I continue the selection of Ineta on volumetric embroidery. Translation machine, so crooked …
As you can see, outlined in the stem stitch and filled with the shutdown loops, not to rely on this plan, its structure.
They can be used in structuring filling to snap their DBH round, but in my opinion, it looks as if they did not do it, and just stitched into the fabric on the sides.
However, I must note that I’m not sure the stitch that they used to fill the petals as they are difficult to see. Silk is very flat and untwisted and if I had to say, anyway, I think they used stitched stitches. If they did, then it is much weaker than we usually see.
There is a lot of evidence pointing to tapestry stitch sewing without a preliminary foundation. (By the way, I’m now looking at the Tapestry stitch, again, in the light of what Jacqui Carey has published in Sweet Sacks and so I do not want to solve it for this motive.)
I find the lines of DBH directly in the fabric on the sides to be a lot faster and easier to work and as a consequence, new and universal ways of forming occur, to me all the time.
The question of how quickly they worked in the old days is what I always think about.
Can you imagine yourself as part of a group, say 6 or 8 people (how were people there, embroidering then), moving from house to house. Knock on the door and ask if the mistress had any workouts that needed em brothering? ‘.
If you were left-handed, you would be paired with a guy on the left-hander, as they worked in pairs. Then customize your mobile workshop, get to work finishing projects that have already started, or start new projects that the owners would then “ready.” They would draw, transfer, show new designs, get their sample book completed motives and leave an application for large jobs.
Then they would pack everything and knock on the next house … they must have worked on quite professional in the foot, “do not you think?
When you think all the work that survives, can you imagine how much embroidery was in the evidence then? The whole bedroom, from wall to wall just for a start!
Remember what Pepys says in his diary … something along the lines (loosely here paraphrased) ‘I came home to an exhausted wife who was sewing all day to finish our new bedroom panel …’
Where things become interesting
I do not see any evidence on the historic rose say they did what you are going to read, but maybe they did it? Because as I mentioned earlier, there is something going on with the ‘tips’ of reducing DBH, which I see over and over again, and I really need to try and practice.
So, this is another experiment “just to try,” but it was very interesting results. Especially if we think about the prospect of ‘raised embroidery’. What did the “cultivation” entail? Was it forming in a certain way what did it look raised? Was it stuffing? – but that was later. Or in a more general sense, it was a way of describing ‘detached’ stitches in use? Who knows?
Perhaps I already mentioned that there is a special pansy on the memorable wedding panel on V & A, which always played in my opinion, because it is clearly not soft, but keeps on the fabric as thin as a real flower. You peer down and see that the petals sewn up will cover a larger area than the design can accommodate, as a result, it turns out to be “clamped on all sides, also because you can view it from above, you can see this slight overhang its A place in the design, assuming that it is not supplemented in any way, and in fact wilting. “What does all this have to do with this rose? – you can ask, well, the direction of the petals took on the next practice flower reminds me a lot of looks that pansies.
Experiments with a different method of reduction
In the figure below you can see the petal in the lower left corner looks relatively flat. Not only flat but somewhat compressed into its borders.
So after that, I decided to try to reduce it in a different way …
For the remaining petals, I decided to try something new:
In short, I thought I would try to increase the 2 in 1 stitch in the middle of each line. You can see above that by working this way, it creates a peak in the middle.
Then, when I approached the first advice that I could see that I was going to get into trouble, ultimately, taking into account decreases on both sides.
It occurred to me to try to skip the alternating stitches and hopefully it might not look too conspicuous if I did what?
The effect, as you can see, was that she added, measuring the surface of the petal.
I thought that there were no stitches on this way would mean the shape would have lumps, on the contrary, it created a small “dome” effect that looks completely inconspicuous, or even wanting.
I have to work by filling her 3 in 1 metal chain stitches in silver.
As the flow was rather stocky, so everything else had to be. Gold chain stitches are different on real things, as they are used by Ceylon Stitch, but unfortunately, I ran out of gold, so I had to save.
The green stalk of the stitch leaves is also a bit too far from the edges of the petals, well, that’s what happens when you decide that 4 chunky chain stitches may look too mean, so you end up making a line that’s too long!
It goes without saying that the actual rose is better because, among other things, they use a very good pink-salmon-orange, pink, which is so hard to find these days. And, of course, they used shiny silk instead of cotton. But apart from those, minor discrepancies, basically this is how it looks.