Looking back on my Canvaswork posts I realise I never updated you on my last class on 29th April. By 28th April nothing much had happened since the February class, but as I really couldn’t attend with nothing done at all I decided on some sampling. Helen McC had asked me to sample another background texture for the leafy jumble between the tulips, as she felt it needed three sizes rather than the two I’d done so far. She liked the staggered crosses, so I tried those using two plies of Caron Watercolours for the large crosses and one strand each of dark green and dark blue DMC for the small ones (the photograph shows only some of the small crosses done). By mistake I reversed the large crosses in the top row and found that I actually like the effect of that better with the other background (upright crosses) next to it, so that was a lucky error!

I also sampled the smallest of the three textures, lazy kalem, using one ply of Caron Watercolours only (orange arrow), then adding a strand of very dark green DMC (green arrow), then adding a strand of very dark blue to that (blue arrow). I couldn’t see any difference that wasn’t accounted for by the Caron variegation. Nor could Helen J who taught the April class. So one ply of Watercolour it is.

In class I played around with the medium-sized tulips behind the two very big ones, sampling split gobelin in Madeira silk which I liked apart from the colours (not enough blending) and a vertical herringbone variation in vintage silk originally intended for the pointy-petalled tulip which turned out not to work for any of them. A shame, because I did like the texture of the stitch. Perhaps I can use it somewhere else.

My homework for the next class, on 24th June, was to be the second hut and bush, the middle medium tulip and some more sampling for the pointy-petalled one. I managed one roof. Then the class was cancelled because too few people had signed up, and I cancelled one in early July because of a walk in memory of a church friend who had died suddenly and far too young. I was offered a replacement class for the one cancelled by the RSN on 22nd July, and decided to do some homework in preparation for that.

Looking at the roof I’d stitched, I didn’t like it. It’s a slanted buttonhole stitch with the ridge on the top, and the ridge was slightly irregular. I unpicked and restitched it. It was still slightly irregular, so I think I’ll just have to live with that! I also worked the rest of the hut, in horizontal satin stitches to depict the wooden planks, in two shades to show the shadow on the wood, and added two white lines to the roof because they are there in the photograph although I have no idea what they are. Finally the second bush, like the first one in Turkey rug stitch in a number of blends using crewel wool, vintage silk, flat silk and an anonymous matt twisted thread. I do dislike the fact that I’m not allowed to cut them until right at the end, because I can foresee that they will get horribly in the way! Still, it was progress. And then the RSN cancelled the 22nd July class as the tutors wouldn’t be able to get to Rugby because of the planned railway strikes. Oh well, at least it had spurred me on to do some work.

The cancellation meant that my next class won’t be until 19th August, a little under four months after the last one. Really, I should be able to show the tutor more than one hut and one bush! As we had extensively discussed the medium-sized tulips and some of the greenery, I decided to have a go at that. First the middle one of the three tulips; using Madeira silk as in the sampling, but more blended. In split gobelin, except where I wanted to indicate the line between petals, where the stitches would abut each other. I was quite pleased with how that turned out, apart from a little too much of the lightest shade (blue arrow). Still, I didn’t dislike it enough to unpick it .

On to the left-hand tulip. I’d got some lovely Au Ver à Soie flat silk (Soie Ovale) for this tulip, but on reflection the shade was too peachy, so I went with some Eterna flat silk combined with one dark red Silk Mill silk. It uses the same split gobelin approach with abutting stitches for the petal line, and because I wanted that line to be quite clear, I found I had to work a tiny extra stitch before fastening off the lightest blend so the final stitch pulled in the right direction. The things you have to think of when doing canvaswork!

And then the tulip was finished. And I liked the colour and the blending. But. There were coverage issues, and more importantly, the shape was wrong. Somehow the tulip had got rather bloated, and compared to its intended outline it was too wide.

The next day I bit the bullet and decided that it would have to come out. I printed the comparison photograph and marked it up to show which stitches needed to go. I also outlined the areas for the different blends, chucked the Silk Mill silk which has a slightly different texture from the Eternas, put new blends together and did as much prep as I could possibly do. Then some careful snipping and tweezering and the tulip was a fluffy pile of thread bits.

With twelve instead of ten strands in my needle (or rather, needles), I set to work; Eterna silk has been discontinued but fortunately I had enough left for this revamp! In marking up the tulip I’d also done some remedial work on the petal line, and fortunately I did much prefer the look of the restitched version (on the left in the comparison picture below). On consideration I should perhaps have kept that darker Silk Mill shade, but on the whole it is definitely an improvement, and much more like the intended outline. Phew! There are still some gaps, but I’m afraid they’ll just have to stay – more than twelve strands simply gets too bulky, and a major cause of the gaps is the fact that the stitches are split, which I can’t do anything about.

And finally, back to the middle tulip. Or rather, what I noticed when I started stitching it. The right-hand petal of my pride and joy, the big red tulip, was not as pointy as it should be!

It was very, very fiddly fitting in one short diagonal stitch in Caron Watercolours, and even more fiddly getting the couching stitches over it. By doubling a single ply of Watercolours I could start with a loop start, which was one less end to secure at the back – a good thing as the stitching is so densely packed there that it is difficult to get a needle through to fasten off. For the two couching stitches I really needed two blends, because one had to be redder than the other, but I got around that by manipulating the four strands in the blend so that the darker strands were more prominent at the very tip (blue arrow), and the lighter ones at the stitch further in (green arrow). Was this tweak really necessary? Probably not; I doubt if anyone else would notice if I hadn’t added the extra stitch. But it was worth it for me, which is what counts in cases like these. If it doesn’t bother you, leave it. If it will irk you whenever you look at it, take it out and re-do it. You’ll be much happier for it .

And that’s where it stands at the moment! Leafy stuff is my task for next weekend – after all the reds and pinks it’s going to be green, green, green. But all in silks and cottons, and not a trowel or pair of seccateurs in sight; very much my sort of gardening!