Building a Hardanger house

What is the opposite of a housewarming party – a housecooling? I mean the occasion when people hold a party/open house/get-together in their old house before moving to the new. Whatever it’s called, we were at one last weekend, and as we were walking back home my husband said wouldn’t it be a nice idea to stitch them a Moving House card, and how long did the Moving House Turtle take to stitch?

Not very long, but of course I’ve stitched it once already, and wouldn’t it be much nicer to design a new card from scratch? So I set out to do just that.

Hardanger, probably. You should be able to do a Hardanger house. I’ve seen lovely designs where there is a cross stitched scene behind the Hardanger, visible through the cut windows. A wonderful concept, but I don’t want to pinch other designers’ ideas and besides, it would probably be too big for a card, and take too long to stitch. OK, no cross stitch behind it.

So I started with the outline of a house in Kloster blocks. Quite a simple outline, the sort that a child comes up with when you ask it to draw a house. Walls, sloping roof, door, window. It’s a bit bare, and there’s too little contrast between the roof and the wall. Obviously the window and door will be cut, but I can’t really cut the roof, it would look all wrong. As though I’m wishing them a new home with a leaky roof that lets in the draught.

Very well then, perhaps some sort of background stitch? I happen to have just the thing, a sort of basketweave pattern. Unfortunately it consists of bunches of three stitches and the Kloster blocks have 5 stitches, so a bit of fiddling is called for, but after a while the first draught of the Hardanger house is ready.

Home Sweet Home

The shape is all right, but it looks a bit dull, all those greys. I should use some colour. The roof might be thatched – I have a Caron thread with browns and mossy greens and straw shades that would be just right! A whitewashed cottage then, with white or off-white walls, and a variegated brown for the door and window frames. What about the filling stitches? They should suggest glass, so let’s use a pearl white metallic thread. It’s becoming much more colourful already!

Home Sweet Home

It needs a little more though. Shutters perhaps? I was thinking of Dutch houses with green, red and white shutters, and asked my husband what colour shutters like that would be in England, only to be told that English houses don’t have that sort of shutters on the outside. Oh well, back to the drawing board.

Dutch shutters

Roses round the porch then? Using nice thick threads that make good, plump French knots. In red and yellow; or dark rose and dark gold, to fit in with the mossy greens and warm browns of the roof and walls.

Home Sweet Home

By now I’d decided to call the design "Home Sweet Home", and that made me think it would work as a sampler too. Something to hang in the porch or hall, to welcome you as you come in. But that would need words. In cross stitch over one, with lots of French knots scattered around it to echo the roses.

Home Sweet Home

And that is how you build a Hardanger house!

A proper blog

Those of you who have been reading FoF for some time will know that I described it as "not quite a blog". It was just a page on Mabel’s Fancies – you could follow it via RSS, but you couldn’t sign up for email notifications, you couldn’t search the posts and you couldn’t comment!

So why the change to A Proper Blog? Well, I found a way of keeping it on my own site; and I thought it would be nice to hear from people who read it; and it was a nice challenge to my coding skills to try and make the blog look as much like the rest of Mabel’s Fancies as I could. And so here it is *drumroll*: Flights of Fancy, The Blog.

I’ve made sure that everything posted on the old not-quite-a-blog is here as well, just in case you’d like to look up some of the old musings. And of course you can comment on them now! You will have to register in order to comment, and people’s first post will be sent to a moderator before appearing – stitchers are all wonderful people who wouldn’t dream of posting anything rude or unpleasant, but unfortunately there are rude and unpleasant people out there who might sign up even though they aren’t stitchers, and one has to be careful.

if you enjoyed reading the old Flights, I hope you will find the new version equally enjoyable. And if you are new to FoF, I hope it will prove to be entertaining and perhaps even useful every now and again!

Another variation and a new stitch

I may have mentioned that we have a lot of birthdays and other celebrations coming up … and so yet another Round Dozen variation has seen the light. I tried a different cutting pattern this time, leaving a central "X" of squares uncut and embellishing them with surface stitches pinched from Tulips.
It also led to a new filling stitch. Because of the shape of the cut areas (a rectangle made up of two squares) none of the usual filling stitches felt right, so I just doodled with my needle and came up with something half way between a square filet and a dove’s eye, which because of the shape I thought I’d call Gamma stitch. It may, of course, be out there already, and have a name too – in which case do let me know!

Round Dozen variations Round Dozen variations

Frozen Flower progress

Frozen Flower is proving to be a bit of a headache; at least the larger of the two designs is. After tinkering with the bars and filling stitches several times I have decided that I will need to delete the entire cut area from the chart and start from scratch – as long as I try to change the existing pattern I don’t think I’ll be getting anywhere.
The process hasn’t been helped by the fact that so many other things are going on, from choir practice to church meetings and from school concerts to quiz nights (our team came third, in case you’re wondering). But this weekend I will have a bit more time, and my goal is to have Frozen Flower recharted by Sunday afternoon. To encourage me I ordered some perles I’d be needing from Sew & So, which arrived yesterday, so I’m all set to go!
And whatever happens to the larger Frozen Flower, at least the smaller version is coming along nicely. I like the way the blue and white work against the dark fabric, and I’m enjoying doing the woven picots, which fortunately are coming out pretty much as I’d envisaged them. It’s nice to know that even if the larger design turns out to be a lost cause, most of its characteristics will be preserved in this smaller one. And because the real fabric-and-thread stitching always looks so different from the chart, here’s a sneak preview of some of Frozen Flower’s 3D effect:
Frozen Flower

Variations on variations on a theme

No, my fingers didn’t have a stutter when typing the title, nor did I have an accident with copy &paste. This is about variations on Round Dozen, whose twelve designs are themselves variations on a theme.
I always intended these designs to be just the right size for coasters and cards and so on – relatively quick to stitch, suitable for birthdays, new babies, anniversaries and Thank Yous, and easy to adapt to the stitcher’s or the receiver’s taste by changing the colours.
The ease of changing the colours was an important consideration when I designed them – it was one of the reasons why I went for one neutral and one coloured thread per design (and why I suggest 2 or 3 options for each of them in the chart packs). It meant that you didn’t have to worry about getting just the right shades together, or about needing four or five shades of one colour, or anything like that. It also meant that the designs were perfect as trial pieces for hand-dyed threads; you get to see your speciality thread in action, it doesn’t take very long, and you end up with a useful, versatile and decorative piece of stitching into the bargain.
So whenever I find myself in need of birthday cards in a relatively short time, I turn to these twelve. But having stitched them all as models for Mabel’s Fancies, I don’t really want to do them exactly the same, and so over the past months I’ve tried various changes. The easiest is to change the colour – here is East using a hand-dyed perle; I also exchanged the neutral thread for an Anchor perle with metallic running through it (the original is on the left, the variation on the right).

Round Dozen variations Round Dozen variations

Another fairly uncomplicated change is to use a coloured fabric; it makes quite a difference whether you stitch Spring using green on standard white, or with a variegated yellow/pink on a dark red background.

Round Dozen variations Round Dozen variations

But for the adventurous, there are even more options. The central Kloster block diamond is exactly the same size in each of the twelve designs; the double cable stitch border surrounding it in eight of them is only a little wider than the chain stitch border that is used in the other four; quite a lot of the small satin stitch motifs are roughly the same size; and the majority of the speciality stitch outer borders are interchangeable.
So if you like the satin stitch motifs and chain stitch of West, the outer border of North, the filling stitches of Morning and only the central square left uncut; or the cutting pattern of South with the filling stitches of Night, the satin stitch motifs of Morning and the border of Spring; there’s no reason why you can’t combine them.

Round Dozen variations Round Dozen variations

And then of course you can use different types of thread – here is a hybrid Summer/South, on coloured fabric, and using Gentle Art hand-dyed wool (which Tiffany, a generous fellow member of the Cross Stitch Forum, sent me to try) instead of perle #8.
Round Dozen variations
So let your imagination run riot, try different cutting patterns or no cutting at all, use two contrasting colours instead of one colour and a neutral, stitch on hand-dyed fabric, do whatever you like – and then send me a picture!

Stitching for an occasion

Remember Lustrum?
Lustrum
The poor thing was intended as a celebration of our fifth wedding anniversary, but having charted it in two versions I foolishly decided to stitch the "neutral" version (without dates and initials, and with the cut areas shaped like shields instead of hearts) first; and of course the second version never happened, even though I have the hand-dyed material which I specially picked for it (from Crafty Kitten, worth a look) and the Caron threads to go with it.
The trouble is that there are so many things to stitch – and of course the latest designs usually shout loudest, winking at me with their dove’s eyes and crying "Stitch me!", "No, stitch ME!".
But things are looking up for Lustrum, as I appear to have entered a period bursting at the seams with celebrations of one kind or another (all of which need to be stitched for, of course), and one of them happens to be an anniversary. So I have blown the dust off its chart, deleted our initials and date and replaced them with the appropriate ones for this occasion, got out the fabric and threads, and …
… decided that they were quite the wrong colour. Well, after all, I’d chosen them for us, and this is a different anniversary altogether. After some thought I decided on light blue fabric with white or pearl metallics and a pale blue/pink/peach Caron thread. I’ve got the fabric and the metallics, but that particular shade of Caron I only have in Impressions, their silk/wool thread, not in the Watercolours and Wildflowers which I use for Hardanger.
There’s no help for it, I’ll have to do some stash shopping. How terrible.

The temptation of pretty threads

When I started charting, I knew exactly what I wanted Flora to be (even though it didn’t have a name at that point): a simple design (or possible two variations) that would make a quick and attractive card for various occasions, floral in look, not too challenging in its bars and fillings, and using standard perles. The idea was that beginners would be able to tackle it and produce something pretty and useful relatively quickly, without the need to splash out on speciality threads they might not use again (although I’m always happy to encourage people to experiment with different threads, of course), while more experienced stitchers could use it as a relaxing little project between larger or more challenging ones, and would probably not need to buy anything but be able to stitch it from their existing stash.
I ended up with two variations, one in purples and one in pinks, though with a slightly more difficult filling stitch than I had originally intended (spider’s web rather than square filet). I defended this decision by telling myself I’d include instructions for the square filet as well, and leave the choice to the stitcher. Otherwise, it was still very much along the lines that I’d had in mind – nothing too fussy, quick to stitch, and using only standard DMC perle cottons.
Then I looked through my box of Caron threads for a completely unrelated project, and saw these:
Flora Threads
All right, so I cheated. But then people stitching this in future may want to use speciality threads as well, and surely it is my duty to try it out for them? Well, that’s my excuse, anyway, and I’m going to stick with it!
So that was the purple version taken care of. I decided to be a good girl when stitching the pink one and got the required DMC perles from my box for when I start Flora 2 tonight. But then, as I sat at my computer, I caught sight of a picture of Tulips. It uses beaded square filets. I’ve got some lovely yellow frosted beads that would go ever so well with the yellow perle used for Flora’s filling stitches …
So Flora’s chart pack will come with a variety of instructions – standard perles and hand-dyed threads; spider’s webs and square filets (beaded or plain). And plenty of choice for the individual stitcher. Let’s hope the individual stitcher likes choice!

Deceptive charts

I’ve done it again.
You see, I like playing around with filling stitches (and other stitches as well, but let’s stick to filling stitches for now). Make them larger than usual, or add beads to them – or both at the same time, as in Frills. Or make up a stitch from scratch, like the Bow Tie in Noon and the Woven Picot filling in Night (which I thought of calling Furled Umbrella stitch at one point …)

Frills Bow Tie Woven picot

Another thing I like to do is to combine colours within one cut area, for example in the cut areas in Spice Islands, where the filling stitches go from Ground Ginger yellow to Clove brown. Or (and this is where we come to the design problem I’m struggling with at the moment) Luck of the Irish, where one colour is completely surrounded by another.

Cloves close-up Luck of the Irish

I liked that effect so much I decided to use it again in Frozen Flower. Bright white filling stitches would appear to float in a sea of ice blue or silver grey filling stitches. I charted two designs, one small, one a bit larger. The small one is my present project (the two of them were originally meant to be one of my February finishes but that’s obviously not going to happen). I made some changes to the small version to accommodate some lovely hand-dyed fabric from Sparklies, reversing the colour scheme and reducing it to two shades rather than three. It took some navigating to work out a stitchable way round the fillings, but I think I’ve plotted a workable route (fingers crossed). So far so good. The trouble, however, is with the larger design.
Frozen Flower
Why is this more problematic than the small one? Because the dark bars, which need to be worked first, are placed in such a way that you would often have to return through the back of a recently worked bar to get to the next bar. Not insurmountable if it happens once or twice within a design, but definitely undesirable when it practically becomes a feature!
But how does this sort of thing happen in the first place? Well, it happens because when I’m charting (sometimes on paper, more usually on the computer) I can draw in woven bars and wrapped bars and all sorts of bars and fillings anywhere I like, and so I tend to just place them in a pleasing shape or pattern. Usually this isn’t a problem – when you’re working in one colour, whether it’s traditional white or more colourful, you simply fill the whole of the cut area, sometimes weaving through the back of a few Kloster blocks.
When more than one colour is involved, however, you can’t always use Kloster blocks to get from one bar to the next as there may not be a Kloster block bordering any of the colour you’re working on. In Luck of the Irish, you have to take the needle through one green bar to get to the pink ones, and through another to get back and fasten off, and that’s manageable – but more than that I wouldn’t inflict on anyone but myself!
"So just rechart it," I hear you say. That’s the obvious thing to do, of course. But I’ve rather fallen in love with the shape of the white filling as it sits inside the darker filling, and for the moment at least, I simply cannot find a balance between its being stitchable and looking "right". It’ll come in the end, no doubt; and in the meantime it’s bound to be doing my character a lot of good, teaching me patience and humility …

A problematic set

Some designs seem to cluster together but aren’t really sets at all, more of a process where one design suggests another and so on. It all started with a design using thistles. Thistles mean Scotland. Or Eeyore, if you’re a Winnie the Pooh fan, but I thought something Scottish would probably sound better. So I named it Scotland the Brave.
Scotland the Brave
Then some time later I came across a discussion (either online or in an old stitching magazine, I can’t remember) about the difficulty of representing anything five or six-sided in counted thread work, a medium that is intrinsically based on squares, or at least on a fabric that does right angles naturally, and 45-degree angles with some persuasion, but struggles with anything else. Hardanger is, by its very nature, quite square. What a challenge! Could you create, say, a five-petalled flower in Hardanger? Like a Tudor rose, perhaps? After much charting, re-charting, and re-re-charting, I decided you couldn’t, and Tudor saw the light of day in a four/eight-petalled variety.
Tudor
If I’d had any foresight, I would have made it the same size as Scotland the Brave, realising that I had a series in the making, and the Tudor rose could represent England. A little more foresight yet, and I would have called it Merrie England.
By the time I was jotting down ideas for a clover-based design, the idea of a set had finally suggested itself. Clover, Ireland … Luck of the Irish joined the other two. It had the same basic outline as Tudor, and the same size. I was on to something!
Luck of the Irish
Have I mentioned that I like things that come in fours? And the fourth in this set would, of course, be Wales. Somehow I can’t quite envisage a leek-based design, but daffodils offer definite scope; and if I give it the same basic shape and size as the thistle design, that would even things out nicely. And then I’d have a UK set – a nice tribute to the country which I now call home. Tudor could be renamed, and the daffodil design could be called Land of My Fathers or possibly Eisteddfod (or if I was feeling really silly, Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch).
There are, however, one or two problems with this whole UK idea. For one thing, can Luck of the Irish stand for Northern Ireland rather than the Republic? And more seriously, will Scotland stay in the Union long enough for me to complete the set! Do I want people to think I am making a political statement in Hardanger? Probably safer to call this hypothetical collection the British Isles set. Watch this space to see whether leek and daffodil manage to inspire me any time soon!

The birth of sets and series

Some designs are easily recognisable as sets (or series; I’m not quite sure what the difference is, if any). They don’t need similar names, or a group name, to show that they go together. Like the four Floral Tiles, Pansies, Holly, Forget-Me-Not and Tulips. They all have a Rhodes stitch border, satin stitch floral motifs (or vegetation, in the case of Holly), beads and speciality stitches within Kloster blocks, and beaded square filets in single cut squares. Likewise the twelve designs in Round Dozen simply shout their kinship from the rooftops, with their recognisable pattern of a cutwork diamond within a surface stitch diamond within a square. But oddly enough, neither of them were originally planned as a series – or in the case of Round Dozen, as such a large series.
A little over a year ago I was looking at some online shade cards, and my eye fell on a lilac-and-yellow variegated silk. At about the same time, I was toying with the idea of satin stitch pansies. I wanted to make satin stitch a main feature of the design, and to have quite a few Kloster blocks but minimal cutting; I also wanted quite strong lines, probably diagonal, and a border of some sort using the variegated thread I’d seen; and beads. So Pansies was born.
As it was December, Christmas was all around. Why not do a seasonal design in the same style? the carol suggested Holly & Ivy, but I didn’t really like the idea of ivy and so holly got paired with mistletoe. Then I started thinking of other flowers with simple and recognisable shapes, and came up with forget-me-nots. Designing it in the same sort of style as the other two seemed only logical.
Now I happen to like sets of four, so I started looking around for a fourth floral design. My Dutch background led almost inevitably to tulips, and as they are quite bold, striking flowers I felt they’d do well within this sort of design. And so the set was complete; and only then did I decide to give them a collective name – Floral Tiles.

Pansies Holly Forget Me Not Tulips

Remember I said I like sets of four? I’d been doodling and scribbling some ideas for a set of four small designs, possibly for coasters. I wanted them all to have the same basic framework, but to play around with bars, filling stitches and speciality stitches; they were also to use very few colours, preferably white and one other colour. And as they were going to be fairly abstract, the names could be pretty much anything. Well, when thinking of sets of four, the seasons are quite an obvious choice. So I called them "Seasons: Spring, Summer, Autumn and Winter", choosing the colour in each of them to tie in with that particular season. But I had a few doodles left that hadn’t got used. It seemed a shame to waste them. Could I get four designs out of those ideas? I could; and so I needed another set of four names. The points of the compass sprang to mind, and in fact this set of four started life being called "Compass: North, East, South and West".
Meanwhile I’d also charted two designs along the same lines which didn’t quite fit in with the Season and Compass designs. They used different stitches for the diamond shape. The outer square varied in outline but not in stitches. And there were only two. Surely I could think up another two to go with them? I could, and I did. But what to call them? Remembering an educational programme we used to watch at primary school, I thought of Earth, Water, Wind & Fire, but found that since my school days these had taken on distinct overtones of Wicca and paganism, and as a committed Christian I felt I could not use them. But there was another quartet which I remembered being used to name a set of musical compositions – Morning, Noon, Evening & Night, which seemed to fit the bill perfectly.
Now here is where it all becomes a bit muddy, and I can’t quite remember which change of name led to which, but I realised that having started out with a set of four designs, I know had a round dozen of them. That sounded rather good, so I called the "set of sets" Round Dozen. Now wouldn’t it be neat and tidy to give the subsets Round names as well? Based on the individual names, that idea led to Round the Year, Round the World, and Round the Clock – and those names seemed so appropriate that they stuck.
Round Dozen