Tracy A. Franklin explores creative contemporary ways of using traditional metal threads

What you need

• Medium-weight calico 50 x 50 cm
• Three different natural-coloured fabrics - enough to cut three 6 x 6 cm squares from each

• Sample 1

  2 metres No.5 gilt check thread

  Sample 2

  30 cm No.2 gilt pearl purl
  30 cm No.2 silver-plated pearl purl

  Sample 3

  30 cm No.6 gilt smooth purl
  20 cm No.6 gilt bright check purl

  Sample 4

  1.5 metres No.6 silver-plated bright check purl

  Sample 5

  1.5 metres No.13 Japanese gold thread

  Sample 6

  50 cm No.2 copper pearl purl

  Sample 7

  1 metre No.2 gilt pearl purl
  1 metre No.2 silver-plated pearl purl

  Sample 8

  25 cm No.6 gilt smooth purl
  25 cm No.6 copper smooth purl

  Sample 9

  1 metre No.13 Japanese gold thread

• Sewing threads in colours to match natural-coloured fabrics, and gold, silver and copper threads
• Bondaweb
• 45 cm slate frame
• Sharp embroidery scissors and fabric scissors
• Embroidery needles nos 8-10
• Beeswax
• Velvet board - velvet pasted onto a board used for cutting purls
• Pencil, tape measure and ruler

Preparation

1. Iron the Bondaweb onto the wrong side of each of the natural fabrics. Cut three 6 x 6 cm squares from each fabric.
2. Arrange the squares onto the calico in three rows of three. Using a tape measure, set them 3 cm apart, and match the grain lines.
3. Mark the position of the squares very lightly with a pencil and ruler. Remove the backing paper from the Bondaweb, position the squares on the calico and iron in place.
4. Mount the prepared calico into the slate frame (see Back to Basics).
5. Using the matching natural-coloured sewing thread, with one thread in the needle, work long and short stitches around each square. Stitches should be 2 mm apart with short stitches approximately 5 mm in length and long stitches 7 mm in length (see photos).

Each sample piece: 6 x 6 cm; Finished size: 32 x 32 cm

What you do

Thread up two separate needles with sewing threads, one matching the gold and the other a contrast, and pull the thread over the beeswax. Starting from the corner, arrange No.5 gilt check thread into contoured lines across one of the squares. Catch each groove with one stitch, working 5 or 6 stitches of each colour alternately. Cut the gilt check thread each time it meets the edge of the sample.

Sample 1: view close-up

Take the No.2 gilt pearl purl thread and, holding each end, stretch out to about double the length. Repeat with the No.2 silver-plated pearl purl thread. Cut the stretched threads into lengths of approximately 15 mm. Thread up two separate needles, each with a single beeswaxed sewing thread, one matching the gold and the other matching the silver. Using the matching thread, attach the cut lengths of the pearl purl to the square by working two couching stitches over each piece. Attach the pieces in a completely random order, slightly overlapping one another.

Sample 2: view close-up

Cut eight long lengths (no more than 3 cm) from No.6 gilt smooth purl. Cut the remaining No.6 gilt smooth purl and the No.6 gilt bright check purl into 5 mm lengths. Thread up a needle with a doubled beeswaxed sewing thread in a matching colour. Sew down the longer lengths by threading the needle and a thread through the purl (like a long bead). Position the lengths in parallel lines leaving 5 mm between each row. Starting at the top and alternating between a bright check purl and a smooth purl, sew the shorter purls at right-angles over the longer lengths, spacing them 5 mm apart, and again threading like a bead. Work the next and subsequent rows in the same way, arranging the pieces in a 'brick' pattern, as shown.

Sample 3: view close-up

Cut the No.6 silver-plated bright check purl into 7 mm lengths. Using matching double beeswaxed sewing thread, sew the cut lengths onto the square by catching the very end of the silver-plated bright check purl so that the hole of the purl stands uppermost. Work a concentrated section approximately 2 x 2 cm square in the middle of the square, stitching the purls close to one another so that no fabric shows.

Sample 4: view close-up

Using single matching beeswaxed sewing thread, couch short lengths (averaging between 5 and 7 cm) of No.13 gold Japanese thread onto the square in a 'vermicelli' pattern. The couching stitches should be approximately 5 mm apart.

Sample 5: view close-up

Wind the No.2 copper pearl purl around a thin pencil or something similar and then cut into curved lengths of 3-4 cm. Using matching single beeswaxed sewing thread, stitch each curved piece into place by couching over the pearl purl. As you stitch, pull the couching thread gently so that it is hidden in the grooves of the pearl purl. Couch half of the curve, allowing the rest to sit proud. Bunch the pieces together as close as possible, overlapping slightly.

Sample 6: view close-up

Cut the No.2 gilt and silver-plated pearl purl into lengths of approximately 5 cm. Wrap one silver-plated thread around one gilt and then vice versa. Lay the bound pearl purl in parallel rows, alternating the colours. Using single beeswaxed sewing thread, attach the lengths to the square by working two couching stitches at each end of each row. Allow the stitches to sink into the grooves of the pearl purl.

Sample 7: view close-up

Cut both the gilt and copper No.6 smooth purl into tiny bead-like lengths. Using double beeswaxed sewing thread, bring the needle up through the fabric and thread on each purl like a bead, alternating the colours. When the desired number of 'beads' are threaded on, take the needle down the length of the purls. Work in parallel rows.

Sample 8: view close-up

Make knots 2-3 cm apart along the length of the No.13 Japanese gold thread. Cut into lengths of approximately 5 cm. Using matching single beeswaxed sewing thread, couch the knotted lengths into place arranging them in parallel rows and working the couching stitches about 5 mm apart.

Sample 9: view close-up

To finish

1. Remove from the embroidery frame.
2. Stretch and lace your embroidery onto a rigid backing board (see Back to Basics) and frame as desired, or use as part of other embroidery projects.

Further reading

• New Ideas in Goldwork, by Tracy A. Franklin. Published by B T Batsford
• Metal Thread Embroidery, by Jane Lemon. Published by B T Batsford
• Goldwork, revised and expanded edition, by V. Campbell-Harding, J. Lemon and K. Pyman. Published by Search Press

Supplier

At the time of writing, a project pack, containing all of the metal threads needed to complete this project, wass available from:

Golden Threads (Retail), Brimstone Cottage, Pounsley Mill, Blackboys, East Sussex TN22 5HS.
Tel/fax: 01825 831815
Website: www.goldenthreads.co.uk