Tags
Art, Castilla y Leon, Covarrubias, embroidery, galleries, landscape, Madeira Threads, Natesh threads, Spain, stitch, textile, Wonderfil threads
I have recorded here some of the stages of my most recent embroidery, completed this week, and would welcome your comments. The drawing was done in central Spain near Covarrubias last summer. I have shown some of the stitching as it develops, explaining the processes that resulted in this final piece, a Spanish landscape that contrasts strongly with my gentler South Downs pieces.
Here is the drawing, A4, pencil, pastels, watercolour pencils, and pen.
The planning stage with mainly Madeira threads, Natesh and Wonderfil added later
I draw a few main lines directly onto the painters canvas, stitch them in and then turn to the back as most of the work is done with cable stitch. This technique means putting threads that are too heavy to go through the eye of the needle on the bobbin. I stitch on the reverse side of the canvas, couching down the heavy threads to give long, uninterrupted lines of threads- the next image shows me workimg from the back. The top thread colour is important as it affects the bobbin thread adding new colours to the piece eg the bright red is couching down a heavy metallic copper underneath.
I have to keep turning to the front, shown next, to make sure I’m happy with what I’m doing, but as the bobbin runs out every 3 minutes I get plenty of opportunity to correct any errors and add any fine details. You can see below that the fabric starts to move and undulate. I “go with the flow” in the hope I can control the final results!
-and here it is, 24cm x 35cm approx. The drawing is only ever a guide, as once I start stitching, the thought processes and techniques take over. I never try to copy my sketches, but aim to translate and interpret. Hope you found this useful and interesting!
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Carol Naylor 
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Carol, thank you for such an interesting post, it’s nice to see from image to creation.
many thanks mandy currie I hoped it would be interesting to viewers
I can’t claim to know anything about the technical aspects of creating the final work but the thing that really strikes me about the transition from the drawing to the finished piece is the way the image becomes more dynamic and opened out. The embroidery must have a much greater physical presence simply because it’s less flat (I like the way the undulations in the fabric can emphasise the structure of your work even though it’s difficult to see that in a photograph) but there’s also more flow and rhythm that comes through the process as well as a very pleasing simplification and abstraction. It’s a lovely image.
thank you very much for such a perceptive comment. You are right about the movement and rhythm, and my pieces do really need to be seen “in the Flesh”!
I agree with the above … where the drawing shows hints of direction, flow and colour and so on, the real thing shows that it has a will of its own and says: I need to go this way now … or: you need to put this colour next to that one for depth or to create that light effect .. The way the work is pulled by the sewing adds interest and dimension. I am always worried when the fabric pulls this way and that but you show that when you go with it the work is enriched by it.
I love the red earthy colours and would have been tempted to hint at them in the back ground and the front … but that is more a painterly thing probably.
The composition is very strong in the work itself because you went with the flow I think. I find that a difficult thing to do … that letting go of The Plan .. I need more practice 😉
And the first thing I want to do is touch it … and see the light play on it …
It is a pleasure to look at 🙂
Thank you Helena much appreciated. I think you are right about the red. I didnt take it through, largely because it was so dominant in the actual landscape and not visible in other areas,and I find it a scary colour to use! Curiously in my English poppy landscapes I do! I shall think for next time. And once I get into a piece I put the drawing or ideas away, copying doesnt do it for me and the distortions take over, and these were difficult to control in this piece due to the focal point swirling out and down to both sides!
I find the explanation of your process fascination, and very informative. I have only used cable – I was taught it as whip – stitch with a thicker thread in the bobbin to work from behind. I’ve never tried it with ‘normal’ thicknesses of machine stitching threads. They must make wonderful, subtle mixed colours on the front. And I love that you don’t slavishly follow the sketch; it allows for a more spontaneous result. In info you give elsewhere, you say you attach pieces to a box canvas to display it. That is such a good idea! Thank you. I’ll continue to follow your work and will suggest you to our Edinburgh Guild as a speaker, and to the organisers of our Summer School workshops.
Hi Susan McEwan thank you for your lovely comment.I am booked to teach this technique for the Stirling Summer School for the Scottish Embroiderers guild this August!
Hi!
I have recently discovered free motion machine embroidery and produced some small pieces I’m fairly pleased with but have really battled with the machine I’ve been using. My partner wants to buy me a better quality one for my birthday but I can’t find an answer to ” best machine for free machine embroidery” I have seen some second hand, hardly used Berninas for sale but would really appreciate a recommendation if possible.
Kind Regards
Christine Hilditch
Hi Christine Hilditch I’ve just seen your comment. I use a Bernina 1008 as its a mechanical machine and I prefer not to use a computerised one. Any second hand Bernina is worth snatching up as they are perfect for free motion embroidery.