A fruitful class and more sampling

Although there has been the occasional burst of activity on Mabel’s Fancies’ Facebook page it’s been two weeks since the last FoF – high time for an update! The long silence can at least in part be blamed on the SAL, as I’ve been spending rather longer than I thought I would on drawing, editing and writing up the remaining stitch diagrams. However, they are all done now; and although there are still chart packs to write and stitch photographs to take, I’m pretty much on schedule.

And so, finally, a report about my latest RSN Certificate class – more than a month ago now, but still fresh in my memory (helped by some photographs I took on the day). We had the luxury of not one, but two tutors: Angela was being shadowed by Jessica Aldred, who is in the process of becoming a Certificate and Diploma tutor. This meant twice the encouragement and advice – I was very pleased I decided not to cancel after all!

This doesn’t mean that I got a lot of stitching done. You may remember that I started the class with the trunk and the vine completed; well, at the end of a 10am-4pm day I had added a petal, and part of a petal…

The Tree of Life before the September class The Tree of Life after the September class

What I had done, was discuss a lot of my samples with both tutors and bounce ideas off them; I was scribbling notes the whole time, and it was very encouraging to hear, in some cases, that what I’d been doing different from the diagrams in most books was actually right smiley! More about that later; let’s go through the design elements we talked about that day.

First there was the bullion knot square-with-rounded-corners. This was give the thumbs-up. Jessica at first said perhaps to couch the longer ones (making sure that the tension of the couching thread doesn’t dent them) but on feeling how solid the square was said it didn’t seem necessary.

A bullion knot square

Then there was James the Snail. You may remember I sampled his shell in two different stitches: padded buttonhole stitch and raised backstitch. The former is by far the easier to do, and to do neatly. Unfortunately the raised backstitch version is preferred by most people who have seen them together, including Angela and Jessica, and me, for that matter. My homework is to do another sample, with the “spokes” for the raised backstitch sticking out further on the outside so the outer design line is covered, and possibly meshing the spokes on the inside of the coil to get sufficient coverage (at the moment there is a bare channel between the coils which simply will not do). I’ve also decided to try and use four shades of turquoise for the shell instead of the three in the sample.

Burden stitch brick and padded buttonhole snail Satin stitch brick and raised backstitch snail

Next up was the satin stitch brick. I’ve pretty much decided to use satin stitch rather than burden stitch, and I really like the look of this version. But at my third class Helen Jones said all satin stitch had to be slanted, and I couldn’t see how that would work. Nor could Angela and Jessica. We all agreed the vertical version looked much better than a slanted one would; slanted would also make some of the stitches far too long. The RSN Guide mentioned only slanted satin stitch, but by actually calling it “slanted” it suggested that there was a legitimate straight version as well. In the end Angela promised to enquire into the RSN’s official position on satin stitch, and if they inisisted on slanted I might stick with vertical but write up the decision in my log, and perhaps show I could do slanted satin stitch in sampling. They also pointed out that there will be slanted satin stitch in the ball of wool anyway, so the straight version could just be seen as an extra stitch.

A satin stitch brick

As it happens I later heard back from Angela, who passed on the verdict that “satin stitch is often stitched in a slanted direction mainly for ease and a better finish, but in circumstances such as your particular shape, the vertical direction chosen is preferable because a slanted direction would not enhance your design”. So a vertically satin-stitched brick it is!

Then there were a few quick questions which I bounced off the tutors and which for a change needed only short answers (most of my questions seem to take rather longer to address…) – first, should I “void” the body of the cat where the wool is wound around her? Answer: no, work it over the top. That was a relief, as voiding such a thin line would be quite tricky! Angela also suggested that I couch the thread that comes off the ball of wool and entangles the cat, which would look more natural than the split stitch I had originally intended. Secondly, should I make one of the leaves underneath the big tulip darker than the other (leaving out the very lightest shade in one, and the very darkest shade in the other), to indicate where the light comes from, or have them identical (colour-wise, that is; the shading will be mirrored) as I first drew them? Answer: the latter. No need to be too naturalistic in Jacobean designs!

Where the wool winds around the cat Two leaves of equal darkness

While we were on the question of the petals, I took the opportunity to ask Jessica about long & short stitch. The diagrams in most if not all books (and my own diagrams as well) show a split stitch outline, a first row of stitches which are of two lengths and alternate (some disagreement about whether you come up inside the shape for the first row), and consecutive rows of stitches of equal length. Unfortunately following that to the letter does not give very nice results. It looks a bit regimented. So whenever I’ve used long & short I’ve made my stitches rather more random. And then there is the question of what to do when the stitches are almost parallel to the outline – in that case how do you cover the split stitch line without changing the angles too much? Most diagrams only show scenarios where the filling stitches are at a considerable angle to the outline. So far, I’ve solved this by making the final stitch in a row fairly long and working it practically on top of and in the same direction as the outline, going down only just the other side of the split stitch. I felt a bit guilty about all this; I was obviously bodging my long & short to get the look I wanted.

Long & short stitch in the Rabbit & Carnations project

Imagine my delight when Jessica told me that I was doing exactly what I should be doing! She dislikes the name “long & short stitch” as it gives the wrong impression, and prefers “painting with the needle”, which allows for some more interpretative stitching. As for stitches that are parallel to the sides, go over the split stitch edge when you can, into it when you have to, and if necessary have a stitch completely outside it. So I can carry on as before smiley.

Jessica's notes on long & short stitch

On to the right-hand leaf, which I’d sampled in a sort of brick stitch. Both tutors liked the look, but we agreed that the way I was working it (in long lines rather than short rows) it wasn’t really brick stitch. After considering and rejecting “bricked backstitch” we decided I’d put it down as “backstitch filling”.

Brick stitch border on the right-hand leaf

And finally the gap at the bottom of the tree. I charted that in Cretan stitch, but it’s a little wide – the stitches may get rather too long. I was told to sample it to see if it worked, but when I got home I had a different idea. How about working three very pointy “triangles” of Cretan within the main triangle? Keep the shading vertical (i.e. top to botton, in horizontal stripes) to contrast with the trunk. I’ll let you know how that works out.

The gap in the bottom of the trunk

Recently I had another idea for the ball of wool as well; originally I intended to do one layer of satin stitch, with a partial layer at right angles on top, to show how the wool was wound up. But why not turn this into properly padded satin stitch? First outline the ball in split stitch, then put padding in, then the full layer of satin stitch, and then the partial layer; that should make the ball look quite 3D. Sample to follow!

Scribbles about the ball of wool

Oh, one other thing came up, and it’s one that demonstrates Angela’s comment right at the start of my Certificate course, that the design will probably look quite different from the first drafts when it’s finished. As you may remember, for the Jacobean design the stitcher is allowed two main colours (five shades each) and an accent colour (two shades). My accent or contrast colour is Coral. Unfortunately I realised when having another look at my colour plan that there is rather a lot of it throughout the design, whereas the accent colour and the main colours should not have equal weight. A certain degree of de-oranging was called for. Painful for one Dutch-born and bred, but there it is. So far this is the result:

The previous colour scheme, with too much orange The de-oranged scheme

By the way, the frills on the tulip will actually be the same colour – either both brown or both turquoise.

I have, you will be pleased to hear, done some work on the Tree since the class, but I have hit two snags which are keeping me from getting on with things. I will report on these in a future FoF. So far sampling has been a little more productive, with some work done on my block shading. I’m trying to get the stitch right, but am also using the samples to try out different colour combinations; to this end I’ve divided the hillock into sections. (It’s not actually the right hillock, but I had this one drawn on the fabric and for sampling purposes it doesn’t matter much). This is not the first block shading I’ve done (there was some in the Rabbit & Carnations project where I pretty much winged it without a very clear idea of how the stitch was meant to be worked) but it’s definitely not a stitch I am very familiar with; one rather surprising problem was how difficult it proved to be to keep the line the same height along its entire length!

Dividing the hillock into sections and arcs Long & short stitch in the Rabbit & Carnations project Trouble keeping the line thesame height Trying out a colour combination

And that wraps up my fourth class – number five follows at the end of November. By which time I hope to have completed the big tulip, the left-hand hillock and the brick, and possibly the right-hand leaf. Plus those samples, of course. We’ll see!

2 comments on “A fruitful class and more sampling

  1. It’s looking really lovely, when finished it will be a masterpiece to be proud of. The tutors sound very encouraging and of course very knowledgeable as per RSN standards which no doubt adds to the enjoyment of the courses.
    On a selfish note I’m not on Facebook so please do keep up the FOF – inspiring and encouraging me to plod on with my own efforts. SO looking forward to the SAL.

  2. Don’t worry Louise, I’m not giving up on FoF! FB is useful for quick little messages, but anything more detailed needs something like this.
    Thank you for your kind words about my stitching. Yes, the expertise of the tutors definitely adds to the enjoyment, and it is very encouraging to be able to bounce ideas off them, or even just get confirmation of things you were doing – just to hear that you’re doing them right 🙂
    The presence of other stitchers there is also a bonus, as these are people who know exactly what it is like to do the Certificate, and who appreciate the work that goes into it in the way a non-embroiderer can’t really do. And having several of them remark (unasked!) on the neatness of my stitching went a long way towards lifting my anxiety about whether my stitches were even enough!

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