Recently I’ve been playing around with different thread ideas for the Tree of Life. The first colour scheme I picked was a selection of Rainbow Gallery Splendor silks in blue, green & purple for the leaves and brown for the stem, all in three shades, with some yellow touches thrown in. Quite a nice combination, although the blue is a bit more blue-grey than I would have liked.
Then Serinde pointed me in the direction of Pearsall’s Heathway wool, and, well, you know what came of that. The blue in the starter collection I got isn’t any brighter than the Splendor blue, and the purple (“Aubergine” the shade is called) is rather subdued too, but even so it would work quite well for a traditional tree on twill fabric, especially if I switch to a slightly brighter blue (Lapis, perhaps) and a more muted green (I’m thinking Willow Green instead of this Laurel). At first I intended to use it for the version of the tree with the bird and lettering. However, will wool go well with small letters? Or would I need to switch to silk for that?
And there’s the matter of the other colourway. I had an idea of doing one in autumnal colours. A bit inappropriate, come to think of it, as these colours are caused by the leaves dying, which is not quite the message you want a Tree of Life to give. On the other hand, autumnal colours are very, very beautiful, and as the dying of the leaves preserves the tree’s energy to grow new leaves when spring comes again, perhaps I can just about pull that idea off. But autumnal colours and caterpillars don’t go together very well either. Will the caterpillar, who strictly speaking shouldn’t be around in autumn, enjoy his hypothetical bite of leaf if the leaf in question has turned orange, however vibrant and lovely? Or am I being too literal-minded about what is rather a symbolic and stylised design anyway?
Very well then, let’s use the blue-purple-green colour scheme for the caterpillar tree, whether in Splendor silk of Pearsall’s wool, and keep the autumnal colours for the bird-and-lettering tree. There are birds in autumn, so that’s OK, and going with silks for this version also gets around the problem of having to use wool for the lettering. But. As with the other version I would really like to use at least three shades of every colour, and I don’t have them in Splendor silk. I have some lovely radiant yellows, vibrant oranges, mossy greens and warm browns, but not three shades of each. Nor do I have them in any other silk. I could buy some, of course (Soie d’Alger comes in a wide range of colours and is lovely to work with), but having splashed out only very recently on the Heathway wool I feel I can’t really justify any further speciality thread purchases for a while. And the Splendor shades do look the part – there would just be rather less shading. One way around that would be to have a dark yellow and a light yellow leaf, a dark orange and a light orange one, and so on. I’ll have to think about that one.
Or I could ditch the idea of silk altogether, and go with DMC Coton à Broder. Size 25 is about the thickness of two strands of stranded cotton, or perle #12, and although it wouldn’t be quite so plump as the Splendor silk (which is absolutely gorgeous to work with) it would show the texture of the various stitches rather nicely. And it comes in quite a lot of colours, some of which would make a lovely autumn tree.
Then there is the question of what to use in the couched leaf. Something gold, but of course that could be either a colour or a metal. In at least one of them I would like to use a pair of gold passing threads, probably on a tree that’s worked in silk. A more economical version could use one of the many Kreinik metallic threads – I’ve got their 1/16″ ribbon and #16 braid to try out. Still less of a strain on the budget, but not quite so shiny, is a golden yellow perle #3.
Besides these versions I have a few other ideas as well, although I’m not sure if they will ever happen; how many Trees of Life do I want to stitch? (I suppose I could stitch as many variations as I want to try out and donate one to each of the churches in our village. Or parish. Or county.) But I can envisage a goldwork tree, for example – the outlines of the stem worked in overstretched pearl purl with a core of dark brown silk on the left and light brown silk on the right; and two curved lines of couched passing thread down the middle, worked in or nué with medium brown silk. As for the leaves, well, where do I start…