From: [identity profile]
But don't you think that either of those two techniques will rub off before I can get the embroidery finished? I know that the pouncing will for sure, and my experience with the chaco copy, whether done with a wheel, the nifty little tracing stylus or even an empty ink pen, has been the same. That is why I am figuring I am going to have to wind up stitching the designs in fine stitches, after I either trace it or pounce it. I was just really hoping that one of my uber creative friends here might have a better idea!!! (whose idea was it to do this in black anyway?!?!?!?!?)

Date: 2011-07-02 03:46 pm (UTC)
From: [identity profile]
That is a problem...Chalk is going to require quick work. There is a grease pencil that comes in white, but I don't know if you really want to use that.

One option, is to work the larger motifs separately, if you are planning full coverage, then applique them to the ground. Then that just leaves the vines etc, to be done on the ground.

Black has always been my least favorite ground;-PPP

Date: 2011-07-01 07:59 pm (UTC)
From: [identity profile]
You're right - never seen a smiling bird before! Still, it's simple and elegant.

I personally use Clover ChacoCopy (or Chaco-Copy) - comes with 5 differently coloured large sheets coated in chalk. You can also get a 'transfer' stylus, or use a run-out biro or something to run over the lines.
Then run over the chalked lines with a micro pen.

I love ChacoCopy - I'm surprised more people don't use it. It's all I use, until I do prick and pounce just for the experience.

Date: 2011-07-02 01:06 am (UTC)
From: [identity profile]
I have used it before, bought it in England. I used the yellow on my red linen, but then went behind and used a black pen to keep the design permanent on linen while I was working it. What would you use on the black?

The bird that I am talking about is the one that I put on my coif design. He has half a worm in his mouth, and the other half is on plaited braid coil that is just beneath the bird's mouth. I saw a coif, or maybe it was a jacket, can't remember off the top, and it had a similar motif with the worm frowning. It is pretty cute on the coif, kinda fits with the smiling butterfly, etc., but definitely did not work with this handbag.

Date: 2011-07-02 01:30 am (UTC)
From: [identity profile]
For black - the white sheet. Tho I've never used it on black, I don't see how it'd be a problem.
And yes, you do need to go over it with a micro pen or something afterwards - the chalk will just rub off.

Do you have a colour theme for the handbag? Modern colours? Of a particular palette?

Date: 2011-07-02 03:58 am (UTC)
From: [identity profile]
So, have you seen a white or yellow opaque type of pen that would stand up to black linen and stick around long enough for me to get the embroidery done?

I am going with rich, lush colours. The top left flower will be blue and gold metal thread, top center peas are green and gold, top right is rose and red with silver accents. The top two flowers are patterned after two that I photographed on 1 June 2009 at the V&A. You have seen those pics. Bottom left is again rose and red with very small seed pearl accents going down each section. Center bottom is a honeysuckle with a rich yellow,, gold, red and pink. Bottom right is of course a cornflower, with blue and very light blue, as well as gold metal cross hatching on the green, and a gold eight legged spider center. So, blues opposite each other and pinks and reds opposite each other. I am still vacillating on the colours for Mr. Bird. I am working all of the plaited braid in my 2% gold from Golden Threads.

Date: 2011-07-02 10:23 pm (UTC)
From: [identity profile]
ooooo.....yummm! And 2%! My Bishop's Cope is going to have to be gilt - I can't afford 2% *sigh*

Date: 2011-07-03 05:07 pm (UTC)
From: [identity profile]
I'm no embroidery expert (my experience is limited entirely to counted crosstich, and that none too recently), but I thought of your dilemma when I saw this blog today:

Hope this is useful!


chindora: (Default)

July 2011


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