Wendy stitched this borage as the model. She sent me a photo, labeling it “borage – done”. Which of course it is not. I’m trying to be careful about that now. Borage needs some black and white in the middle, and then the little spiky leaves done too.
But this is the big part, and for the next session (officially 8-11 August, but any time the week of the 4th can work as Tricia will be here working on GOLD) we’ll have borage directions. This is good, because in the master pattern borage is the only motif that repeats.
It’s a three-across, four-down repeat, and borage appears in the middle of the top row and at the left end of the bottom row (as Tricia drew it – it’s a repeat so theoretically you could start anywhere and repeat outward). So twice as many borages, sort of. Lots of opportunity to use the spectacular dark blue gilt sylke twist. See you soon?
To address the questions in the comments about comparing the lace gold thread to the embroidery gold thread, and how the embroidery gold thread is made, and the needles, and that, we’ll have to wait till Tricia comes back from vacation and can let us know. I’d say maybe towards the end of next week? I know she’ll get us the information as soon as she can.
I think there will be plenty of goldwork to do aside from the coiling vines, too. I was thinking, the tops of the foxgloves and pea pods are gold. The vine has many curliques (which it may be should be worked as you come to them, but maybe they’re separate, I don’t know) which will be gold. Most of the leaves have gold veins. The rose, strawberry flower, pansy and honeysuckle all have gold centers. The straight lines that stick out of the columbine and honeysuckle blossoms might be gold. (No, I don’t mentally catalog the work left to do, over and over. Why do you ask?) So we may well have goldwork available to those who either don’t want to or can’t match the established stitch density of the plaited braid. All of which to say, don’t worry, there’s plenty work to go around.
The other day I heard from some embroiderers who hadn’t sent in a sample or signed up to stitch because they were nervous about having their work “judged”. We’re really not using the samples to judge, or to keep anyone away. No one’s been refused. The samples let us take advantage of everyone’s strongest skill, and give Wendy and Tricia a starting point for helping to improve everyone’s stitching. Even those very experienced with this kind of embroidery have reported that after a few pointers and two days of practice, their work has improved and they go faster. Several have called the embroidery weekends a kind of ‘master class’, with individual attention (Wendy & Tricia usually have 20-25 students in a class and here we never have more than and lots of time to practice.
So don’t let that keep you away. Come stitch. This chance won’t be here much longer. I swear.