I started this traycloth years ago, largely to experiment with the pulled work stitch I used as the background of the decorative panel.
The idea was to have a sandy background against which the shells, seaweed, and seahorse would be set, and although I enjoyed doing it, it isn’t the most successful of my embroidered experiments. It feels a bit lacklustre, but at the same time, I can’t say I’ve been filled with enthusiasm by the idea of doing anything substantial with it.
While I thought about the details, to see whether I could find something that would work, I hemstitched around the edge, so I will have a useable, if not enchanting, traycloth.
Then I thought hard. Maybe something could be done to differentiate the various elements without actually unpicking them all. The upshot is that the backstitched outlines have been whipped with a different colour of thread in each case, to pull out the differences a little more.
It still isn’t wholly successful, but it is now a usable traycloth and out of my welter of Unfinished Objects which occasionally leap, unanticipated, out of boxes I thought contained something else, to hit me in the face.
And that is most definitely a Good Thing!
The embroidery on the new cover for Maggie The Magnifier is relatively simple, but it does involve a few favourite stitches.
First and foremost, Braid Stitch. Not the Infamous Plaited Braid Stitch – I was sure I wouldn’t have enough wool for that! – but the ordinary Braid Stitch. I’ve been fond of it for years, as it makes a good, strongly textured line, and it’s much easier than it looks. It’s also fairly easy to work in the hand, and this was very much a holiday period project, using bits and pieces I could easily get hold of, which didn’t include my embroidery hoops!
The central rosette uses satin stitch (not a favourite, exactly, but very effective!), Romanian Stitch, and in the centre, a little knotted stitch that I’m sure I know from a book, and has a name, but it just came swimming up out of my head, unattributed, as though I was making it up as I went along.
The buds, or finials, or whatever they are, are in nested fly stitches, outlined with further fly stitches, and you will note, from this view, that I stuck to my decision to draft the design by hand, and not tweak and even it up. This is very much a piece of domestic, informal embroidery, and there’s no reason for it to look glossy and machine made.
Meet Maggie the Magnifier, so called to distinguish her from Jenny the Jensen Magnifier Light. Maggie was a Christmas present from my cousin. She’s wonderfully sturdy, with a nice heavy base, and notwithstanding the base mentions 1815, we think that was the foundation of the company, and Maggie herself is probably from the 1920s. She will be very useful for details and work at the table, rather than at my embroidery frame, but she needs a cover, both to keep the dust off, and to stop her setting fire to things on those rare occasions when the sun comes out.
Making the cover seemed a good way to pass the time over the period when I had Akhenaten hidden away, so I used a piece of brushed bouclé fabric and some rather lovely wool thread I got from somewhere-but-I-can’t-remember-where.
Since I did the Great Lady’s Magazine Stitch Off, I’ve become very conscious of what I learnt that I didn’t anticipate – becoming aware of how much more often an embroiderer of that period would have reckoned that Close Enough Is Good Enough, how often a pattern would have been sketched on by eye, rather than prick-&-pounced for precision, how much effect and speed would have trumped detail. I’m trying to apply that myself – when I don’t need exactitude, I don’t intend to strive for it. I hope it will make fun new projects more fun, and more “free”. This is a perfect candidate for that approach.
The basis of the design is a floral pattern from a rather gorgeous book called “Pattern and Ornament in the Arts of India”, with curlicues in the corners of the square of fabric. I practiced a couple of times in a notebook, and then simply drew the design in chalk on the fabric and started stitching.
This is going to be one of my New projects for this year…
It pays to be as organised as possible when you are dealing with weddings, but I’ve not been very organised in general this year. That said, not knowing what sort of things our friends’ combined taste would run to until two months before the wedding was rather a handicap. In the end, we bought something from the list and then I decided to do a little something extra.
I’ve made a set of coasters and napkin rings in felt, in colours that should work with the crockery they’ve chosen, although they aren’t the same. The two layers of felt are bonded and then blanket stitched together using a vintage silk thread that just happened to work rather well.
And the embellishment is made using tiny sequin-like beads made of shell.
And what is the embellishment, I hear you ask? What else, I hear myself reply, but the initials of our friends’ given names in Morse Code. Fortunately the letters in question are both symmetrical and palindromic, so they work in whatever orientation they are placed. The coasters have each initial twice, in opposite corners, and the napkin rings once each.
As old friends, they know of my proclivities for using Morse Code, so, lest they be disappointed, I have signed each coaster on the back with my initials in Morse Code.