Last Friday the SAL materials list was published – high time for me to stop stitching samples and start stitching complete trees! But before I can do that, like every other stitcher who will be doing the SAL, I need to choose my materials.
As I need to stitch both the Plain and the Bling version, it seemed a sensible idea to make sure they differed as much as possible, not just in the addition of goldwork materials. In previous SALs I generally made sure I did at least one version with the most basic materials possible, which in this case would be stranded cotton (DMC for me, but Anchor works equally well) on a cotton ground. This budget version, even if you had to buy everything from scratch (20 skeins of stranded cotton, a fat quarter of medium-weight cotton fabric plus calico backing, one size of sequins and 2 colours of beads) would come in at around £25, and you’d have plenty of leftovers. Work from stash and you can get away with a minimal outlay.
But… but… Even though I know that an “economy” version with standard threads and fabric can look just as good as a more expensive one, I already had two combinations in mind, and I really don’t want to do three trees! So I’m hoping some of you will show us just how beautiful a stranded cotton tree can be, and I’ll show the effect of wool on twill and silk on linen.
First the fabrics. I was about to post pictures of my actual fabrics in action, with the design transferred onto them, and then realised this rather defeats the purpose of a Mystery SAL. So just pictures of the fabrics used in other projects, I’m afraid: traditional twill as in the Rabbit & Carnations, and a densely-woven German linen as in Llandrindod.
Once you’ve chosen your fabric, there is another decision to be made: To Back or Not To Back, that is the question. Easy enough with the twill – twill is a sturdy fabric that can stand on its own and doesn’t need backing (I’m sure there are exceptional circumstances when it would be a good idea, but let’s stick with unexceptional for now). But what about the linen? Because it’s a good weight and a close weave, I don’t back it when I use it for small projects like the Ottoman Tulip; I did back it with a very light Egyptian muslin for Llandrindod, but with hindsight that wasn’t necessary. The SAL design, however, is not only a much larger piece than either of these, it will also have goldwork elements in it, and I do find a backing invaluable when doing goldwork because it makes all the oversewing of plunged ends so much easier. So a lightweight calico backing it is.
As for hoops and frames, the twill (which will have the design in the larger of the two sizes) is now securely fitted in my humongous 14″ hoop (it’s a monster!) – the binding definitely helps to get good tension, and although it is very difficult to get perfectly drum-taut tension with a hoop that size, there is a distinct drum-like noise when I gently tap the fabric. The linen and its backing will be mounted on the Millennium frame, and I will then lace the sides for extra side-to-side tension.
On to more colourful decisions: threads! The twill pretty much chose its own threads – traditionally it is used with crewel wool, and although it is of course perfectly possible to use it with other threads it is such a tried and tested combination that I am happy to go with it. Added to which I absolutely adore working with my Heathway Milano crewel wools, so any opportunity is gratefully seized on. When I first started designing this tree I envisaged it with leaves in blue, green and purple. As blue and green are also two of the non-leaf colours, this means you can save on your materials by having those two shades double up. With two shades of beads (leaving out the optional leaf-coloured ones) and one size of sequin instead of three, this gives you the bare minimum needed for the SAL. I went for fairly muted shades, especially the purple.
However, I have lots more shades of wool and it seems a shame not to use them, especially as some of them are rather lovely and bright. So I also put together a set with separate leaf colours – muted Aubergine made way for Lilac and was joined by Lagoon and Dusky Rose, as well as an extra shade of beads.
For the silk version I originally picked Rainbow Gallery Splendor stranded silks, which are lovely to work with (and some of which I’m using in Llandrindod), but although there were enough shades for the blue-and-green-doubling-up version, I just didn’t have the range of colours needed for a version with separate leaf colours. I reluctantly abandoned Splendor and had a rummage in my Silk Mill boxes. Their threads are filament silks so they have a lovely sheen; unfortunately they are also rather more difficult to work with because of their springiness (steaming them beforehand helps). Still, I managed to stitch a medieval King with them quite successfully, so I’ll have a go! Some of the goldwork materials in the picture won’t be in the final project, as I put in both options where I hadn’t quite decided yet which one to use (like the two black metals, one rough purl and one wire check). Silk being rather less bulky then crewel wool, I could fit all the threads and goldwork materials in one little project box – doesn’t it look neat?
So there I am, all set to start stitching! (In between sorting out some issues with my Certificate piece…)