Tanja Berlin Berlin Designs 1481 Hunterbrook Road NW Calgary, Alberta T2K 4V4, Canada Tel: (403) 274 6293 Website: www.berlinembroidery.com Email: [email protected]

Goldwork Passing Design, Fleur De Lys, Heart Design, Plate Design

GOLDWORK SAMPLER PROJECT 1: PASSING DESIGN

The Passing Design is located in the top right corner of the goldwork sampler and is the easiest of the four designs.

The goldwork passing design has five techniques:

 Sewing down  Working  Sewing down twisted cords and finishing ends  Sewing down passing thread and finishing ends  Sewing down purl

MATERIALS REQUIRED

Fabric: For all four designs you will need a piece of Noil 20 inch (50 cm) square. For the passing design alone you will need a piece of silk Noil 11 inch (27.5 cm) square. You can substitute the silk Noil fabric with any closely woven and sturdy fabric. Backing Fabric: A piece of muslin fabric (100% ) to go behind the fabric for added strength (same size as the silk fabric). Felt: Piece of yellow felt approximately 4 inch by 3 inch (10 cm by 8 cm). Thread: A spool of yellow polyester sewing thread. Silk Thread: 1 skein of red Au Ver A Soie, Soie D’alger No. 916 is used for the red drops. You can substitute a different colour or different brand of silk thread such as Madeira silk thread or the DMC floss. Spangles (Pailettes): Fourteen spangles (spangles are sequins) to sew on the design. Twist: 60 inches (150 cm) of No. 1 Twist is used to outline the red drops.

Goldwork Sampler Instructions by Tanja Berlin © Berlin Embroidery Designs Page 1 No part of these instructions can be copied or shared without obtaining permission from Tanja Berlin

Passing: 6 yards of No. 5 Passing thread is used for the center of the design. You can substitute with different sizes of passing thread or Standard Lurex Thread or Japan thread. Pearl Purl: 20 inches (50cm) of Super Pearl Purl is used to outline the passing. You can substitute with No. 4 Jaceron or Super Lizerine.

Location of the threads on the passing design:

TOOLS REQUIRED

Embroidery . Old Small Embroidery Scissors: For cutting the metal threads which can dull the scissors blades. The blades of the scissors need to be small and pointed for cutting precision. Tweezers: A pair of very fine tipped tweezers used to bend and hold the metal threads. Tracing Paper, Pounce and Pricker: Further explanation in ‘how to transfer a design’. Stretcher Bar Frame: The frame is made up of wooden bars that are sold in pairs, with the end of the bars having teeth so that you can slot the bars together. The fabric is pinned onto the bars of the frame using thumb tacks. You would require a 17 inch stretcher bar frame to work the whole Goldwork sampler or a 9 inch stretcher bar frame to work the one design. Thumb Tacks: To pin fabric onto the stretcher bars. No. 10 Embroidery Needle and No. 18 Chenille Needle. Bees Wax: To coat the polyester thread before sewing down the metal threads, helps strengthen the thread so that the metal thread is less likely to shred the sewing thread. Goldwork and Beading Pad: Vellux pad to cut threads on so they stay in one place. Sterling Silver Mellor (optional): The Mellor is used to manipulate and prod the metal threads in place, and does not damage the metal thread.

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PREPARING THE PIECE FOR WORKING

Assemble the stretcher bar frame and lay the two pieces of fabric over top so that the muslin fabric is underneath the silk fabric. Pin the two pieces of fabric together onto the stretcher bar frame using thumb tacks. Pin one side and then the opposite side so that both fabrics are pulled at the same tension and there are no wrinkles in the backing fabric or the front fabric. Pin the remaining two sides, the fabric should be drum tight, with no puckers or wrinkles.

TRANSFERRING THE DESIGN ONTO THE FABRIC

If you can see through the ground fabric then the design below can be traced onto the fabric. If you can’t see through the fabric then use the following method: Prick and Pounce Method: Place a piece of good quality tracing paper over the ‘Outline of Design’ below and trace all the lines onto the tracing paper using a pencil. Using a Pricker or a No. 10 embroidery needle, stuck into an eraser, prick holes along all the pencil lines of the design at 1/8th of an inch (3mm intervals). Hold the pricked design up to the light to check that all lines have been pricked. Place the pricked tracing paper onto the fabric, if you are going to do all four designs place tracing paper in the top right hand corner of the fabric, the center of the design should be 7 3/4 inches (20 cm) from the top and 7 ¾ inches (20 cm) from the right side. If you are working one design, place the design in the center of the fabric. Transfer the design onto the fabric by rubbing pounce (charcoal ground up into a fine powder) over the pricked design. Carefully lift away the tracing paper; you will be left with a dotted outline of the design in pounce. Draw over the dotted outline with a sharp HB pencil taking care not to rub the pounce into the fabric with your hand. When the pounce dotted outline has been drawn over, turn the frame over and knock the pounce off by smacking the back of the fabric.

OUTLINE OF THE DESIGN

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WORKING THE DESIGN

Starting and finishing threads: Start the thread with the knot on top of the work in an area that you are about to work. Work two tiny stab stitches about the size of a point of a needle in the design (see diagram 4a. below), cut the knot off sheer to the fabric rather than stitching over the knot (see diagram 4b. below). To finish the end of a thread, turn the embroidery over and weave your needle and thread through the stitches at the back of the work.

Starting Threads Cut off the Knot First Satin Stitch

4a. 4b. 4c. RED DROPS: SATIN STITCH

The red drops are worked in satin stitch using a single strand of the red Au Ver A Soie, Soie D’Alger No. 916 in a No. 10 embroidery needle, you can use a different colour or substitute with a different brand of silk thread or embroidery floss. Bring the first stitch up at the tip of the drop on the pencil line, take the stitch across the center of the drop and take the needle down on the rounded end of the drop (see diagram 4c. above and 4d. below).

Satin Stitch

4d.

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Bring the needle back up on one side of the tip on the pencil line to so that the stitch follows the shape of the drop, take the needle down next to the stitch at the round end of the drop, there should be no gaps between the two stitches. Continue working one side of the drop keeping the stitches on the pencil line so that it follows the shape of the drop (see diagram 5a. and 5b. below). The other side of the drop is worked from the center stitch to the outside. All the red drops are worked in the same method (see diagram 5c. and the colour picture below).

SATIN STITCH

5a. 5b. 5c.

SATIN STITCH DROPS

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SATIN STITCH DROPS: OUTLINE AND SPANGLES

60 inches (150 cm) of No. 1 Twist is used to outline the red drops. Leave a 1 inch (2 ½ cm) end hanging from the tip of the drop, using a single stand of the waxed yellow polyester thread in a No. 10 embroidery needle sew down the cord at 1/8th of an inch (3mm) intervals. Sew each stitch at an angle so that the stitch disappears in the twist of the cord, give the cord a little twist if the sewing thread is showing to hide the thread then go onto the next stitch. Sew around the outside of the cord and work the stitches into the cord. When you get back to the tip of the drop, leave a 1 inch (2 ½ cm) end hanging (see diagram 6a. below).

SEWING DOWN TWIST TWO OUTLINES

6a. 6b.

Red drops with two outlines: Outline the red drop first, when you get back to the tip continue sewing down around the tip using the fine tipped tweezers to turn the cord, sew the cord around the outside line back to the tip and leave the ends hanging (see diagram 6b. above). Take all the ends to the back of the work (called plunging) by threading the end into the No. 18 chenille needle and taking the ends to the back of the work (see diagram 6c. 6d. and 6e. below).

PLUNGING ENDS AND SEWING DOWN SPANGLE

6c. 6d. 6e.

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Sew the ends to the stitches at the back of the work (see diagram 7a. below). Before finishing of the thread turn the embroidery to the right side up and sew down a spangle in the top of each drop, work two stitches over the spangle vertically at the top and bottom of the spangle (see diagram 7a. below and the colour pictures below).

SEWING DOWN ENDS

7a.

SATIN STITCH DROPS: OUTLINE AND SPANGLES

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CENTER DESIGN

Felt: Using the pricked tracing paper of the design pounce the center shape onto the piece of yellow felt. Cut out the felt shape on the pounce line and place it onto the pencil line on the fabric. Sew down the felt piece with a single strand of the yellow polyester thread in the No. 10 embroidery needle sewing from the outside of the felt and down into the felt at a 90º angle to the felt with small stitches at ¼ of an inch (6 mm) intervals for a length of 1/8th of an inch (3 mm) (see diagram 8a. below).

SEWING DOWN FELT SEW A STITCH OVER THE FOLD OF THE PASSING

8a. 8b.

Passing: The felt shape is worked over with 6 yards of No. 5 Passing thread, you can substitute with other sizes of passing thread, Standard Lurex Thread or Japan thread. Cut a length of passing 24” long; fold the length in half, nipping the fold with the fine tipped tweezers so that there is a nice sharp fold. Using a single strand of the yellow polyester sewing thread in a No. 10 embroidery needle bring the needle up at the end of the felt shape in the center and take the needle down over the fold of the passing thread (see diagram 8b. above). Bring the next stitch up 1/16th of an inch (2 mm) from the end and sew a stitch over both lengths of the passing so that any gap at the fold is closed. Sew stitches over the two lengths of passing at ¼ of an inch (6 mm) intervals, along the center of the felt shape (you can draw a line down the center of the felt as a guideline).

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Leave the ends hanging at the other side of the felt shape (see the colour pictures below).

SEW PASSING DOWN THE CENTER LEAVE ENDS HANGING AT THE TOP

Work the second row in the same method as the first row, beginning at the same side, this time work the stitches in the second row between the stitches of the first row so a bricking fashion is created with the stitches (see diagram 9a. below). Continue filling in the felt shape with rows of passing, you may require just a short length on the edge to cover the felt.

SEWING DOWN PASSING

9a.

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Plunge all the ends to the back of the work at the edge of the felt (see diagram 10a. and the colour picture below) and sew the ends to the stitches at the back of the work as explained for the No. 1 Twist cord on page 5.

PLUNGING ENDS PLUNGING ENDS

10a.

Pearl Purl: The passing shape is outlined with 20 inches (50cm) of Super Pearl Purl, you can substitute with No. 4 Jaceron or Super Lizerine. Use a single strand of the yellow polyester thread waxed in the No. 10 embroidery needle. Begin sewing down the Pearl Purl at any position on the edge of the shape. Sew down the end pearl and then every 3 or 4 by slipping the stitch in the diagonal twist of the pearl purl, sew the stitch at an angle so that the thread disappears between the pearls of the pearl purl (see diagram 10b. below). Curve the pearl purl when working around the curves of the shape (see diagram 10c. below) and the colour pictures on the next page. When you get back to beginning cut the pearl purl so that the last Pearl buts up against the very first pearl and sew a stitch over the last pearl so that it does not stick up.

SEWING DOWN PEARL PURL SEWING DOWN PEARL PURL

10b. 10c.

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SEWING DOWN PEARL PURL

CLOSE UPS

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GOLDWORK SAMPLER PROJECT 2: HEART DESIGN

The Heart Design is located in the bottom left corner of the goldwork sampler.

The goldwork heart design has six techniques:

 Sewing down felt  Sewing down cotton  Sewing down rococo and finishing ends  Sewing down pearl purl  Sewing down Japan thread and finishing ends  Making and sewing down a silk twisted cord

MATERIALS REQUIRED

Fabric: For all four designs you will need a piece of silk Noil 20 inch (50 cm) square. For the Heart design alone you will need a piece of silk Noil 11 inch (27.5 cm) square. You can substitute the silk Noil fabric with any closely woven and sturdy fabric. Backing Fabric: A piece of muslin fabric (100% cotton) to go behind the fabric for added strength (same size as the silk fabric). Felt: Piece of yellow felt approximately 4 inch by 3 inch (10 cm by 8 cm) for the leaves. Crochet Cotton: Yellow crochet cotton 25 inches (60 cm) long to sew down across the heart for padding. Thread: A spool of yellow polyester sewing thread. Silk Thread: 1 skein of red Au Ver A Soie, Soie D’alger No. 916 to sew down the Japan thread on the heart and for the red cord around the heart. Japan Thread: 1 skein of No. 7 Japan thread (10 meters) is required to work the heart. You can substitute with Passing Thread or Standard Lurex Thread. Fine Rococco: 3 1/2 yards of Fine Rococco to work the leaves. You can substitute with Check Thread

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Pearl Purl: 44 inches (110cm) of Super Pearl Purl is used for the leaf veins and stems, the main stems, tendrils and the leaf outlines. You can substitute with No. 4 Jaceron or Super Lizerine.

LOCATION OF THREADS

Refer to page 2 for tools required and page 3 for preparing the piece for working and transferring the design onto the fabric. Use the diagram below to transfer the design onto the fabric.

OUTLINE OF THE DESIGN

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WORKING THE DESIGN

Starting and finishing threads: Start the thread with the knot on top of the work on the pencil line of the design or in an area that will be covered. Work two tiny stab stitches about the size of a point of a needle on the design, cut the knot off sheer to the fabric rather than stitching over the knot (see diagram 14a. below). To finish the end of a thread, turn the embroidery over and weave your needle and thread through the stitches at the back of the work.

STARTING THREADS SEWING DOWN FELT

14a. 14b.

AREAS THAT REQUIRE FELT PADDING LEAVES

Felt: Each leaf has a layer of yellow felt padding (see the picture opposite for the areas that require felt padding). Using the pricked tracing paper of the design pounce the leaf shapes onto the piece of yellow felt. Draw the leaves and vein lines onto the felt using a pencil or permanent felt tipped pen. Cut out the leaves on the pen line and place them onto the design on the fabric. Sew down the felt leaf shapes with a single strand of the yellow polyester thread in the No. 10 embroidery needle sewing from the outside of the felt and down into the felt at a 90º angle to the felt edge with small stitches at ¼ of an inch (6 mm) intervals for a length of 1/8th of an inch (3 mm) (see diagram 14b. above).

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STEMS, STEM TENDRILS, LEAF VEINS AND LEAF OUTLINES

Stems: The stems, stem tendrils leaf veins and leaf outlines, are worked in approximately 44 inches of Super Pearl Purl you can substitute with No. 4 Jaceron or Super Lizerine.

AREAS THAT REQUIRE PEARL PURL LINES

SEW DOWN THE END OF THE PEARL PURL

15a.

Thread a single strand of waxed yellow polyester thread in the No. 10 embroidery needle. Begin sewing down the pearl purl at the tip of the bottom left hand leaf, sew down the end pearl (see diagram 15a. above) and then every 3 or 4 pearls by slipping the stitch in the diagonal twist of the pearl purl (see diagram 15b. and 15c. below).

SEWING DOWN THE PEARL PURL ALONG THE VEIN LINE AND STEM

15b. 15c.

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Sew the stitch at an angle so that the thread disappears between the pearls of the pearl purl, if the thread does not disappear, stretch the pearl purl slightly to make room for the thread. Sew down the pearl purl along the center of the leaf and along the pencil line of the stem all the way around to the other side of the design to the bottom right hand leaf (see the colour picture on the previous page). When you reach the tip of the leaf, cut the pearl purl and sew a stitch over the last pearl so that it does not stitch up. Stem Tendrils: Using the Super Pearl Purl, sew down the first pearl at the end of the tendril covering the pencil line (see diagram 16a. below). With the aide of a pair of fine tipped tweezers, turn the pearl purl on the tight curves at the beginning of the tendril, sewing the pearl purl down every 3 or 4 pearls to where the tendril joins the stem, carefully cut the pearl purl so that the last purl buts up against the stem and sew down the last purl (see diagram 16b. below).

STEM TENDRILS

16a. 16b.

Leaf Veins and Stems: Using the Super Pearl Purl work the center leaf first and then the two side leaves. Begin sewing the pearl purl down at the tip of the leaf, sew the pearl purl down the vein line and stem to the main stem. Cut the pearl purl so that the last purl buts up against the main stem.

LEAVES: ROCOCCO AND PEARL PURL OUTLINES

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3 1/2 yards of Fine Rococco is used to work the leaves. You can substitute with 16 x 3 Check Thread. Cut a length of rococco 3 inches (7 ½ cm) long; leave a short ½ inch (1 ¼ cm) tail of the rococco hanging at the tip of the leaf next to the pearl purl vein line. Using a single strand of the yellow polyester sewing thread waxed in a No. 10 embroidery needle sew over the single strand of rococco at the tip of the leaf at a 90º angle to the edge of the rococco. Sew down the rococco at ¼ inch intervals to the top of the leaf (see diagram 17a. below).

SEWING DOWN ROCOCCO WORK A STITCH OVER THE FOLD

17a. 17b.

At the top of the leaf. use the fine tipped tweezers to bend the rococco back on itself, sew a stitch in the fold of the rococo (see diagram 17b. above), fit the kinks in the second row of rococco into the kinks of the first row and work the stitches in the second row between the stitches of the first row so a bricking fashion is created with the stitches (see diagram 17c. below).

SEW DOWN ROCOCCO IN A BRICKING FASHION

17c.

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Thread one of the ends of the rococco into a No. 18 chenille needle and take the needle down through the fabric (at the edge of the felt) to the back of the work (called plunging (see diagram 18a. below)). Do the same with the other end and then over sew the two ends to the stitches at the back of the work (see diagram 18b. below).

PLUNGING ENDS FINISHING OFF ENDS

18a.

SEWING DOWN ENDS

SEWING DOWN ROCOCCO

18b.

Continue working the leaf in rows of rococco alternating the stitches in each row in the bricking fashion so that both sides of the leaf are filled, there should be no felt showing between the rows of rococco and on the edges of the leaf (see diagram 18c. opposite). 18c.

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Leaf Outlines: Super Pearl Purl is used to outline all the leaves, you can substitute with No. 4 Jaceron or Super Lizerine. Sew the first pearl down at the base of the leaf, where the edge of the leaf meets the pearl purl stem. Sew the pearl purl down around the outside of the leaf; (see diagram 19a. below) at the tip of the leaf make a nice sharp bend in the pearl purl using a pair of fine tipped tweezers. Sew the pearl purl down the other side of the leaf to where the edge of the leaf meets the stem, cut the pearl purl so that the last pearl buts up against the stem.

Pearl Purl Outline

19a.

HEART: CROCHET COTTON PADDING

The heart is padded with approximately 9 horizontal rows SEWING DOWN CROCHET COTTON of yellow crochet cotton or crochet cotton (see the colour picture on page 15 for the location of the crochet cotton). Run 25 inch (60 cm) length of the crochet cotton through bees wax so that all sides of the crochet cotton is coated and is stiff with the wax. Using a single strand of the yellow sewing thread in the No. 10 embroidery needle, sew a length of crochet cotton down along one of the pencil lines drawn on the heart starting at the center. Work a stitch over the width of the crochet cotton at a 90º angle to the edge of the sting, sew down the crochet th cotton from the center of the heart to the edge at 1/8 of an inch (3 mm) intervals (see diagram 19b. opposite). At the edge of the heart cut the length of crochet cotton sheer to the pencil line edge, sew one or two stitches over the end of the crochet cotton so that the end does not stick up (see diagram 19b. below). 19b.

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Carry the thread back to the center of the crochet cotton SEWING DOWN and sew the crochet cotton down to the other side of the CROCHET COTTON heart finishing the end of the crochet cotton in the same method. Work all 9 rows of crochet cotton in the same method. The row at the top of the heart is worked in to sections rather than across the opening at the top of the heart.

20a. HEART – JAPAN THREAD

No. 7 Japan thread (approximately 10 meters) is required to work the heart. You can substitute with No. 8 (K4) or T70 Japan Thread. Cut a length of Japan thread 5 inches (12 ½ cm) long, fold the length in half, nipping the thread with the fine tipped tweezers so that there is a nice sharp fold. Using a single strand of the red Au Ver A Soie, Soie D’alger No. 916 silk thread in a No. 10 embroidery needle bring the needle up at the top center of the heart, and take the needle down over the fold of the Japan thread (see diagram 20b. below). Lay the two strands of the Japan thread vertically down the center of the heart. Where the two strands cross the pattern drawn on the heart shape (between the crochet cotton), bring the needle up on one side of the Japan thread, take the thread across the two strands of the Japan thread and take the stitch down on the other side, pulling the stitch tight. Work a second stitch over the first stitch, this will help anchor the two strands of Japan thread between the crochet causing a dip in the Japan strands and will form part of the heart pattern (see diagram 20c. below).

SEWING DOWN THREAD IN THE FOLD WORK TWO STITCHES OVER EACH PATTERN

20b. 20c.

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Where ever the Japan threads cross the heart pattern (drawn at intervals between the crochet cottons) sew two stitches over the Japan threads and pencil line anchoring them. At the bottom of the heart leave the ends hanging from the top of the work which will be plunged to the back of the work later (see diagram 21a. below). Work the second row to the left of the first row in the same method as the first row, sewing the Japan thread down in the same pattern as the first row (see diagram 21a. below).

FIRST FOUR ROWS AND PLUNGING ENDS HEART PATTERN

21a.

Work the third row next to the second row, this time sew down the Japan thread in-between the crochet cotton off set from the stitches in the first two rows so a new pattern is created on the Japan threads. Work the fourth row in the same method (see diagram 21b. below). When you have worked four rows of Japan thread, plunge 4 strands of the Japan threads on the edge of the heart to the back of the work and sew all four ends together to the stitches at the back of the work (see diagram 21c. below). Continue alternating the position of the stitches every two rows, for the duration of the pattern (see diagram 21d. below) work the other side of the heart shape in the same method.

PLUNGING ENDS SEWING DOWN ENDS AT THE BACK ROWS OF JAPAN THREAD

21b. 21c. 21d.

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HEART: CORD OUTLINE

The Heart is outlined in a red cord made out of the Au Ver A Soie, Soie D’alger No. 916.

Making a cord: Cut a length of the red silk thread each 20 inches (50 cm) long. Tie the six strands in the length together at each end with a knot. With the help of a friend or reluctant family member, each take a take a pencil and it in-between the three lengths of floss up against the knot. Keeping the floss and pencils taught, wind the pencils in opposite directions to each other (see diagram 22a. below), slowly the floss will twist up. Keep turning until the floss is just about to buckle (if you are both turning the pencil in the same direction the floss will not twist).

22a. MAKING A CORD

One person now pinches the three threads in the center and pulls down. The other person takes the two pencils and pulls up; keeping the threads taught. The person holding the threads at the bottom; with the other hand pinches the threads together a little way up, letting the bottom twist up into a cord, this action is repeated until the whole cord has twisted (see diagram 22b. opposite). Tie the ends off by threading up a strand of the red floss in the No. 10 needle and sewing around the ends of the cord so that the cord does not untwist.

22b.

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SEWING DOWN THE SILK CORD

Leave a 1 inch (2 ½ cm) end of the cord hanging from the top center of the heart. Using a single stand of the red silk thread in a No. 10 embroidery needle sew down the cord at 1/8th of an inch (3 mm) intervals (see diagram 23a. below). Sew each stitch at an angle so that the stitch disappears in the twist of the cord, give the cord a little twist if the sewing thread is showing to hide the thread then go onto the next stitch. Sew around the outside of the cord and work the stitches into the cord. When you get back to the top center of the heart, leave a 1 inch (2 ½ cm) end hanging. Plunge the two ends to the back of the work and over sew the ends of the cords to the stitches at the back of the work (see the colour picture below).

SEWING DOWN THE CORD PLUNGING THE END OF THE CORD

23a.

23b.

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GOLDWORK SAMPLER PROJECT 3: FLEUR DE LYS

The Fleur De Lys Design is located in the top left corner of the goldwork sampler.

The Fleur De Lys design has three techniques:

 Sewing down crochet cotton  Long and short stitch in red silk thread  down bright check, smooth and rough purl threads

MATERIALS REQUIRED

Fabric: For all four designs you will need a piece of silk Noil 20 inch (50 cm) square. For the Heart design alone you will need a piece of silk Noil 11 inch (27.5 cm) square. You can substitute the silk Noil fabric with any closely woven and sturdy fabric. Backing Fabric: A piece of muslin fabric (100% cotton) to go behind the fabric for added strength (same size as the silk fabric). Yellow Crochet cotton: Yellow crochet cotton (4 meters) to pad areas of the Fleur De Lys. Thread: A spool of yellow polyester sewing thread. Silk thread: 1 skein of red Au Ver A Soie, Soie D'alger No. 916 (2 meters is required) to work areas of the Fleur De Lys design in long and short stitch. Bright Check Purl: 25 inches (62 1/2 cm) of No. 6 Bright Check Purl to work areas of the Fleur De Lys. You can substitute with a different size of Bright Check Purl or Wire Check Purl

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Rough Purl: 20 inches (50cm) of No. 6 Rough Purl to work areas of the Fleur De Lys. You can substitute with a different size of Rough Purl. Smooth Purl: 90 inches (225 cm) of No. 6 Smooth Purl to work areas of the Fleur De Lys. You can substitute with a different size of Smooth Purl.

LOCATION OF THREADS OUTLINE OF THE DESIGN

25a. 25b.

Refer to page 2 for tools required and page 3 for preparing the piece for working and transferring the design onto the fabric. Use diagram 25b. above to transfer the design onto the fabric.

STARTING A THREAD

WORKING THE DESIGN

Starting and finishing threads: Start the thread with the knot on top of the work in an area that you are about to work. Work two tiny stab stitches about the size of a point of a needle in the design, cut the knot off sheer to the fabric rather than stitching over the knot (see diagram 25c. “Starting a Thread” opposite). To finish the end of a thread, turn the embroidery over and weave your needle and thread through the stitches at the back of the work. 25c.

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FLEUR DE LYS: PADDING

Crochet Cotton Padding Location: Sections of the Fleur De Lys are padded with lengths of yellow crochet cotton, this is to raise the purl threads that will be sewn over top. A similar colour to the metal thread is used so that when the purl chips are sewn over top, if there are any gaps between the chips they will be less noticeable. Refer to diagram 26a. below for the exact location of the crochet cotton and the number of strands used.

CROCHET COTTON PADDING CROCHET COTTON PADDING

26a.

SEWING DOWN CROCHET COTTON

Top of the Fleur De Lys: The center section at the top of the Fleur de Lys is padded with 7 strands of crochet cottons tapering off to two at the top and bottom. The side bars are padded with 3 strands of crochet cotton tapering off to 1 at top and bottom of the band. Take a length of yellow crochet cotton a little longer than the section to be padded, refer to diagram 26a. above for location of crochet cotton and the number of crochet cottons used for each section. Double up the crochet cotton to the required strands for that bar and then pull all the strands together through beeswax, so that the crochet cotton is entirely coated and stiff with wax. Waxing the crochet cotton will ensure that it is firm so that the shape of the padding does not deform when sewing the purl chips over top and so that no fluffy parts of the crochet cotton will stick up between the chips.

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Lay the length of crochet cottons along the center of the bar to be padded, the ends of the crochet cotton should extend out past the end of the bar. Begin sewing down the crochet cotton at the center. Using a single strand of the yellow sewing thread work a stitch over the width of the crochet cotton at a 90º angle to the edge of the crochet cotton, keep the stitch and crochet cotton within the outline of the bar (see diagram 27a. below). Sew down the crochet cotton working from the center to the end of the bar at 1/8 of an inch (3 mm intervals). If the bar that you are padding begins to get narrower towards the end, cut away a crochet cotton (or two) from underneath the top crochet cottons so that the end tapers off and doesn't end in a big bulk of crochet cotton (see diagram 27b. below). At the end of the bar cut the crochet cottons sheer to the pencil line, sew over the ends of the crochet cotton with a couple of stitches so that they lay neatly (see diagram 27c. below).

SEWING DOWN CROCHET COTTON CUTTING SEWING DOWN ENDS

27b. 27c. 27a. CUTTING STRANDS SEWING DOWN ENDS

Work back to the center of the petal turnover couching down any fluffy or stray pieces of crochet cotton that may be sticking up. Work the other side of the bar in the same method (see diagrams 27d. and 27e. opposite).

27d. 27e.

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The Upper Arms of the Fleur De Lys: Are padded with three crochet cottons in the wider section tapering off to two crochet cottons then one crochet cotton in the narrow section, leave a gap between the upper arm and the head of the Fleur De Lys. The Lower Arms of the Fleur De Lys: Are padded with one strand of crochet cotton, leave a gap between the lower and upper arm. Always begin in the center of the section to be padded (see diagram 28a. below), sew down the crochet cotton with in the pencil line of the design to the end of the section. Cut away a strand of crochet cotton from underneath so that the crochet cotton tapers of nicely (see diagram 28b. below). Sew down the crochet cotton to the end, cut the crochet cotton sheer to the design line (see diagram 28c. below).

SEWING DOWN AND CUTTING CROCHET COTTON

28a. 28b. 28c.

D o no overlap the crochet cotton over the design line. S ew down any fluffy bits are sticking up (see diagram 28d. opposite ). Come back to the center of the section and sew down the crochet cotton to the other end cutting away a crochet cotton as you get to the narrower curve of the arm (see diagram 28e. opposite).

28d. 28e.

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The center section of the Fleur De Lys: The bars in the center section of the Fleur De Lys are padded with 1 strand of crochet cotton. The bottom section of the Fleur De Lys: The bar is split down the center and is padded in two sections. A gap must be left down the center between the two sections. Pad each side of the bottom section by sewing down one piece of crochet cotton, starting at the tip of triangle that sticks out of the side at (a), work up and down the triangle and then up the length of the entire section against the center pencil line finishing at (b) (see diagram 29a. below). LONG AND SHORT STITCH BOTTOM SECTION

29a.

FLEUR DE LYS: SILK SHADING 29b.

Long and Short Stitch: The red sections in the head and center section of the Fleur De Lys are embroidered in red Au Ver A Soie, Soie D'alger No. 916 in the method of long and short stitch - see the colour picture above.

First Row: The first row of long and short stitch is worked at the top of the Fleur De Lys. Beginning in the center of the section to be embroidered, a long stitch is made for about 3/8 of an inch (10 mm) long. The stitch is worked from the inside of the section and onto the pencil line at the top of the Fleur De Lys. The second stitch is worked next to the first for a length of ¼ of an inch (6 mm) long from the inside of the section and onto the pencil line at the top of the Fleur De Lys (see diagram 29c. opposite). 29c.

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Another long stitch is worked for the same length as the first stitch and then another short stitch is worked for the length of the second stitch. This stitch process is repeated so that both sides of the section are embroidered covering the pencil line on the top edge and at the side of the section. It is okay to overlap into the crochet cotton section (see diagrams 30a. and 30b. below).

FIRST ROW OF LONG AND SHORT STITCH

30a. 30b.

Second Row and all Consecutive rows: The second row and all consecutive rows are worked in the following method. Bring the first stitch up in the center of the section, this time bring the needle up underneath the long stitch in the first row about 1/16th of an inch from the end of the stitch and split the stitch. Take the needle down into the fabric about 3/8th of an inch (10 mm) in the center (see diagram 30c. below). The next stitch is brought up through the short stitch of the first row about 1/16th of an inch from the end of the stitch and is taken down for the same length as the previous stitch but is taken down higher in the fabric so that the end is off set from the first stitch (see diagram 30d. below).

SPLITTING THE LONG STITCH SPLITTING THE SHORT STITCH

30c. 30d.

The third stitch will be worked in the same method as the first stitch and the fourth stitch will be worked in the same method as the second stitch. This stitch process is continued to the edge of the section. You will notice that this time all the stitches are the same length but alternate in position. It is important to split the stitch in the first row with the needle as this will ensure that the long and short stitches will blend nicely. If there are any gaps go back and fill them in before working the next row.

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FLEUR DE LYS: GOLD

The padded bars of the Fleur De Lys are worked over in three different types of purl metal threads (see diagram 25a on page 25. for the location of the different type of purl threads.). Purl threads come as a long hollow tube made off tightly wound gold, which either has a smooth shiny surface (Smooth Purl), a smooth dull surface (Rough Purl) or jaggered shiny surface (Check Purl). The hollow tube is cut up into sections known as chips or beads. These chips are threaded onto the needle and sewn over the crochet cotton padding.

Top of the Fleur De Lys: The three sections at the top of the Fleur De Lys are worked using No. 6. Smooth Purl you can substitute with a different size of smooth purl or fine Bullion.

FIRST CHIP FIRST CHIP

31a. 31b.

SEWING DOWN PURL CHIPS The smooth gold chips are sewn at 45º angle over the crochet cotton working from bottom left to top right. Thread up a single stand of the yellow sewing thread into the needle for about 40 inches (100 cm) double up the thread so that the fold of the thread is in the eye of the needle. Wax the thread this will give the thread a smooth surface which helps prevent the gold chips from unwinding on the thread. Start at the center of the band on the left side, thread the chip onto the needle, sew the chip over the crochet cotton like a bead and take the needle down on the right side of the band next to the red silk, make sure there is no fabric showing between the end of the chip and the silk. Work from the center of the band to the top and then from the center to the bottom of the band (see diagrams 31a. 31 b. above and 31c. opposite). 31c.

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If cracks appear in the gold and it buckles then the gold chip is too long, if the crochet cotton and sewing thread is showing then the chip is too short in both cases you will have to take the chip off and thread up a new one.

TOO LONG A CHIP: CRACKED TOO SHORT A CHIP: GAP SHOWING

Removing a Chip: Loosen the unwanted chip on top of the work exposing the sewing thread. Take a hold of the sewing thread with the aide of a Mellor or tweezers and pull the sewing thread and needle back up through the fabric. To make the process easier hold the needle vertically underneath the work so that the eye of the needle is against the fabric, this will ensure that the needle pulls through the fabric easily and the thread does not break. Remove the unwanted chip and thread on a new chip. Keep the wrong size chips as these can be used in other areas of the band. The Bottom Section of the Fleur De Lys: Is worked in the No. 6 Bright Check Purl you can substitute with a different size of bright check purl or wire check purl. The bottom 2/3rds is split into two down the center and each side worked separately. The top 1/3rd (where the section is narrower) is worked in one section (see the colour picture on page 11). Left Side of the Bottom Section: Sew the first chip from the tip of the triangle on the side of the section to establish the angel and take the needle down in the gap in the center of the section. The left side of the bottom section is worked at a 45º angle to the crochet cotton working from bottom left to top right.

Work the chips up to the line across the section taking LEFT SIDE AND TOP OF SECTION the chips down in the center of the section between the pieces of crochet cotton. Past the line across the section the area gets too narrow to take the chips down in the center, now take the chips down on the other side of the section (see diagram 32a. opposite). Top of the Section: Work up to the top of the section covering all the crochet cotton and keeping the chips on the outside of the pencil line so that the pencil line is not showing. At the top left of the section the chips are shorter so the end of the section finishes of rounded (see diagram 32b. opposite). Bottom Left Section: Come back to the center of the section next to the first chip sewn down, work the bottom of the left section bringing the needle up on the left outside and sewing down the chip in the center of the section (see diagram 32b. opposite). 32a. 32b.

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Bottom Right Section: The right side of the section is worked at a 45º angle to the crochet cotton working from bottom right to top left. Each chip meets in the center of the section ensuring there is no gaps between where the chips from the left section meet the chips in the right section (see diagram 33a. below).

BOTTOM SECTION AND MIDDLE SECTION

33a. 33b.

CENTER SECTION OF THE FLEUR DE LYS

Smooth Purl Vertical Bars: The two bars running vertical on each side of the Fleur De Lys in the center are worked using No. 6 Smooth Purl, you can substitute with a different size smooth purl or fine bullion thread. Sew down the chips by starting on one side of the crochet cotton at the center, sewing the chips from the left side to the right at a 45º angle to the crochet cotton (see the colour picture above). Bright Check Purl Horizontal Bar: The Center horizontal bar of the Fleur De Ly is worked in the No. 6 Bright Check Purl you can substitute with a different size bright check purl or wire check purl or fine bullion thread. Work the center bar beginning at the center sewing the purl chips from bottom left to top right at a 45º angle to the crochet cotton.

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ARMS OF THE FLEUR DE LYS TOP ARM

34a.

Top Arms: The top arms of the head of the Fleur De Lys are worked using No. 6 Smooth Purl, you can substitute with a different size smooth purl or fine bullion (see the colour picture on page 11). Start in the center of the section. The chips on the left arm are worked from top left to bottom right at a 45º angle to the crochet cotton and the chips on the right arm are worked from top right to bottom left (see diagram 34a. above). As you work around the curve of the arm it may be necessary to spread the chips further apart on the outside of the arm as the outside is wider than the inside and it is important to keep the 45º angle, if you make the chips slightly longer any gap created by spreading the chips further apart should be filled (see diagram 34a. below).

BOTTOM ARM Bottom Arms: The bottom arms are worked using No. 6 Rough Purl you can substitute with a different size of rough bullion or fine bullion thread . Start in the center of the section and refer to the colour picture for the direction in which the chips are sewn down (see diagram 34b. opposite ).

34b.

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GOLDWORK SAMPLER PROJECT 4: PLATE DESIGN

The Plate Design is located in the bottom right corner of the goldwork sampler.

The Plate design has six techniques:

 Sewing down felt  Long and short stitch in red silk thread  Sewing down spangles  Sewing down two types of plate  Sewing down twist and finishing ends  Sewing down milliary wire

MATERIALS REQUIRED

Fabric: For all four designs you will need a piece of silk Noil 20 inch (50 cm) square. For the Heart design alone you will need a piece of silk Noil 11 inch (27.5 cm) square. You can substitute the silk Noil fabric with any closely woven and sturdy fabric. Backing Fabric: A piece of muslin fabric (100% cotton) to go behind the fabric for added strength (same size as the silk fabric). Felt: Piece of yellow felt approximately 4 inch by 3 inch (10 cm by 8 cm) for the center of the design, bottom triangle and the five round areas. Thread: A spool of yellow polyester sewing thread. Silk thread: 1 skein of red Au Ver A Soie, Soie D'alger No. 916 (3 meters is required) to stitch the arms of the Plate Design. You can substitute a different colour or different brand of silk thread such as Madeira silk thread or the DMC floss.

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Smooth Purl: 8 inches (20 cm) of No. 6 Smooth Purl to work areas of the Plate Design. You can substitute with a different size purl thread or fine bullion thread. Milliary Wire: 36 inches (39 cm) of Gilt Milliary Wire to outline the center and s-arms of the plate design. Whipped Plate: 30 inches (75cm) of Whipped Plate to work areas of the Plate Design. You can substitute with No. 6 Broad Plate. Broad Plate: 30 inches (75cm) of No. 6 Broad Plate to work areas of the Plate Design. You can substitute with Whipped Plate. Twist: 3 1/2 yards (3 1/4 meters) of No. 1 Twist to outline areas of plate and the inside of the Milliary wire on the s-arms of the plate design. Spangles (Pailettes): 100 spangles (spangles are sequins) to sew on the design.

LOCATION OF THREADS OUTLINE OF THE DESIGN

36b.

36a.

Refer to page 2 for tools required and page 3 for preparing the piece for working and transferring the design onto the fabric. Use diagram 36b. above to transfer the design onto the fabric.

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WORKING THE DESIGN

Starting and finishing threads: Start the thread with the knot on top of the work in an area that you are about to work. Work two tiny stab stitches about the size of a point of a needle in the design, cut the knot off sheer to the fabric rather than stitching over the knot (see diagram 37a. below). To finish the end of a thread, turn the embroidery over and weave your needle and thread through the stitches at the back of the work.

STARTING A THREAD

37a.

PLATE DESIGN: PADDING

Felt: See diagram 38b. and the colour picture below for the location of the felt padding. Using the pricked tracing paper of the design pounce the center area, the triangle area, and for the 5 round areas onto the piece of yellow felt. Draw onto the center felt piece the four shapes in permanent black pen and draw the two triangle shapes onto the triangle felt piece (not shown in the colour picture below).

37b.

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Cut out an additional felt piece for the triangle at the bottom of the design and trim away 1/16th of an inch (2 mm) around the edge of the felt. Place the smaller felt piece onto the triangle area on the fabric and sew it down with a single strand of the yellow polyester thread in the No. 10 embroidery needle. Sew the stitches from the outside of the felt and down into the felt at a 90º angle to the felt at ¼ of an inch (6 mm) intervals for a length of 1/8th of an inch (3 mm) and anchoring each of the points of the felt shape (see diagram 38a. below)

SEWING DOWN FELT MILLIARY WIRE

38a.

Cut out the other felt pieces and place them onto the pencil line on the fabric. 38b. Sew down the larger triangle piece over the top of the smaller triangle piece. Sew down the center piece and the 5 round pieces. The half oval shape in the center area of the design has three extra layers of felt which are sewn on top of the felt piece already applied. Cut out one piece of felt the same size as the shape drawn on the felt, one 1/16th of an inch (2 mm) smaller and another an additional 1/16th of an inch (2 mm) smaller. Sew down the smallest piece of felt onto the center half oval shape, then the middle size and finally the largest size. It is important to sew the smallest shape down first so that the edges of the smallest shape is covered by the next larger shape and so on, in this way there is only one felt edge to be couched over with the plate rather than three edges.

MILLIARY WIRE OUTLINES

The center area, the triangle area and the s-arms of the Plate design are outlined in approximately 36 inches (39 cm) of Gilt Milliary Wire. Milliary wire consists of central core wire, with a coiling wire around it.

Triangle Area: Cut the end of the Milliary wire so that it is neat. Sew several stitches over the end of the wire fastening it securely at the point on the left hand side of the felt shape using a single strand of waxed sewing thread in a No. 10 embroidery needle. The end of the Milliary Wire is not taken to the back of the work so it is important to sew the end down neatly and securely so that the wire coil does not unravel. Sew the Milliary wire down along the edge of the felt with a single stitch every 1/8th of an inch (3 mm) interval, positioning the stitch so that it is sewn over the center core at a 90 degree angle to edge of the Milliary wire. You may have to turn the Milliary Wire when couching it down so that the wire coiled around the center core is facing out of the design rather than against the felt. At the points of the felt shape use a pair of tweezers to help turn the Milliary wire. Sew the Milliary wire around the entire shape (see diagram 38b. above). At the end cut the Milliary Wire sheer to the beginning and neatly couch over the end so that is securely attached and meets with the beginning of the Milliary Wire. If the ends look a little uneven you can sew a spangle over where the two ends meet.

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Center Shape Milliary Wire: The edge the center felt area is outlined in the Millliary wire in the same method as the triangle area beginning at the bottom point of the felt piece. S-Arms Milliary Wire: The s-arms of the Plate design are outlined with the Milliary Wire in the same method as the triangle area, begin sewing down the Milliary wire at the bottom of the s-arm.

S-Arms: Silk Shading

Long and Short Stitch: The red s-arms of the Plate Design are embroidered in red Au Ver A Soie, Soie D'alger No. 916 in the method of long and short stitch. First Row: The first row of long and short stitch is worked at the top of the s-arm. Beginning in the center of the section to be embroidered, a long stitch is made for about 3/8 of an inch (10 mm) long. The stitch is worked from the inside of the section and down next to the Milliary Wire (see diagram 39a. below). The second stitch is worked next to the first for a length of ¼ of an inch (6 mm) long from the inside of the section and down next to the Milliary Wire outline. Another long stitch is worked for the same length as the first stitch and then another short stitch is worked for the length of the second stitch. This stitch process is repeated so that both sides of the section are embroidered, working the stitches as close as possible to the Milliary Wire outline (see diagram 39b. below). FIRST ROW SECOND STITCH

39a. 39b.

Second Row and all Consecutive rows: The second row and all SECOND ROW consecutive rows are worked in the following method. Bring the first stitch up in the center of the section, this time bring the needle up underneath the long stitch in the first row about 1/16th of an inch from the end of the stitch and split the stitch. Take the needle down into the fabric about 3/8th of an inch (10 mm) in the center. The next stitch is brought up through the short stitch of the first row about 1/16th of an inch from the end of the stitch and is taken down for the same length as the previous stitch but is taken down lower in the fabric so that the end is off set from the first stitch. The third stitch will be worked in the same method as the first stitch and the fourth stitch will be worked in the same method as the second stitch. This stitch process is continued to the edge of the section. You will notice that this time all the stitches are the same length but alternate in position (see diagram 39c. opposite). 39c.

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Angle the stitches so that they follow the s-shape. It is important to split the stitch in the first row with the needle as this will ensure that the long and short stitches will blend nicely. If there are any gaps go back and fill them in before working the next row. The stitches should follow the s-shape of the arm, it may be necessary around the tight curve at the top and the bottom of the arm to work the stitches smaller to enable the stitches to follow the curve (see diagrams 40a. and 40b. below for the angle of the stitches.

LONG AND SHORT STITCH

40a. 40b. 40c.

PLATE DESIGN: PLATE AREAS

Various areas of the Plate Design are worked in broad plate and whipped plate (see diagram 40d.and 40e. below for locations of the plate).

PLATE AREAS

40d. 40e.

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BROAD PLATE

The center shape (half oval) of the center area and the two triangle shapes on the triangle area are worked in with approximately 30 inches (75cm) of No. 6 Broad Plate. You can substitute with Whipped Plate.

Center Shape: Thread up a single stand of the yellow sewing thread into the needle for about 40 inches (100 cm) double up the thread so that the fold of the thread is in the eye of the needle. Wax the thread this will give the thread a smooth surface which helps prevent the thread shredding on the plate. The plate is laid by folding the plate horizontally (back and forth) across the shape, beginning at the bottom of the shape at the point. It is important to begin sewing the plate down at the narrowest end or at the point as the plate is impossible to fold back and forth from a wide end to a narrow end. Lay the plate horizontally along the bottom point of the shape. Sew a stitch over the plate on the edge of the shape (see diagrams 41a. and 41b. below). Fold the plate back across the stitch just made so that the plate is laying in the opposite direction. Sew a stitch over the plate on the opposite edge of the shape so that the plate is secure (see diagram 41c. below) and then fold the plate back over the stitch, laying the plate back across the shape in the opposite direction again. You will have to slightly angle the plate so that it is being folded up the shape rather than just going back over the same spot, ensuring that there are no gaps between the rows of laid plate and that the securing stitches are not visible.

SEWING DOWN THE BROAD PLATE

41a. 41b. 41c. 41d.

ANCHORING THE END OF THE PLATE

Continue sewing a stitch over the plate at the edge of the shape and folding the plate back across the shape working up to the top of the shape (see diagram 41d. above and

41e. opposite).

At the top of the shape cut the plate leaving 1/8th of an inch (3 mm) extra at the end, fold the end under and sew a stitch in the fold of the plate to anchor the plate at the edge of the shape (see diagram 41e. opposite).

41e.

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TRIANGLE PLATE AREAS

Triangle Plate Areas: The triangle areas are each worked separately. Begin sewing down the plate for each shape at the point of the shape. Sew down the plate in the same method as the center shape this time folding the plate vertically (up and down) the shape (see diagrams 42a. - 42e. below).

SEWING DOWN THE TRIANGLE SHAPES

42a. 42b. 42c. 42d. 42e.

CENTER AREA: WHIPPED PLATE

Center Area: The two triangle shapes and the top narrow shape on the center area are worked in approximately 30 inches (75cm) of Whipped Plate. You can substitute with No. 6 Broad Plate. Triangle Shapes: Begin the triangle shapes on the side points, sewing down the whipped plate in the same method as the triangle shapes on the triangle area. Narrow Shape: Begin the narrow shape at the top of the shape folding the whipped plate horizontally (back and forth) to the bottom of the shape.

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PLATE DESIGN: TWIST

Twist: 3 1/2 yards (3 1/4 meters) of No. 1 Twist is used to cover the felt areas around the plate on the triangle area, center area and in-between the Milliary outline and the silk floss on the s-arms.

Working the areas around the plate: Sew the Twist around the plate shapes so that all the felt is covered, plan the best route by laying the twist around the areas beforehand, try to avoid starting and finishing the ends too often. Leave a 1 inch (2 ½ cm) end hanging from the starting point, using a single stand of the waxed yellow polyester sewing thread in a No. 10 embroidery needle sew down the gold cord at 1/8th of an inch (3mm) intervals (see diagram 43a. below). Sew each stitch at an angle so that the stitch disappears in the twist of the gold, give the gold a little twist if the sewing thread is showing to hide the thread then go onto the next stitch. When there is no more felt to be covered in the area leave a 1 inch (2 ½ cm) end hanging. If there are gaps where the twist does not meet exactly, you can cover the gap using a spangle and smooth chip (see diagram 43b. below) as explained in spangle circles instructions on page 8.

SEWING DOWN TWIST COVER GAPS WITH A SPANGLE

43a. 43b.

Take all the ends to the back of the work (called plunging) by threading the ends into the No.18 embroidery needle and taking the ends to the back of the work (see diagram 43c. below) and then over sew the ends to the stitches at the back of the work (see diagram 43d. below).

PLUNGING ENDS SEWING DOWN ENDS

43c. 43d.

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S-Arm Inside Outline: The inside of the s-arm against the Milliary Wire is outlined with one row of the twist covering any gaps between the Milliary Wire and the Red Silk Floss. Begin sewing down the twist at any position on the inside of the Milliary wire leaving a one inch end. Sew the cord down around the arm, when you reach the beginning take both ends to the back of the work and over sew the cord ends to the stitches at the back of the work.

PLATE DESIGN: SPANGLES CIRCLES AND S-ARM DECORATION

The round felt areas and the center of the s-arms are decorated with spangles sewn in place with a No. 6 Smooth Purl chip (bead).

Round Spangle Area: Each round area has approximately 11 spangles. Thread up a 40 inch (100 cm) length of waxed sewing thread into the needle so that the fold of the thread is in the eye of the needle. Bring the needle up on the edge of the round felt piece, thread a spangle and a 3/16 inch (5 mm) long smooth chip onto the needle, slide the spangle and chip down the thread so that they are level with the felt. Put the needle back down through the hole of the spangle (see diagram 44a. below), using a Mellore or a pair of fine tweezers, place the pointed end of the tool half way along the smooth chip, gently pull the thread back through the spangle, curving the chip around the tool to form a loop (see diagram 44b. below). Bring the needle up in place for the next spangle on the edge of the felt, the next spangle should slightly overlap the first spangle so that there is no gap in-between the spangles (see diagram 44c. below). Sew down the next spangle with a smooth purl chip in the same method as the first (see diagrams 44d. below).

SEWING DOWN SPANGLE CIRCLES

44a. 44b. 44c. 44d.

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Continue sewing down the spangles around the edge (approximately 7) and then fill in the center (approximately 3 see diagrams 45a. – 45d. below).

WORK AROUND THE EDGE OF THE CIRCLE

45a. 45b.

FILL IN THE CENTER OF THE CIRCLE

45c. 45d.

S-Arm Spangles: There are approximately 18 spangles sewn down the center of the s-arm. Position the spangles using pins and then sew down the spangles individually in the same method as the round spangle shapes using a small smooth purl chip.

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