Remember this footstool?
It has a cousin, also worked by Grandmama, which has been working hard as the footrest at my mother’s computer desk, and the stitching of which is past recovery.
So the idea is that I should do a canvaswork panel for it, and Only From Stash. After all, where is the point of having a stash if you don’t make good use of it?
That is all very well – I do have some suitable canvas. Just!
But much of my tapestry wool stash is inherited from others – notice the huge pile of neutrals! – and it might be rather a wild ride to get a 10 x 21 inch piece of sensible 10 count canvaswork out of this selection.
I had intended to do something with Clarice Cliff colours, but as it happens, I don’t have as much leftover of those colours as I thought I had. I’m pretty sure that the pinks won’t figure, and unfortunately the greens are too thin on the ground and too mismatched, as well. Much thought will be needed!
While I was thinking about that, however, I also prepared Episode 35, the first SlowTVStitchery video for the new project, the Canvaswork Angel, in which the Christmas Angel is introduced, and there is some discussion of the detrimental consequences of visual confusion and the delaying effect of Doubts.
These designs were an idea from years ago, submitted to the Ironbridge Gorge Museum as a possible kit for sale in their shop. Hence the multiple colour schemes – although the orange one is inspired by that famous painting of Coalbrookdale by Night, by Philip James de Loutherberg. The Museum didn’t go for the idea, which is possibly a mercy, as I’ve had a thought since then.
I think it might look altogether more interesting if, instead of reflecting one side of the bridge around the compass to create the corners of a square, I use just one side to make a quadrant design.
My further thought is that, rather than using all tent stitch (as I suspect I would have suggested for a kit), I should maybe use a square canvaswork stitch throughout (maybe mosaic stitch, or cushion stitch) and maybe create a smoother gradiant of colour using several strands of thread in the needle.
However, when I went rummaging for the leftover length of antique cotton canvas I was sure I had left over from a previous project, it wasn’t there. So there is going to be something of a pause, while I work out how much I need, and find somewhere I can order it from.
But in the meantime, Episode 32 of SlowTVStitchery is up, in which details and the upholstery of a stele are considered, and the anouncement is made that Slow TV will continue.
In fact, it was finished a long time ago, and somehow I didn’t get around to writing it up…
Not that there is much to say. All of the interest (almost!) was documented in the stitching.
The old form has been scraped, holes filled, sanded, and repainted, and the cushion is a simple shape, tidied up with piping cord.
Some of the interest, in fact, is in the backing fabric. It’s an unremarkable jacquard woven pattern in cotton on a synthetic warp, but the design – rather ironically, since I’m card-blind for all practical purposes! – is a design of suits I created during my MSc in Textile Design Technology. It’s clunky, and not well-differentiated, but it was the first time I designed a jacquard pattern. The only time, too, but it was fun while it lasted, and I’m glad I asked the technician to weave a half-metre for me instead of the 10 cm that was all that was needed for the module.
Having been working on the Heart, I was still thinking about Grandmama, and noticing that one of the footstools she made was getting a bit shabby and buckled, I decided to renovate it…
It’s worked in tapestry wool on binca (that strange cotton matting fabric that stitching happened on at primary school – does anyone else remember it?). I think I still have, somewhere, Grandmama’s draft of the pattern on squared paper, but the best I can do for putting my hand on it is to say it is Somewhere In The House! Since I don’t have a workroom, I put the footstool in a plastic tray, which I seem to remember is sold for cleaning oven trays. I use it for wet felting and to contain messes when I’m doing things like this. The blued-steel flat-headed nails were very hard to get out, and indeed, some of them lost their heads (!) and didn’t come out. In due course they were hammered firmly back in, instead!
The binca around the edge was badly mauled by the nails, so I knew I would have to do something about that, but in the meantime, there were sections of the canvaswork that needed to be reinstated. First I washed and dried the whole thing (by hand) and then spent some time looking very hard at the stitching. More than fifty years of use have worn a few small sections, and the stitch took some identifying, but in the end, I decided it was Rice Stitch, and found a pale oatmeal tapestry wool that didn’t shout its’ newness too loudly.
Then I attached the binca to some calico and covered the join with one of the long-armed cross stitches. I wasn’t absolutely sure I had enough of the plain oatmeal colour so I alternated a needleful of each all the way around.
In the end, I had plenty left over, but I’ve said many a time before that when ekeing out assorted supplies, the trick is to Make It Look Deliberate!
I had to do that with the trim as well. Nothing in our local needlework shop was even remotely suitable so in the end I took some bobble fringing, a length of ribbon and some ricrac, and made my own!
There are one or two infelicities in the details, but it’s certainly got a good few years left in it now.
Thank you, Grandmama.
This is my second post of canvaswork for Catherine of Hillview Embroidery.
The Lady By The Lake has a much wider range of stitches and threads in it, including blends of stranded cottons, ribbons, and a variety of wools. The canvas is a double thread canvas which makes it possible to separate the threads and work some of the design in petit point.
I wrote a post about the Lady when I first started blogging, but I have a very much better camera now, and an incentive to take the picture down from the wall. Considering the canvas is still under glass I am very pleased with how the photographs turned out. There are enough different materials and textures in the scene to provide a good workout for thread and stitch selection muscles…
The sky and clouds are all Milanese Stitch, worked in blended Persian yarns with three strands in the needle.
The mountains are in Gobelins Stitch in tapestry wool, and the lakeside hills with their forest and villages are a whole tangle of interesting variations of stitch and thread.
The face and arms were worked in petit point, separating the double threads to create single thread canvas, and worked in stranded cottons (blended). The hair (she didn’t have quite such glorious chestnut hair on the painted canvas itself) is also blended stranded cottons, worked in a sort of long and short stitch. The hat has spider’s web stitch roses on it, and she’s wearing large pearl bead earrings.
It was the idea of experimenting with the skirt that attracted me. I used a bordered Hungarian Stitch, worked in three shades of pearl cotton and combining them to create the impression of five shades in the skirt. It worked!
The blouse is also pearl cotton, this time Linen Stitch, which is effectively the back of Basketweave Tent stitch put on the front.
I changed the wooden, slatted backed bench of the canvas into a padded one so that I could do the upholstery in Reversed Mosaic Stitch.
The lake itself took ages to do – row after row of darning stitch using all sorts of ribbons and threads, including some truly ghastly double knitting acrylic yarn which would have made a dreadfully uncomfortable jumper, but made a very good lake surface, with that slight sparkle you get when there’s just enough breeze to move the water.
The balustrade was worked in Soft Embroidery Cotton. I assumed it was something like limestone, and not marble with a polished surface, so the thread needed to be dull to let other elements shine.
Again, click on the pictures to see more and have fun thinking about what I should have done differently!
Catherine, of Hillview Embroidery, is doing an RSN canvaswork course at the moment, and commented in a recent post that the folder of photographs of the work of past students at the back of the studio has been really useful, partly for ideas, and partly just to practice analysing designs and stitches.
I have two canvaswork pieces that use ornamental stitches to represent the textures and colours they depict, both worked when I was a teenager. It’s much easier to analyse someone else’s work than your own, so Catherine, this post (and another, as yet unwritten) is for you!
It was actually the sky that made me buy this particular painted canvas (this was long before I’d tried designing my own!). I think the stitch is Hungarian Point, and since the canvas had such a graphic feel, rather than being painterly, I was quite happy to leave the sky with those sharp colour changes. The pattern in fact runs clean through from bottom to top, but that those same colour changes mask the fact. The heather clad hills are in Plaited Stitch, worked small to help them recede. And the foliage of the tree is Ray Stitch. I do wonder whether I should have done the ray stitch facing downwards, but some of the pines have a slight upward curve, so they are staying as they are.
Almost all the threads in this piece were wool. It’s a fairly large gauge canvas, and again, there’s so much flat colour that blends wouldn’t really be suitable.
The lady in the the punt is Soft Embroidery Cotton for her skin and hair, and tubular synthetic for her gown and hat, and the punt is straight stitches in assorted browns. The tree trunk is effectively in stem stitch, and the bushes at the front are interlocking elongated cross stitches. They look surprisingly bushy, don’t they!
The trees in the distance are in Upright Cross Stitch, which makes a good intermediate texture between the bushes at the front and the distant hillside.
And that near tree? That’s one of the reasons I didn’t finish. I found that not only was I not enjoying the combination of stitches, I was running out of the threads and colours I was using. I threw it in the loft in frustration and disgust and only fished it out again after I’d read Catherine’s post.
The sea is another reason. I still haven’t worked out how to do it, and at the moment, I am still not at all sure I want to.
You can click on all the pictures to see them more closely, so Catherine, your homework is to look at them all, think about what you like and what you’d have done differently.
And if any of you have any suggestions for the sea – let me know!
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!