Certificate progress

Tomorrow is my 6th Certificate class, and I have done my homework. Most of it. Some of it. I have finally realised that my estimates of what I will get stitched between classes is ludicrously optimistic so I will just be pleased with whatever bits I managed. For this class they are, in order, a snail, a leaf, a water sample, and part of a hillock.

I wrote about James the Snail in as much detail as anyone is likely to want in an earlier FoF, but I will just show him again here because I’m chuffed to bits with him!

The finished snail

I shouldn’t have started with James, really; he is definitely the crowning glory of the piece so far, so all the other parts will have a hard time living up to him. Heigh ho, I’m afraid you’ll just have to be disappointed smiley.

Next up was the leaf on the right of the tree, which was going to have scattered ermine stitches in the centre. “Scattered” implies “random”, a concept I have had to work on. I am inherently a symmetry nut, so I fully understand people who panic at a workshop when being told to “apply beads at random”. For those people (and for myself, when I’m not in a random mood) I generally provide one non-random pleasing pattern, and one way of being random in an organised manner. The latter method was the one I adopted for the leaf.

That meant drawing the ermine stitches on my sample cloth and stitching them there (also to see whether I could get all five shades of turquoise in – I could!), then tracing them, deciding that some of them needed to be moved, pricking the tracing with those necessary movements in mind, and using the pricked tracing to put guide dots on the fabric.

Drawing the ermine stitches on the sample cloth Tracing the sample Annotating and pricking the sample Guide dots on the fabric

By this method I managed to resist the temptation to put all the ermine stitches in a regimented symmetrical pattern. I still feel the urge to unpick and move some of them to look less random, but I’m ignoring it. This is my scattered leaf!

The finished ermine stitches

You may remember the tutors and I couldn’t quite work out what to call the stitch I was going to use for the border – it wasn’t brick stitch, because it would be worked in long lines instead of rows, but it was bricked. However, I wasn’t sure how consistently I’d be able to keep up the bricking because of the very curvy and pointy bits of the shape I was filling. So we decided on “backstitch filling”, which covered all bases. Compensating for the curves and for the fact that the border isn’t equally wide all around was a bit tricky here and there, and my stitch length definitely isn’t uniform around the leaf, but I’m happy with the overal look of it.

Incidentally, as I was editing the close-up photograph I’d taken of the finished leaf I noticed something I hadn’t seen while working on it: a visible bit of painted outline. Although it is sometimes possible to very gently scrape the paint off the fabric, it seemed a better idea to put in a few extra stitches – it would smooth out the outline at the same time as covering the paint. Fastening on and off was a bit fiddly with no suitable areas nearby, but I managed to sneak them underneath existing stitches to keep them invisible.

The finished leaf - with paint visible The finished leaf really finished

As it is really only possible to work on the actual project by daylight, I put in a little sampling on Saturday evening. Along the bottom of the hillocks there will be a few lines of waves worked in fly stitch couching. Previous samples (not for the Certificate) had been in fairly rigid lines, but I wanted to experiment with lines that would vary in height along their length, and possibly also have an undulating couched line (originally I had intended the v-shapes of the fly stitches to represent the waves, while keeping the lines they were couching straight). As I had a sample cloth with the left-hand hillock on it, I stitched a bit of sea/river along the bottom, and although the fly stitches are perhaps a little higher than I’ll make them in the proper piece, I like the effect of the wavy lines – they are definitely in!

Sampling water

I had hoped to finish both the block shading and the Bayeux stitch floral element, but I could see that wasn’t going to happen. I settled for two-thirds of the block shading (well, it’s more than that actually as the rows get progressively shorter and I’ve done the two longer ones). The first thing I had to decide on was the corners of my rows. The RSN Crewel book shows block shading with straight edges – that is to say, the very first and the very last stitch of the row are horizontal and cover the full height of the row. But my corners are much sharper than the ones in the picture, and it would mean having a sort of fan of stitches there in order to get from the horizontal to the proper stitch angle for the rest of the arc. My worry was that that would get bulky where the fanning stitches met, so I worked some slightly shorter stitches instead, keeping the direction of the stitches near the corner.

Block shading in the RSN crewel book Corners in my block shading

I bounced this off Angela and she said that was the right way to go about it, so on with the rest of the row. Having completed it I was quite happy with it! The top edge is smooth, the corners are neat, the stitches aren’t crowded (something Angela had asked me to concentrate on), the stitch direction changes gradually, and – yay! – the row is virtually the same width all along (unlike my earlier samples).

The first row of block shading Tapering block shading

Unfortunately, because of the nearly horizontal position of the slate frame, I see the work at an angle, and wool stitching having quite a bit of body, that means I can’t actually see the fabric right by the far side of my stitches unless I lean over, which is not a very good stitching position. It meant that I didn’t notice until I was about two-thirds of the way through that the teensiest bit of design line is visible at the top of the hillock. A bit of a dilemma, as this will cost me points in the assessment; on the other hand a dilemma that wasn’t too hard to solve – I’d just produced the larger part of a very respectable-looking row of block shading and there was no way I was going to unpick it all! The risk of ending up with a row that covered the paint line but looked much less nice than this one was too big. It’ll have to stand.

The lift of the wool hides the paint line from view A hint of paint

In between work I found time to complete the second row of shading, with some tricky voiding for the ball of wool; the third row (a light brown) will have to be done at the class, and hopefully that Bayeux leaf as well. For now, this is the state of the Tree at the start of my sixth class:

Two rows of block shading The tree before my sixth class

2 comments on “Certificate progress

  1. Wow that looks like a LOT of work very well done. The finished piece will be awesome. I’m with you on symmetry and struggle with “randomness” which is why I love hardanger so much. How do you fit it all in especially with the SAL?

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