Working the Chain stitch Supports of the motif

When I have the design worked up on my scrap and have pinned another piece of the same silk to the top layer, I start to outline the linear design in Chain stitch. The focus is the structural support of the motif at this point and no filling-in will be done until the entire grid is in place.

Once that is accomplished, the repeats begin. It's in this area that extra care should be taken because the Indian Chain stitches dating from the early 17thC are very small and fine. The tension is incredibly even and sustained. Warping of the under fabric is seen in very few extent pieces, usually palampores. I do not use a hoop or frame for these pieces because the thought behind them is that they work be cast-downs, produced by loving family members who would not have used either. Gifts from the Emperor Akbar or the members of the Court, having access to the karkanas, would have been of much higher quality work than I am capable of emulating.

The steps here are simple and while soothing, gets monotonous. Excellent lighting is vital both daylight and especially if doing work at night. Each stitch is guided with the nail of the left thumb in making the loop for every stitch and keeping it in position. After several stitches I ease the edges on both sides of the stitch with a nail again, keeping them in line. On this sampler I've begun working clockwise and shall have to remember to continue in this way. (As I complete the top surface I work on the rear keeping it neat.)

I further manipulate the silk as I finish sections by smoothing and tugging it back into shape, even when no obvious distortion has appeared. Area by area as they are laid out I press the reverse side with a steam iron set on "Cotton".