Q&A

Written By Hanny Newton

Got a question about SHINE? Read through and see if its already been answered, and then Scroll to the comments box below to post or Contact Hanny.

* Goldwork Purls & Threads Questions *

Q: As these purls are metals, do they tarnish and if so should we do anything to prevent this. Thinking even for the samples we would like to keep them looking their best

A: There’s some advice on looking after metal threads here - all metal threads will tarnish over time, and personally I think if we want to enjoy working with them, it’s a process you have to accept will happen - but here’s some advice : https://www.hannynewton.co.uk/caring-for-metal-threads

Q: Can metal threads embroideries be ironed?

A: I would recommend never ironing metal threads - try to have as little input with the pieces once they are made, and iron your fabric well before making - this is partly why I like using a stretched canvas as in the bonus video in part1 as it keeps the piece stretched and flat. You can find information about caring for metal threads here

Q: Where can I buy goldwork supplies near me?

A: Here is a list of some of the many other online suppliers worldwide - got a favourite shop? Comment below to add it to the list!

  • Sarah Homfray - UK : https://www.sarahhomfray.com/myshop/

………………………………………………..

* Set-up and Sewing Equipment Questions *

Q: Could you share a bit more about the size of canvas stretchers you use?  I have looked online and there are so many but quite thick in terms of the cross section - not the length.  So wasn’t sure of good options.

A: The wooden frames I used for the course samples are 25cm x 30cm, with wooden bars that are 2.5cm wide and 1.5cm high - they are the sort you can buy quite easily at lots of art suppliers, and if you are willing to scout around, you can quite often find them in charity shops here in the uk.

The best for starting out is something about A4ish size, that the bars aren’t too deep - like with most supplies for stitching, you will get a feel for what you like as you start stitching and trying out different sizes. A4 ish is great to start with, as too large, and its hard to reach the middle, and too small and you end up with less fabric than you think due to the wooden bars at the sides.

Q: If I understand correctly, you are using linen and also calico underneath to stabilise the linen. I'm wondering if these two fabrics are fused together or not? If it's necessery to stabilise the linen, can this be done with iron-on fusible interfacing? Or is calico better?

A: Using a calico to back a finer fabric can be a great way to make sure you have really good tension when stitching on a hoop or canvas, and adds some extra weight. Its not usual practice to fuse fabrics - If Im using a wooden canvas I tend to staple each layer individually, the calico first and then the top fabric. If using a small hoop, you can put the two in together, making sure they are smooth to start. I tend to avoid using something like attaching an interfacing as it can change the feel of the fabric, and make things stiffer and more synthetic feeling - but that’s not to say there isn’t something out there that may work for you - as I say, so much can be discovered through trail and error, and it’s all about how you enjoy the feel of working on things, so if you find something you like, do let us know!

Q: I have a question about backing with calico - I have several small but beautiful pieces of linen which I would like to use for sample pieces/experiments, but they are only about 12 cm square and won't fit in an embroidery hoop. Can I tack them onto a larger calico square, which will fit in the hoop? I could then cut away the extra calico? Would this work?

A: Yes thats a great idea for using small pieces of fabric. Long and short stitch is good for using on fabrics that dont easily fray. Herringbone stitch is used for fabrics which fray easily, like cotton velvet. Its not something I do in my own process very often, but its used a lot in more traditional goldwork - theres a nice description in the RSN goldwork book, p29 - but it should be covered in most good traditional goldwork books.

Calico is always a great option to back any fabric for extra support and will help with tension, especially if you are using a more organic feeling linen etc.

Ps: check out the RSN Stitch Bank for descriptions of 300 stitches!

………………………………………………..

* Stitch / Purl technique Questions*

Q: Is it essential to have a tidy back?

A: Thats something to ask yourself how important it is to you - in traditional goldwork - yes - its a given it has be neat - but lets question that - I feel it's a personal choice - especially if its work for your own personal collection. If its for a client - yes - a neat back and very well finished threads are important to me - but if its a sample for me, and the focus is in exploring and playing - then I love the freedom of getting to decide where I focus my energy!

The main thing for me is making sure that not having a neat back doesn't impede my stitching and enjoyment of the process - if the threads are getting tangled etc.

Q: Can you share some tips on getting the best results for working with very small lengths of purls?

A: Here are some quick tips for getting the best effects of you want to work with really small purls :

- Purls : a faceted purl is best for a really sparkly effect - bright check is my fave. Make sure it’s the best quality possible.

- ⁠Scissors : make sure they are lovely and sharp, fine tipped embroidery scissors

- ⁠Wax : wax your cotton thread to make sure nothing gets caught

- ⁠Cutting : use a velvet board and get a birdseye view over the top of your purl, and *cut the same length as the width of the purl* - a magnifier may help! You want to cut straight and cut off any straggly bits of wire that could get caught and unravel - good scissors will help

- ⁠Threading : bring your needle to the purl on your velvet board , and carefully thread one purl onto a waxed thread, guiding it all the way down to the fabric, and use your needle to nudge gently to where your thread comes up, so it lies flat. And then take your thread down straight at the end of your purl

Q: When using copper, gold and silver purl in the same cluster, do you regularly change cotton thread from yellow to grey?

A: In terms of the cottons you use to correspond to metals - it’s really up to you what you feel works - both in terms of aesthetics and faffyness! If you didn’t want to keep changing your thread to match your metals … you could try using a cotton that blends into your base fabric instead. At the end of the day, they are your samples and experimentation, and it’s more important what you enjoy working with than always using the ‘right’ threads! This could also become a series of small samples that explored cotton colour with purls, to find what you would like to work with

………………………………………………..

*How to approach this course*

Q: can you set yourself a theme to work to - for example, a series of ‘hillocks‘ that explore different techniques?

A: My advice if you do set yourself a theme for your experimentation at an early stage in this course - or any early part of forming an idea - see if you can use it as a loose framework, which can help with overwhelm and can be great to have a starting point - that allows space for discoveries as you go - for example, when I say to myself - I’m going to create these two set samples that explore this idea in X and in Y techniques, I so often find that the plan changes and evolves when I’m actually making, and sticking too rigidly too the plan, I may miss the other ideas and discoveries that may come up that I had not foreseen - now I try not to foresee what’s on a path I’ve never been down before, so I can embrace it better when it comes, and for me, that’s where the magic happens

Q: How long do we have access to the videos and workbooks?

A: You have access to the videos for a year, and the workbooks are all downloadable - click ‘file’ the ‘save as’ to save on your computer. This is designed so you can revisit the activities at your own pace, and see ideas with fresh eyes when you do!

………………………………………………..

* Creativity / Thoughts on making and the creative process *

Q: Tips and thoughts on dealing with overwhelm when you have lots of ideas in your head, and thoughts on when work doesnt match up to what was in your head?

A: My thoughts on overwhelm and exploding heads, and what you make not matching what you see in your head - oh yes I relate SO much to all of this, it’s something I grapple with and I’m sure lots of other people do too, and to be honest there been times I’ve felt like this perfectionism has held me back, and I’m still learning how to let go of it - this is where I’m at with it:

what I try to do is loosen my grip on the paralysing notion that there is a ‘better’ and ‘worse’ choice I could make when there are lots of ideas and possible starting points. If I need to, I will write them down, store them for later  - cue the mindmap! - and then … just pick something, and GO! What if all roads lead to Rome? And know that there are always more ideas and always more you could do, and you can’t really ever be done, and what if that ok?

…and if you listen to whatever you have chosen, and do the next thing that excites/ intrigues/ nags you, and then the next thing, again and again, following that will lead to work that is yours - you are the common denominator of all those endless ideas after all! I see it as a process, not a destination.

And along that making path, wow will there be a lot of work you don’t like, and so much that doesn’t match up to what is in your head - I see it like your ideas don’t have to encounter the laws of physics in your head, and in the real world there is gravity! How rude! That’s why sticking with something, honing into what excites you, and gradually, quietly, understanding along the way what makes you tick (I’m always still working that out!) and refining what you can see is missing, is the key - and expect it to take longer and different directions than you expect - again, don’t assume you know the outcome before you start.

… That’s my personal experience anyway! So all that being said, this is week one of the course! Don’t worry too much where it’s leading, just make some stuff and use it to learn what interest you and do more of that, especially if you don’t make things yet that look that what you hoped they would!

—————

*Recommendations of sewing equipment and supplies - crowd-sourced from stitchers: - share your suggestions with everyone below! *

Hanny Newton

Hand Embroidery Artist 

https://hannynewton.co.uk