Hardanger and Russian Drawn Threadwork

Withdrawn threads in a grid with stitching on the bars using two techniques: Hardanger and Russian Drawn Threadwork.

The first thing I notice in this photograph is the square spaces. The white table makes the work seem insipid rather than emphasising the patterns made by the mainly lustrous threads.

As I've just commented most of the threads selected have a sheen and spring.  This spring doesn't make them easy to control: the wrapping has that handstitched quality that marks out handwriting from using a computer font. Where I've simply wrapped the thread singly round the horizontals and verticals it loops expressively, but not regularly and would need tying to remain in place.  The same can be said for the two odd-men-out: the linen thread and the raffia.  Needle weaving is a different matter, it's fixed and looks almost like seeding.

4:6:6

A new batch of dyed fabric.  I've included an image of this so that the surprising range of soft blues and mauves that resulted can be seen.

4:6:7

Different tones of fabric need different shades of thread.  Luckily I've build up quite a collection.

4:6:8

I decided to try the Hardanger again this time using matte threads with less spring and pulling them more tightly.

Below are some examples of Russian Drawn Groundwork.  Whether the thread is self-coloured or variegated it makes a very lovely textured finish.

Just glimpsed are the withdrawn threads woven into the surrounding area and this is an idea I can consider using again.

                                                                                         

4:6:9

4:6:10

Finally this set of samples has machine stitching on the drawn thread grid.  I've used a wing needle here with a range of threads.  The thickest are wound on the bobbin with a finer one on top.  Although I practised beforehand the thick thread shows the imperfections in the stitching.  It's difficult to control when working upside down and I probably need to be clearer in my own mind about how I'm moving the fabric under the needle.

I commented both at the beginning of this post and about the machine sample 4:6:10 about the uncontrolability of certain threads, perhaps this is not the right way to think about the matter.  It is instead knowing your materials and techniques and matching the right ones to suit your purpose.