Category: General Embroidery
Stitching a Snail for Storage
Stitch a Snail for Storage Needlework Nibble
Since I am following the Tudor and Stuart Goldwork Masterclass, I receive Tricia’s Newletter, and a recent one described a plan she has to raise money for storage and display of gloves in the Museum of Costume in Bath, which she’s calling “Stitch a Snail for Storage“. It looks fascinating, so I’ve ordered one of the kits, and downloaded the instructions and printed them out.
The fundraising is about two thirds of the way to the total needed by the Bath “Museum of Costume” to rehouse the collection of embroidered gloves and gauntlets in such a way as to make it possible for embroiderers and other people interested in embellishment techniques to examine them without touching them and rishing damage to them.
Tricia’s “Needlework Nibble” will be a great way to support this while being introduced to some of the interesting threads she has developed following her research. Why don’t you give it a try?
Grandmama’s Spectacle Case
Spectacle Case in Bargello, worked for Grandmama
When I finished the Dragon Footstool I had some wool and some canvas left, and so I made a companion piece – a spectacle case so that Grandmama would be able to find her sunglasses in her handbag. That’s why it’s in the lighter colours.
It is a simple bargello pattern – in fact the simplest, most basic Florentine Flame pattern there is, and the charted initial is very simple too.
When I consider the range of stitches in the Dragon Footstool, I can’t help but wonder why I didn’t go for a more complex pattern, but I had painted the Dragon and this was charted – in fact, in the same book (The Readers Digest Guide to Needlework). Maybe that had something to do with it. I’ve always found charted pieces somewhat problematic. I have a tendency to lose interest in counting, which is a very bad idea in a charted piece – in fact it is one of the reasons I have other projects going on while I’m working on the charted motifs for the Tudor and Stuart Goldwork Masterclass!
Grandmama was happy with it, anyway.
Tudor and Stuart Goldwork Masterclass Stitches – Month Seven
Ceylon Stitch
I’ve not been making as much progress on the silk work for the Spot Sampler as I would have liked, recently. Still, I have managed to have a go at the Month Seven stitches, Diagonal Half Guilloche Stitch and Ceylon Stitch. As always, I have done them at two different scales.
I’ve worked Ceylon Stitch before, although certainly not using a metallic thread. It produces something that looks a little like knitting. I suspect it will be easier if I use a stiletto to control the thread. I know I have one somewhere, so I’ll look it out before I try this one again. I think I used it as a needlelace stitch before, and that, of course, used a simple round cotton thread.
Diagonal Half Guilloche Stitch
I think the Diagonal Half Guilloche Stitch has possibilities for some of my other projects. It looks very like one of the braids sometimes used to edge upholstery, and might also make a good filigree necklace for the Amarna panels. It will be important to pick the right scale of thread and fabric, as you can see in the picture here, but at least when I have been working at the large scale it has been easy to see where the needle is supposed to be. This hasn’t been one of the most complex stitches, but I’m glad that I have chosen to work practice versions of all these stitches before I work them on the sampler or the pincushions!
The Felucca Is Finished
The Felucca
I have finished the first trial of the Felucca design. As I always say of these design fragments, I do not yet know whether they will make it to the final piece.
You can barely see the stitching on the coastline – I used a fine thread and spaced the stitches far apart. For the cargo, I crammed the stitches as close to one another as I could. The sails are worked in Satin Stitches rather than darning, and the spars in Stem Stitches. I’ve decided I am happy with the pinkish tinge on the sails, and the greenish Nile is just as I imagined it would be.
I think it has worked. The reflections of the sails bring the whole piece to life, and I added some small stitches to provide an impression of a reflection of the spars.
Grandmama’s Dragon Footstool
The Dragon Footstool I worked for Grandmama
I think that this was my first reasonably large canvaswork project, worked very early in my stitching career. The design was in the Readers Digest Encyclopedia of Needlework, which is a very good general introduction to a lot of styles of needlework, but needless to say, even at that early stage I made changes to both the design and the materials.
The Readers Digest suggested plain canvas – on the advice of my local needlepoint stop, I used interlock. The project pages said Tapestry wool – again, on advice, I used Persian Wool (lovely colours, and a really gorgeous sheen). They said Tent stitch – ah well, you can guess what’s coming, can’t you! Oh, and the colours were all changed, too. I did paint the design onto the canvas, using my mother’s oil paints, but after that, almost all resemblance to the project in the book ended.
Corner Motif for the Dragon Footstool
The ornaments in the corners were worked in Upright Cross Stitch, which creates a surprisingly heavy texture for such a relatively simple stitch. Looking at the design now (after my grandparents died, the footstool came back to me) I rather feel that the original designer didn’t quite think things through. The corner motifs are all at different spacings from the dragon, and somehow the whole thing looks a bit congested. I think they may have designed for the round footstool bases that were popular at the time, and then added the corner motifs to make it more interesting for those who wanted a rectangular one. Nowadays, of course, I would try to have the courage of my convictions, and remove something or change the spacing, or alter the motifs to create a more pleasing effect. But a printed book looks so authoritative, doesn’t it – not for experimentation. One lives and learns!
Dragon's Head Closeup
The scales on the dragon’s body were worked in Oriental Stitch, and the spines on his back in Kelim Stitch, worked vertically instead of horizontally. Small details like eyebrows and outlining were worked in tent stitch (I do occasionally make the simple choice!). The trailing beard and horns were worked in rows of Knotted Stitch.
I don’t think I would use the same stitches again, or at least, not in all cases. I think the Oriental stitch is at the wrong scale for the dragon’s body – it was certainly a nightmare to get the compensation right! – and the beard and horns in fact need a heavier and more distinctive texture. The Kelim Stitch spines work well, I think, and the corner motifs in Upright cross stitch are successful too. I hadn’t, at this point, worked Slow-and-Steady, and although pictures of the worked stitches give you an idea of the worked appearance, it really isn’t the same as having done it yourself.
Still, it was fun, and interesting, and at the time, Grandmama said she was very impressed!
Commission Completed: Client Captivated!
The Piano Shawl, Finished and Delivered
Although putting the fringing on brought the whole thing to life – which goes to show how important the finishing details are for big projects – I was very relieved when I delivered the Piano Shawl, and it settled into its destined home as though I’d sat there to stitch it. As I don’t have any rooms decorated in similar colours, I wasn’t confident when I finished the piece, until I saw it in place. Phew!
I created a booklet to go with the Piano Shawl, which included a short description from Elaine, describing why she wanted it, and the following, describing how I tackled the commission.
The Piano Shawl - Second View
From the Embroiderer’s Frame
This was an intriguing project, growing out of several conversations, visits to the Client’s house, and an assortment of research in libraries and online for suitable images and inspirations. The ultimate inspiration was a scene in a painting in which the black polished surface of a grand piano was broken by a patterned shawl.
I was asked for a piece that would suit the room and the grand piano, and would in some way incorporate references to Music. I prefer, with this sort of piece, to find some way of allowing the client to contribute, not just with a brief, but with some element of the design, so I devised three possible ideas,
- a piano keyboard stretched into a ring, which would allow for a variety of stitches and techniques
- a series of instruments rendered in a broad, slightly “graphic” style
- a more “romantic” design of flowers
In adapting the inspiration to circumstances and ideas, we decided, rather than using a scattered all-over pattern, to develop an undulating stave design, entwined with flowering stems. The flower patterns were developed from the shapes used by my grandmother in one of her embroidered tablecloths. As she set me off on my embroidering way, I always try to include some idea or reference in big projects! We chose to pick up the floral pattern of the carpet, dusty pinks and apricots for the flowering stems, and take the blue background as the basis of colours for the stave. Then I asked Elaine to write out for me the musical elements that she wanted to have put on the staves.
In the event, this piece involved far less variety of stitch technique than the other design ideas I had thought of, but at the same time it gave scope for a much wider range of variegated threads. The blues used in the stave are brighter than those in the carpet, because darker colours would have dragged the design down, making it seem less light hearted. There is always a balance to be struck in embroidery between the naturalism that is available through needlepainting techniques and producing something that is clearly an embroidery. I almost always choose to do the latter, because the textures of fabric and thread as they are used in embroidery are what interest and inspire me.
My initials and the date are included in Morse code, on diagonally opposing corners.
Now Elaine not only has her Piano Shawl, but something for the archives as well.
Candlestick Bookmark Finished
Finished Candlestick Bookmark
I’ve finished the candlestick bookmark.
I worked the stitches on the candle vertically, and the stitches on the drips of wax diagonally, to try to create a slightly different effect. The light reflecting off the different angled stitches creates almost different colours, and certainly different shades.
The dense weave of the grosgrain ribbon has made stitching this really rather a trial. As I’ve commented already, sometimes I feared I would break the needle, and that has meant that it has required a real effort of will to complete the embroidery. Now it is finished, however, I’m pleased.
The Candlestick looks like engraved brass (with the eye of faith, anyway!), with the vertical stripes suggesting the reflection of other things around the room.
The wax doesn’t really look dribbly enough, but it is as dribbly as I am willing to make a bookmark. If this were to be a wall panel (tell me why I would do that?) I would use bullion knots to make the dribbles look more textured and dribbly. That would also make a bookmark too thick to use.
I think the flame is a real success, though. It is astonishing how such a simple shape, with simple colours and stitches, should be so evocative of the real thing.
More on the Candlestick
Second Stage of working the Candlestick
I wanted to create the appearance of engraved brass on my candlestick, so I began by laying long stitches vertically over the whole area. It didn’t occur to me for a moment to do the surface satin stitches horizontally. When you look at a shiny or patterned metal candlestick the reflected colours tend to blur out vertically, colours of the thread create vertical, slightly blurred stripes in the first layer.
Then I worked a basic laid work pattern over the top, with the diagonal threads couched down with an upright cross at the crossing points.
The background looks a little strange because the light was poor and I had to use a flash. It has washed out the detail of the stitching, and created a strange watermarked effect on the grosgrain ribbon. The weave is so tight that with every stitch I feared I would break the needle, especially at the edges with other layers of stitching to stitch through.
Now I move on to the dripping wax. No, I’ve not forgotten the wick. I just need the candle and the flame in place to weave the thread into the back!
Floral Glove Needlecase Course Month Five
The Cuff of the Floral Glove Needlecase
I’ve had an exasperating time with the Floral Glove Needlecase since you saw it last, what with unpicking and reinstating the gold lace (fx: growl!), and wrestling with the silk ribbon ruffle, which had to be gathered up and attached across the bottom in a sort of squiggle.
However, when I finally got all that sorted out, I screwed my courage to the sticking-point, gathered my wits, picked up my glue-pot, took a deep breath and finished assembling the separate ornamental cuff of the Floral Glove Needlecase.
The Back of the Cuff
So here is the cuff lining. I know that the felt isn’t centred. I was sure that it was on the brocaded silk, but by the time I had tweaked and stretched and glued, that was the best I could do. As someone who is clumsy and awkward with glue I would have prefered a slightly wider margin of fabric around the card shape, which would have made it easier for me to handle.
The front and the back (stretched over batting, heavy interfacing, and light card) are attached to one another by overcast stitching. I used a strand of one of the silk threads from the embroidery – that seemed the best way of being consistent with the materials used.
Now, as I’ve said before, I’m not good with glue and scissors, so I was worn out when I finished, and I know it isn’t perfect, but it does look pretty good, especially from a reasonable distance!
At this point Tricia’s instructions say – I kid ye not! – “Sit back and admire!“.
So I did.
Slow-And-Steady in needlepoint
Slow And Steady needlepoint cushion
I worked this cushion from a design in one of the craft books Grandmama gave me (“The Book of Creative Crafts”, it was called, and it included woodwork, screenprinting and candlemaking as well as embroidery, needlepoint and rugmaking), but in my usual somewhat ambitious fashion, I did not restrict myself to a single side.
Slow And Steady Facing The Other Way
In some ways this made it easier, because the patches of stitching that represented the plates down the centreline of Slow-and-Steady’s shell had to be worked in the same stitch and colour on both sides. That at least meant that those decisions were only made once. I also decided that the shapes of the plates would be the same on both sides (approximately – they were drawn freehand!) and that the colour would be the same as well.
After that, I rummaged through every book on canvaswork I had, to find a sufficient variety of stitches to keep the work interesting. In effect it is a sampler, almost a practice piece, but camouflaged by making it irregular in shape and style. My favourite stitches pop up again – Leaf Stitch, Upright Cross Stitch, Linen Stitch, Byzantine Stitch. In fact this is probably where I met most of them for the first time.
I have a notebook in which I drew out the pattern and then listed all the stitches used, so that if I forgot how to work the stitch I would be able to look it up. I used Persian wool, rather than tapestry wool, and 14 gauge cotton single thread canvas. One thing I did not note down, and should have done, was how many strands of the wool I used for each stitch. I know they are not all the same, but I didn’t keep notes. That means that when I use these stitches in future, instead of checking on my previous experience, I will have to work samples all over again.
I did note down what the materials cost – £13.50. It was a very long time ago!
Calling him “Slow and Steady” was my idea. I always loved the Just-So Stories.