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!
While I am still trying to work out how to do the Chorus of Angels, I’ve decided to work a single Angel from the Chorus in an entirely different medium – needlepoint. The original idea was to have it done by Christmas, but I’m becoming aware that that isn’t very likely now.
Once I’d made that decision I had a lot of fun playing with bargello patterns and trying to choose something suitable. I’m using a fine canvas – 18 count, I think, although as it came, unlabeled, in among that collection of supplies that included several frames, I’m not sure. It’s full of size and is going to be rather a trial to stitch, I fear.
I’ve decided to use the gold pattern on the far left (slightly altered) for the background, to give an effect a little like the patterned gold background of an icon. The lines of this panel are so simple that I can afford to use some quite complicated patterns, I think.
In the end I settled on the green and red spots in the upper middle for the cape, although choosing the colours hasn’t been quite straightforward. The wings are still puzzling me.
Since I have decided on a gold background for the angel, I decided to paint the background canvas gold as well. That will help to boost any thin coverage.
I’ve worked the gown underneath the cape very simply, in cream brick stitch, and the face and hands using gold tent stitch. None of the variants of flesh colour seemed right, and the gold does at least belong in the design.
I keep on finding things that I’ve not quite finished, don’t I – and in some cases I had completely forgotten about them.
Like this one. I know it was a kit – stranded cotton worked in half-cross stitch on canvas, – but I don’t know why I bought it.
And I clearly had something in mind for it, because I have attached it to a cotton furnishing fabric. Equally clearly, it wasn’t going to be a cushion centre, or I would have centred it on the fabric. It is only about three inches square, so I suspect I had in mind making it into a needlecase.
But before I do anything else with it, I have to find some way of covering those raw edges of canvas with something that looks deliberate!
In other news, though – I’ve finished the second Crane!
Actually, you may recall that it was the first, but I decided it looked too overheated in the pot it was destined for, and set it aside for another version.
I found in when I was looking for something else, and finished it. At least, the embroidery…
I will probably mount it on a circle of card, and put in that famed Winter Decoration corner.
At least I know what I’m going to do with this one!
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…
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.
We interrupt our normal programming…. to bring you your first sight of the whole Cushion.
Probably your only sight until I take it off the stretchers, too. As it turned out, getting the canvas rolled up neatly again, under sufficient tension, was really quite a task, involving two people and much changing of minds, as well as many rollings and unrollings. Furthermore, since the rollers are permanently set in their sockets, it won’t be possible to show the whole thing without taking it off the stretchers. I shan’t be doing that, because I really don’t enjoy the mounting process!
However, I can report that I am really very pleased with how it is going. I think I need another set of greens for the next section, since there seems to be a rhythm of sorts going on there. I certainly need something bright, with a bit of punch and impact. I like the last two sections — they work well together – but they are beginning to look a little too well behaved. It’s not quite as riotous as I was hoping…
Section Nine of the Crazy Canvaswork Cushion is worked in Moorish Stitch, a diagonal stitch to set against the crossed stitch of the previous patch.
There is one heathered thread in this pattern – the solitary tent stitch vertically separating the short dashes. That’s turned out a bit too subtle, but it does help to maintain the difference between Moorish Stitch and Jacquard Stitch, for example.
This patch took longer to do because as the weather warms up, wool becomes a less appealing material to work in. In addition, the main, peach wool proved to be rather harder to separate that I expected. It’s labelled Paterna, and should be exactly the same as all the other threads, but it was harder to strand, and has slightly less sheen.
Now I need to pick a stitch – I think it should be a straight stitch, with pattern that runs horizontally – and then pick the colours for Section Ten…
This tree pattern is one I’ve been looking for an excuse to do for quite some time. The book in which I found it suggests using it for small pieces like spectacle cases, but I’m not sure I agree. I think it might make for a rather overpowering pattern if not contained by something else. That same book said it was easy, and I’m not sure I agree with them about that either – I had to unpick all the trees the first time I did them, because I’d repeatedly got one element of the stitch placement wrong, in a rather unfudgeable fashion!
Section Seven covers – just – the whole width of the cushion, and makes a good interruption to the rhythm I’d built up.
It occurs to me that it might be a good candidate for a single colour design, one of these days, especially a light colour that will allow the ends of the stitches to cast shadows and build up the pattern.
As though I don’t have enough plans swirling in my head!
It turned out that the next section was rather tricky to pick a colour for, until my mother suggested blues, to help reflect the pattern around Section Seven.
I decided to create a shaded effect on Section Eight. I used three strands of wool, which meant that I could create a fairly subtle graduation starting from three dark strands, and progressing through 2 dark and 1 medium, 1 dark and 2 medium, 3 medium, and then 2 medium and one light, 1 medium and 2 light, then finally 3 light.
The stitch is Dutch Stitch, found in Mary Rhodes’ Dictionary of Canvaswork Stitches. It is a condensed, closely worked crossing stitch. In fact it is so condensed as to be quite an effort when worked in three strands on this canvas!
Still, I expect it will prove a hardwearing stitch, and the texture is a good contrast with the smoother textures of the straight stitch patterns.