Then the Head of Nefertiti swept into my head and my hands and took almost all my brain power and stitching time, and Nothing Happened.
Well, something has now happened. I’ve had the Christmas Angel sitting in the corner of the living room waiting to be noticed, and a little while ago, I got to a natural Stop and Think point with my other projects.
So I have made a start on the background. I’m using metallic machine thread, two strands for the rough, textured threads in the centre of each cell, and three strands, one of each of three shades for the framework. It’s beyond fiddly and flyaway, and I’ve even bought some Thread Heaven to see whether it helps (a bit, maybe not quite as much as I hoped).
All that said, I think it is going to look rather splendid when it is finished. The idea is that it should be somewhat reminiscent of an icon painted on gold leaf. Some of them have a sort of engraved “diaper pattern” effect, and I hope that the diamond flame bargello pattern will do the job.
I did indeed find myself mixing and blending a lot of different browns to fill in all those brown sections.
Remember what I said about stash busting being “an inexact science”? Well, the trick about dealing with that (in this context) is to make the various infills and changes look deliberate. I scattered the different shades in a random looking pattern across all the different diamonds. There are four or five different blends, and outside the central section there are only two of each shade in any one row.
The central section has brown diamonds all the same colour because I was using the central section to help me lay out the trellis pattern, and I simply kept going. In fact as I look at the canvaswork while I write this post, the central section blends beautifully into the outer sections. It really does look deliberate.
The tiny diamonds that lift the whole effect are in a very light cream. Fortunately I didn’t need much of this one, and I had enough!
I profited from the experience of making the first little worktop bin, and instead of stitching the inside section after I’d folded back the top and stitched the rim, I worked it while the canvas was still flat, which was altogether easier to do!
Although I confess, I was wondering whether I would have enough of this beige to complete it, or whether I would have to take it out and use a different colour entirely…
The first worktop bin was such a success that I decided to do another one.
This time the bin itself is a cardboard drum that used to contain chocolates. It’s rather bigger than my sawn-off milk bottle, and furthermore, the canvas is finer (I’m only using two strands of Paterna in the needle, not three), so the canvas is going to take a little longer to do.
I’m staying with browns, and with diamond patterns, and starting with this diamond lattice pattern. I’ve had enough of the creamy beige wool to work the framework, and since it is only two strands, I should have enough of it to work the edging and seam as well.
But there is a lot more dark brown to come and I may very well find myself combining threads to stretch my varieties of dark brown to fit the pattern. Never mind, I will then have made some Stashbusting Progress!
Has anyone else noticed what a very inexact science stashbusting is? You embark on a project, full of hope that it will consume vast stores, only to find that the Stash in question has shrunk not at all…
Right up until the project when you rely on that happening….
When I’d finished the stitching of the canvaswork for the Form Cushion, it was a little puffy and warped, and badly in need of blocking, but being long and thin I had nothing suitable for blocking it on. Until I had an inspiration – use the form itself!
We covered the form with an old towel, and then worked on alternate sides of the form. I’ve put an old length of cotton curtain header over the canvas, so that when I come to remove the staples, it will be fairly easy to do.
It took quite a lot of heaving and tweaking, and the combined efforts of my mother and myself (for a client, she’s having to put a lot of effort in here, isn’t she! – she’s started on renovating the form too.), but in due course we managed to get the canvas firmly attached, and stood back to look at it.
It didn’t look nice and smooth as it does here. It was bumpy and lumpy, and not very happy at all.
So I steamed it gently, using a steam iron but not letting it touch the wool. Very, very carefully, and slowly..
It started looking a great deal better (even upside-down), but then we set it aside, still stapled in place, for a few weeks. We wanted to be sure that it was very thoroughly dry before we moved on to actually making the cushion.
And besides, I’m not entirely clear on the type of cushion it will be!
There is always more “engineering” involved in these projects than you expect. Once I’d turned in the edges and done the herringbone stitch “piping”, I realised that the top of the bin was probably going to be on show on the inside. I found some felt to line it with, but since it was a spare offcut, I decided to run a line of straight stitches on the inside, just in case there wasn’t enough of it!
I attached the felt with small stitches, not too tightly, but just enough to make sure that it doesn’t move unless I want it too. It’s almost a pre-felt, not too dense, so it showed some adventurous tendencies. Some firm treatment, a tug or two, and it settled down nicely.
Which allowed me to consider tackling the seam turning it from a flat piece to a tube. After some of my usual thoughtful staring, it finally occurred to me that I already had the answer: Herringbone stitch, just like the edge finish at the top.
Obvious, really, isn’t it! It makes a sturdy seam which won’t permit much lateral movement, and since I’ve used it on the top edge, it doesn’t introduce yet another texture.
When it came to sorting out the base, I put the sawn-off milk bottle inside to make sure I made everything fit, and folded in the canvas, holding it with a few rough stitches.
Finally I attached a piece of very dense felt to the bottom to hide all the canvas edges and make sure they don’t scratch any of the furniture. It is already in use, and you have to admit it’s very much better than an unclad sawn-off milk bottle would be!
Once I’d settled on a pattern, it fairly romped along. Ten count canvas is such a lovely rest after the forty count linen of Eve In The Garden Of Eden!
As with the Crazy Canvaswork Cushion, I’m not buying extra wool for this, hence the row of light stitches which aren’t the same shade as the other two. Most of the thread is Paterna Persian Yarn, but the odd one out is Appletons. The texture and level of shine are different, but then, anything will be better than a sawn-off milk bottle!
The next stage is to turn in three of the edges. I’m going to use the canvas at the bottom to help create the bottom of the bin, so I’ve left that, but the short edges will be seamed together – somehow (I’ve not solved that puzzle yet!).
I’ve learnt, over the years, that it is better to finish the folded edge of a piece of canvaswork than it is to try to fold the edge to be completely invisible.
So what will be the top edge of the bin has now been finished with herringbone stitch. It creates a lovely piped effect, much denser and firmer than a simple overcast stitch, and that will be very useful to help the bin stand up!
I have a small plastic bin – cut down from a milk carton – on the worktable beside my chair. It’s very useful for odds and ends, but it scarcely adds to the ambience.
Since all my embroidery at the moment – “Eve in the Garden of Eden”, and something I’m planning for “Dreams of Amarna, but haven’t quite got ready for stitching yet – is fine and detailed, I’ve decided to work a cover for it in bargello work.
I’m using another of those offcuts of 10-count canvas. Ideally I would use something finer, but since I want a rest for my eyes, and in particular to use up some more of that persian yarn, I’ve been playing with various patterns in an old book. In this case, one pattern drawn on, and the other stitched, partly in wool, and partly in a fine silk, just to help me with stitch placement.
I’ve decided to use the rusty colour, which I have rather a lot of, as the main colour, and I’m trying to find a small pattern that won’t dominate the room. I don’t think the “pomegranate” pattern qualifies…, but this one might…
There are in fact several errors in the stitching here. However, since I kept losing them and finding them and losing them again, I decided to let them stand. If even I can’t keep them in sight, no-one else will find them…
I enjoyed using the silk thread for the stitching – but then I keep saying that, don’t I? Silk seems alive somehow, in a way that cotton, linen, and even wool, don’t.
What really surprised me was just how small the pincushion was when I finished it, using a spare fragment of silk fabric for the back. It was really quite astonishingly fiddly when it came to turning it inside out and especially when it came to the corners.
Still, here it is, done, and stuffed, and the final side closed up neatly..
And then I put it in the palm of my hand and finally realised just how small it really is…
Another one for that eventual Winter Decoration Corner, I think – in my chaotic workspace, a pincushion this size would sink without trace!
I hadn’t intended to do any of the Frostings Box designs, because I was intending to keep all the threads for my own purposes, but I’ve not been able to settle to anything this summer. I lost my “Dreams of Amarna” notebook (and found it again!), and although I have several pieces I want to do for it, I have no idea how I want to do them!
So I’ve been starting lots of little things to do in the intervals of the next major project.
I’m determined not to buy anything for these projects, so I fished out a random piece of linen, and then the next thing was to discover how many threads to use. The instructions said four strands of Soie de Paris, but since I have no idea where the linen came from or what count it was, I thought the choice was worth testing. The left section is in two strands and the right is four.
Four it is, then!
The next decision was colour scheme. As it happens, I don’t have the colours specified, so I decided to play around until I had something that looked interesting.
The last section, Section Sixteen, gave me a lot of trouble. I suppose that is partly because the end was in sight, and I wasn’t quite as focused as I could have been!
I was originally looking for a crossing stitch, but every single one I tried either looked wrong, or simply failed to cover the canvas. I sent several tweets enumerating my trials, with one or two strands being too fine, and three strands too heavy, and in the end I abandoned the crossing stitches entirely.
In fact I devised my own variation on Triangle Stitch, which I’ve called Framed Triangle Stitch. I rather like the way it has turned out. It is a bit of a trial to stitch economically, but since I am attempting to reduce my stash, that is scarcely a problem!
Although I like the pattern it creates, I’ve been somewhat concerned about the scale of the pattern, which is perhaps a little too similar to the blue pattern of Section Thirteen.
However, I now have the challenge of unrolling the whole piece, blocking it, and working out how to finish the cushion.