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.

In theory…

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!

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.

As they say – watch this space!

As I mentioned in Part Eight, I gave myself a framework for the patches, alternating crossed, diagonal, and straight stitches.

Looking at the photograph now, there is a slight look of Victorian floor-tiles about  the combination of the blue  and yellow of the previous sections, and the brown and beige of this one.  The proportion of brown isn’t correct for Victorian floor-tiles, but still…

It occurs to me that we might have a lot of fun looking at this cushion when it’s done, looking for other things that it reminds us of!

I chose a Rice Stitch caged with straight stitches. I suppose this could be regarded as a combination of crossed stitches and straight stitches, which may throw my scheme slightly off-balance. I like it, though – the straight stitches look nicely padded, even though they aren’t, and the rice stitches add texture. I can imagine it looking “floral” in some colour combinations, but in this version, I think it emphasizes the “Victorian Floor Tile” feel I mentioned before.

I am getting really close to the end now – Section Fifteen is the last but one, as you can see by the square corner. Since I didn’t work on this project over the summer, I’m a bit surprised by that. I wish the project had been as good at stash busting as it has been at growing!

You might have noticed that teal is one of my favourite colours and wondered why you haven’t seen more of it, but my stash is partly inherited and I don’t have very much of some colours.

After the complexity of Caged Rice Stitch (which, while fun, is on the complex side!) I went very simple indeed for Section Fifteen – Double Twill Stitch.

So now I need to work out what colour – and what stitch – to use on the last section. And then how to finish the cushion…

Easy, right?

Moving on…!

I’ve made something of a principle of alternating the types of stitch as I progress along the Crazy Canvaswork Cushion, so as far as possible a crossing stitch is followed by a diagonal stitch, and a diagonal stitch by a straight stitch. This is part of my strategy for making an abstract, random piece slightly less random, and more under control.

In this case I also needed a sturdy stitch that would help to confirm the “weld” of the canvas, since although it had been tight when I first worked it, the pieces of canvas moved against each other as I worked the earlier sections.

I picked Chequer Stitch because it alternates squares of tent stitch – which will control the two layers of canvas very firmly – with squares of diagonal straight stitches.

Section Thirteen is actually a fairly simple Bargello lozenge pattern. I realise – rather late – that this may be the only place in the cushion in which I have used a straight stitch pattern, with the straight stitches oriented parallel with the long sides of the cushion. I am going to have to hope that this doesn’t make the section stick out like the proverbial sore thumb when I finally unroll the whole thing!

I found the Lozenge pattern in the “Dictionary of Canvaswork Stitches”, by Mary Rhodes, which I must have picked up in a second-hand shop somewhere, and a quick look inside shows it was a library book before that. It’s marked “Copyright 1980”, but I think there is a rather 1970s feel to this pattern. Thank goodness I didn’t choose to work it in brown!

It has been ages since you  saw the Crazy Canvaswork Cushion – I got stuck and fed up with it and threw it aside in a huff, but since I’ve now sorted out the frustration I can cry “Onward and forward!” and show you Section Ten, which against my original idea, mentioned in Part Six, of choosing a horizontally striped pattern, I chose a basketweave bargello pattern. This is a pattern I have been longing to use and never had a use for.

What hadn’t quite registered with me was the scale of the pattern. It’s easy to work, although getting the colour progression right is a little tricky when you’re stash-busting!

I did maintain the orientation of the dark to light in both of the colour sections, but I wonder whether the light squares are too light. One of the advantages of this project is that it will give me references in the future to help me to remember what I need to think about when I choose to use some of these stitches and patterns.

Section Eleven was the problem that caused me to make disgusted noises and set the whole thing aside. I started the section using and interlocking and crossing stitch, but it didn’t cover the canvas thoroughly enough, I didn’t enjoy working it, and it was using a lot of thread. Now, I want to use up as much of my thread as possible, but I also want the shapes and sizes to balance nicely.

All of this made me downright grumpy with the whole thing.

Finally, over Christmas (having packed everything else away so I would have to solve the problem!) I unpicked the stitch I didn’t like, and started again, leafing though my books of stitches and patterns. Finally, I chose Plaited Stitch. It creates the horizontal stripes I had first thought of for Section Ten, but it is a diagonal stitch, so it contrasts with the Section Ten I finally did, and it is a crossed stitch, which contrasts with the diagonal stitches and straight bargello stitches of sections Nine and Ten.