First some pines. I've not worked pines this way before, so this is all new to me. This technique contradicts two of the rules we usually follow in Japanese embroidery, one is to stitch the foreground first, the second is to leave a 'one point open space' between each motif.
Starting with rear pine motif padding cotton is couched round it's edge, then it is stitched with flat silk, then the padding cotton is put round the edge of the next motif so that it overlaps the silk just stitched.
One side of the pine is worked, then the other, and lastly the centre motif. After all the motifs are worked the veins are put in using a karayori thread, I still have to work these on the pines below. The veins can be worked using a different colour to the main pine, but I decided to use a slightly lighter colour so that they don't stand out too much. Working the pines this way seemed a very odd way of working to start with, but once I got into the flow it went quite well. You can see here how the motifs overlap one another.
Once I'd got my head around the pines I decided to have a go a different section, the fan. I'd put in the black and gold foundation before I went to Bournemouth, so the next step was to put in the waves. I chose the brightest colours I had in the colour scheme for the waves knowing that working on black fabric bleaches out colour. The top of the waves are worked using flat silk.
Once all the tops have been worked the lines underneath are worked using a tightly twisted karayori. I've still got to complete the fine lines on the other colours, but had to twist up some more karayori so have to wait now until they've dried. The black gap at the bottom and right of the fan is another cloud like the black and gold one at the top. I'll be working those in #4 gold for a nice contrast.
And for a bit of contrast before I go tonight, introducing my lovely assistant Bonnington, as you can see she's ready to spring into action at the drop of a needle!!