Cone In Braid Stitch
The logo on the Frolicking Teddies Cot Blanket was an interesting element to work. It consists of a letter “S” superimposed over an ice cream cone. Clearly as a graphical element, it needed to be consistent in feel – achieved by using the same thread in each part of the logo – but I also felt that stitches that would work for the “S” might not work for the ice cream cone.
In the end, I used the ordinary Braid Stitch for the ice cream cone, producing a strong, textured line. This is actually an easier stitch than it looks, and in fact when I have a broad line to cover, braid stitch is one of my favourites.
Logo for the Family Business
The “S” was a slightly harder question. I wanted it to be solid and “blocky”, and yet not to have excessively long stitches that might catch. I also wanted the thread to show to its best advantage. In the end I stitched most of it in vertical satin stitch, but outlined it in stem stitch and then created an ornamental line down the widest part, taking my cue from the pierced effect sometimes used for capital letters in illuminated manuscripts. I think this may well be the element I am most pleased with!
Morse Code Teddy
As this was a commission, of course I signed my work. One of the Marching Teddies is kicking a small cartouche in which my initials are worked – in Morse Code, as has become my habit, using French Knots and Bullion Knots.
I decided to line the Cot Blanket. With silk, of course. Although I rather doubted that it would be used except on special occasions, I thought it would be better to protect the back of the work from little kicking feet and little sharp nails! Attaching the lining was a time consuming operation, since I had to make sure it was very firmly attached, without pulling or dragging at any point.
I also provided a tiny leaflet explaining the idea of the design and saying a little about how it was done. This was my very first real commission, and I am glad to report that the client was delighted.
Canvaswork Koala
In fact this is worked on linen, but using canvaswork stitches. I was playing with some needlepoint charting software, in particular to find out how the stitches appeared on the chart and how easy it was to follow. I can’t remember where the Koala came from, whether he was originally in counted cross stitch or whether he was imported from a drawing. It is quite a simple design with relatively little modelling, and I’ve always been rather fond of it.
I used waste canvas to give me the stitch placement, and then simply worked the design according to the chart. The Koala himself is worked in straight stitches using stranded cotton, all six strands separated and made to lie side by side; the tree branch he is clinging to is worked in two shades of pearl cotton, using upright cross stitch (one of my favourites, as you know by now!), and the green frame of Algerian Eye stitches is worked in one of the Wildflowers threads from Caron Collection.
The embroidery has survived much better than the fabric it was stitched on. Originally I made a cushion cover, but the linen was already old before I started and now has holes in it. I’m going to do something with the Koala (suggestions please!) and then the rest will probably go into a rag rug…
Kays Practical Embroiderer
EBay is a very dangerous place…
I bought several more copies of The Needlewoman magazine on eBay when I first discovered it (eBay, that is!), and some of those magazines mentioned “a new style of embroidery” using metal templates. It was called Kay’s Practical Embroiderer. Some time later, a set of the templates came up for sale. Furthermore, I won the auction, so I can now experiment!
Getting Started with Kay's Practical Embroiderer
The templates are mentioned in passing in the book Stitching For Victory (mentioned in my post about the teacloth that took three generations to complete), as a quick and easy method to create stylish embellishments using what was most readily available – darning wool.
Of course, darning wool is almost impossible to find nowadays, but I have plenty of Paterna Persian yarn, so I am using that for this first experiment. It’s much fluffier and more springy than darning wool, so it won’t be exactly like the original, but I’m hoping it will give me some more ideas. It’s certainly making a huge change from the fine work I’ve been doing on the Spot Sampler!
Snipping Away From the Template
So here is the beginning of my experiment. The idea is that there are several layers of surface satin stitch worked over the metal template. I have to say that I would tend to quarrel with the idea of this being a quick technique. As I made progress and added each of the layers on to the petals, it became more and more difficult to to make the stitches. In fact, I made copious use of a needlgrabber (which did help, very much indeed), and frequently broke the thread. I wonder whether that might have been partly because darning wool would have been stronger and more tightly spun than the Persian yarn, and also, perhaps, because the darning wool would have been finer. The instructions say to use two strands of wool in each layer, and I’ve done so. I’m still wondering whether that was right, although I am rather afraid that if I were to use a single strand it might look a bit half-hearted.
Once the stitching is complete, you snip down the centreline of the shape (not easy, even with my very special sharp embroidery scissors), and end up with a raised, furry shape. Finish it off with a few lines of ordinary stitching, and you have a very textured, striking piece of work. The leaflet has a selection of suggested designs and ideas, and it will be interesting to see whether I can manage to devise ways to use the ideas in new ways.
New Background
Remember I said that the Camberwell had other ideas for the background?
At this point the deafening racket of complaints from her became too much for me to ignore and I unpicked all of the background and reinstated it, differently. For instance, you might notice that the twinkly fabric for the water is puckered and gathered to create ripples on the surface.
I then pinned on the different choices of quayside fabric I had prepared, and the slip for the hull, and contemplated them for a while. Beside helping to clear up my choice, I realised that the picture was going to work better if I brought the edges in closer to the ship rather than having an expanse of sky above the mast.
Padding the hull
So, those choices and decisions made, I moved on. I wanted to make sure that the prow “loomed” somewhat, so I put a layer of padding in the shape of the hull over the background. That should also help to ensure that the horizon line does not show through the slip, as well as differentiating the looming bow from the bridge and superstructure. So I also added a further small extra patch of padding to emphasize the flare of the bow – you can probably just see it.
Frolicking Teddies
The “Frolicking Teddies” were created in response to a commission to produce an heirloom Cot Blanket for a much-anticipated first grandchild. In the initial stages of planning, the child’s sex had not been determined, so we planned a gender-neutral design of Teddies. I was also asked to include the logo of the family ice cream business, so in the end settled on a story of exuberant, star-jumping teddies down one side, with the logo in the lower left corner, and a procession of teddies with ice-cream cones in their hands (sorry, paws!) walking from left to right.
Once the child’s gender and name became known, I chose the colour for the logo and embellishments, and then added his initials in the top right hand corner. The initials gave me some concern, in fact. I usually use Portuguese Knotted Stem Stitch when I want a heavy line, but when I’d completed the Teddies and the logo, I felt that that would create too heavy an effect in the top right hand corner. I settled on Heavy Chain stitch, which produces a smooth, strong line, but doesn’t have quite the overbearing personality of the Portuguese Knotted Stem Stitch.
Since the commission was explicitly for an heirloom, I used cashmere blanketing as the base fabric. Fortunately, since it’s not easy to get in the UK, we were visiting my husband’s family in Australia at the time I was sourcing the materials. It’s really a lovely fabric to work with, and I still have some left, awaiting further inspiration. Or another commission!
Two Teddies in Procession
The teddies are worked in long and short stitch using Paterna Persian wool. The only challenge there was the tension of the stitches, since it was especially important not to pucker the fabric. At the same time, I didn’t want the stitches to be too loose and snag on anything…
The ice cream cones were worked in stranded cotton, and the logo, initials, and the Teddies’ scarves were all worked in a standard variegated pearl cotton. Each scarf is worked in several rows of a different line stitch – stem, chain, Portuguese knotted chain, and so on. This was a way for my passion for stitches to inform and adjust the design, while remaining closely within the brief.
The two stitches this month are stitches I think I have seen used as needle-lace stitches, but whereas I’m most used to seeing variants of Blanket Stitch used in needle-lace, these are worked using Up-and-Down Blanket Stitch.
Up And Down Blanket Stitch - Alternating
As it happens, the Up-and-Down variant is one of my favourite stitches, so I sat down rather gleefully to have a go. This is the first of the variations, Alternating Up-and-Down Blanket Stitch, which produce a rather open, netlike appearance on my practice cloth, not much resembling the example in the instructions.
Up And Down Blanket Stitch With Return
The second stitch was Up And Down Blanket Stitch With Return. In this case the seconfd row of stitches goes into the tie of the Up And Down Blanket Stitch, creating a ribbed effect something like the welts on a sweater. It also rather conceals that same distinctive tie stitch, rather camouflaging the stitch that forms its basis. I’m very impressed that Tricia managed to “reverse-engineer” these stitches, as some of them are rather less than clear to work out!
Both Stitches In Pearl Cotton
Naturally, my practise cloth version in the gold thread suffers from the problems of scale I’ve already discussed, but as well as that I find when I look at the photographs that in a couple of cases I have done a pair of buttonhole stitches instead of an Up-and-Down Blanket Stitch. I defy anyone to work that out at the normal scale of these stitches, but I’m actually quite surprised that I didn’t notice at the time, since the short loop at the base of up-and-down buttonhole stitch does tend to twist when worked as a needle-lace stitch instead of a fabric stitch!
These versions worked in pearl cotton show much more clearly the heavily textured fabric that these stitches form when worked at the correct scale.
Sir William Matthew Flinders Petrie (picture from Wikipedia)
I recently had a trip to London, when I managed to fit in a brief visit to The Petrie Museum of Egyptian Archaeology as part of my background research for the Dreams of Amarna panels. Sir William Matthew Flinders Petrie excavated at Amarna during the 1890s, finding and recording a fine painted pavement, since destroyed, of which Mary Chubb, who wrote the book which inspired the Dreams of Amarna project, would certainly have known. He also trained Howard Carter, whose discovery of Tutankhamun’s tomb sparked the Egyptological fever that took hold in Europe and indirectly provided the impetus for Mary’s career.
I arrived late in the day, and really didn’t have much time to look around, but I did tell the lady at the desk why I was interested, and was rather startled when she said “Oh, then there is something you must see!” and took me to see it. It turned out to be a modern tapestry, woven at the Ramses Wissa Wassef Art Centre in Saqqara (itself a place to set Egyptologists a-tingle) and named “Dahsur Lake” . The tapestry is very reminiscent of the Amarna style, full of life and colour, vigorous and joyful. The weavers produce their panels without sketches behind their looms, and I am astonished at what they have produced.
Clearly I am not alone in finding the art and story of Amarna inspiring. I wonder, will I produce something as good?
Flower 6 - Close Up
Here is the second installment of close-ups of the Flowered Blouse embroidery. I’ve noticed in picking out the Needlewoman magazine that the transfers came in that the colours I have used bear absolutely no resemblance to those suggested. For instance, flower 6, here on the left, is named as “Lobelia”, and a quick search suggests that real lobelias are bluey-purple!
Flower 7 - Close up
Flower 7, here on the right, is the same as Flower 2, but in different colours, and in fact stitched more openly. It is described as a Convolvulus in the the magazine.
Flower 8 - Close up
The Flower 8 is the same as Flower 3. This time I used the same stem colours, again to help maintain a certain unity. They are supposed to be Globe flowers.
Flower 9 - Close up
Flower 9 is the same pattern as flower 5, and I think is supposed to be a Peony. I distinctly remember finding this one troublesome to stitch – partly, I think, because of the size of some of the stitches, and partly because I couldn’t make sense of the flower as depicted in the transfer. Nowadays, of course, I would go and find a peony, and stare at it until it made sense, but that method had not occurred to me at the time!
Flower 10 - Close up
Flower 10 is described as a Wood Anenome. Like Flower 4 (Forget-me-nots) it shows the edge of the blanket stitch curling in, rather than staying flat, but I am glad to see that at least the French knots loook better than I expected. I have always had trouble with French knots…
The magazine suggests a variety of uses for these transfers, including a “delightful party frock” for a little girl, a “dainty bed jacket”, and embellishment on a “puff handkerchief” which is an accessory I’ve never heard of before. For once the internet has not been my friend, although the drawing suggests some sort of combination of a powder-puff and a handkerchief that I strongly suspect would be nothing like as practical as the “two-tools-in-one” brigade would have us believe!
Tudor Pincushion Silkwork Finished!
Finally, I have finished the silkwork on the Tudor Pincushion, which is part of the Tudor and Stuart Goldwork Masterclass course I am following.
I think I need to find something that is less fine stitching than this, to give me a rest from all these tiny stitches!
Still, you can see that the final pattern is simple enough in concept, and there is just enough subtle variation in the colours to make the design interesting. The final effect is almost one of a woven fabric, as though the goldwork were embellishing a genuine tapestry. Remember that a real tapestry is woven (the Gobelins ateliers in France are the best known, historically, although a lot of tapestries I’ve seen have been from the Netherlands). A real tapestry is not worked in tent stitch on canvas, whatever the kit manufacturer says, and the Bayeux Tapestry is in fact an embroidery!
First Stage of Goldwork
I’ve also begun to work on the goldwork stitches. The small gold spots are worked in Eight Legged Spider’s Web Stitch which I first encountered in Month Four, and which is a great trial at the size it needs to be on the pincushion. I’ve not quite persuaded myself that I need to restitch them, as they didn’t markedly improve over the four I’ve done, but I am certainly considering the possibility.
The channels between the back stitches are filled with Reverse Chain Stitch, which I first encountered at the very beginning of the goldwork section of the course. This is an easy stitch to do, and very satisfying to see it build.
The course materials have included two Japanese hand made needles, which I was hoping to experiment with at this point, but I can’t even thread them! The eyes are much too fine for the thread, which is awkward, since I may be wasting quite a bit of gold thread unnecessarily because my ordinary needles strip the gold from its core.
There has to be a better way…
Flower 1 - Close up
You may recall, not so long ago, a post that I wrote about a blouse embroidered some years ago, during a particularly impoverished period in my life. Here are the promised close-ups of the floral motifs.
Or at least some of them. When the connection started slowing when I put all ten in one post (before I even started to add any text!), I decided to split them up. I’m hoping to put five per post and just write two posts…
Flower 2 - Close Up
I’m no botanist, and if I am honest, I suspect the original designer wasn’t either. The various pictures and descriptions in the magazine did not suggest a slavish adherence to the natural colours of the flowers – even supposing one could be sure of their likely species!
Flower 3 - Close Up
The polyester was not an easy fabric to embroider, and frankly the blouse wasn’t worth the effort I put into it, being a lot like a cheap school or office uniform blouse, but as I said in the original post, I didn’t really have a choice at the time. That said, I do still wear it, not without pleasure, so there is something to be said for all that effort, perhaps.
Flower 4 - Close Up
The stitches used were very simple ones, for the most part – satin stitch, fishbone stitch, stem stitch, blanket stitch, and the occasional French knot. The close ups show that the blanket stitch refused to settle properly and the spine of the stitch has rolled inwards from the edge, but that may simply be the result of years of wear and tear. The blouse goes in the washing machine when it needs a wash – inside a pillow case or lingerie bag, admittedly, but I don’t hand wash it.
Flower 5 - Close Up
When I was choosing the colours and the stitches was more concerned to balance the colours across the front of the blouse than to create accurate depictions of plants, but for all that, there are some motifs more reminiscent of the real thing than others!
