A Welsh gem and two of my Five-a-Day

For various reasons I haven’t done a lot of stitching lately, although I have made some progress on Bruce which I hope to report on soon (probably after this weekend when I intend to complete the section I’m currently working on – sneak peek below). As you know I am never short of a project or two (or three, or twelve), but none of them particularly appealed to me even when I had the opportunity. So I’ve tried to re-ignite my enthusiasm by planning some sampling, and kitting up a couple of uncomplicated projects.

A sneak peek at Bruce's leg

Two of my long-term projects (and I do mean long-term; we’re talking several years here) which have not had the attention they deserve are Hengest and Llandrindod. In both projects I’m at a stage where there are decisions to be made, and that is always a dangerous point for me. So much easier to just start something new! Hengest has been languishing in his stable because after his mane I need to decide how to stitch his bridle and especially the jewels on it; but as there is still some mane to stitch first I’m hoping to return to him when I’ve reached the point with Bruce where I can’t do anything more until I see a tutor. Llandrindod is a bit more problematic, but I’ve decided that now is the time to tackle it. The challenge is the direction in which the facets of the central diamond are stitched.

The central diamond in Llandrindod

Originally I intended to stitch these facets so that the lines of stitches go around the central part, much like the outer facets on the coloured stones. For some reason I changed my mind a little over a year ago and started working them from the outside edge towards the centre. Unfortunately I failed to make a note anywhere documenting this change – or if I did, I can’t find it – so I have no idea why I discarded the around-the-centre approach in favour if the into-the-centre one. Equally unfortunately I don’t particularly like what I’ve done so far. But I don’t want to unpick it, start again with the other method, find out that there was in fact a fatal flaw in it, and have to unpick again. The solution: a sample cloth! In spite of what the outlines may suggest that doesn’t mean I have to stitch the diamond three times in total, as I won’t have to stitch all the facets to get an idea of what the effect of each method is; at least I fervently hope a few facets on each will do the trick!

A sample cloth set up to try two ways of stitching the facets

With Llandrindod and Bruce both what you might call “concentration projects”, as I really want to get them right and there’s a lot of note-taking going on (although in the case of Llandrindod obviously not quite enough…), it’s nice to have some relaxed projects on the go as well. On rare occasions these can be my own designs when they aren’t intended to become chart packs or kits, like Septimus the Septopus, but generally it’s someone else’s design, whether as a kit (I’ve got a good few waiting in the wings, from wonderful designers like Lizzie Pye of Laurelin, Helen Richman of Bluebird Embroidery and Alison Cole) or as a design only where I get to play with my stash and pick everything myself.

The projects I set up the other day are somewhere in between – a couple of little fruit trees by Sarah Homfray which used to come as a set of four kits but two of which I found last January as printed fabric only. So the fabric has been decided for me, and I don’t have to transfer the designs, but I do get to rummage through my thread boxes and play with colours. The originals were stitched using Madeira Lana, of which I have a respectable collection, but I decided to go with my favourite Heathway Milano crewel wool, which is a little thicker but not so much as to be a problem. And this is what I ended up with:

Two Sarah Homfray trees with Heathway Milano crewel wool

They were meant to be my relaxing bits of stitching while we were away on family care duty, but I didn’t actually get any stitching done during that week. Never mind, they make lovely little fillers for when I haven’t got the clear mind (and the time) I need for Bruce or when I can’t face anything that involves making decisions. I can just pick them up and stitch. Perfect.

Counting down in Latin

Remember the rainbow birthday card I stitched for a girl who had her birthday during the second lockdown? Well, her younger brother will soon have his birthday during this third lockdown, so their mum has asked people to send him birthday cards as well. He likes dinosaurs, which are very much not my cup of tea, but fortunately he likes sea creatures too, and as he turns seven:

Meet Septimus the Septopus!

The first sketch The tidied-up design

Now from the start this octopus-with-a-leg-missing and his surroundings suggested something very textured to me. So a great opportunity to rummage through my stash of lumpy, bulky, fuzzy, stretchy threads and any other bits and bobs I could think of to create tentacles, sand, seaweed, coral and the like. I don’t know about you, but whenever I go on a rummage like this invariably there are things that I was sure were there, but which aren’t. I thought I had some small round and square stone-coloured buttons, and also a very lumpy red thread. I don’t. But I found plenty of other things so I’m good to go!

Possible ribbons, threads and beads

And what will all this be attached to? I decided to go for a blue cotton to give an instant watery background. Unlike the cotton duck and heavy sateen I’ve been using for the recent baby cards, this does need a backing fabric, especially with heavyish threads and beads couched all over it; some time ago I bought an Egyptian muslin which because of its fairly open weave unfortunately doesn’t work as a backing for any detailed designs, so it’s good to be able to use it up in projects like these. Next step was to transfer the design, and play with placing the various threads on the fabric to see what they look like all together.

What goes where?

Sometimes with projects like these you need to get creative. One of the things I thought I had was a blueish wavy thread which would work for the surface of the sea right at the top of the design. Well, I have the wavy thread, but it’s grey. However, as the fabric is blue I think I can get away with grey, especially if I combine it with a very fluffy white thread. After all, when you look at the sea (especially the North Sea, which is the one I grew up going to for beach trips) it is rarely blue, and in fact grey is probably a lot more realistic. Also, there’s going to be plenty of colour in other parts of the design to compensate. In the previous picture, did you notice the red variegated thread? That’s going to make a bit of coral, and as it is not a lumpy thread as I originally though, I’ll use it with a lumpy stitch instead!

Combining threads

As I prepared to start stitching, there was one last decision to make: after creating this one and sending it off to the birthday boy, is it going to be a “commercial” design? If so, I need to take notes, think of the instructions, make sure I use only widely available threads… No. Although most of the threads and bits & bobs I’m using are available (though some of them not what you would call widely), others are unlabelled or I can’t remember where I got them from, and really I just want this project to be fun. I want to play around with what I’ve got while creating something that will hopefully bring some cheer to a lockdown birthday.

This meant I could relax and just get on with stitching! I will mention the materials I used, partly for my own benefit (“what on earth did I use for that coral?” I may wonder as I look at photographs of this project years down the line) and also for reasons which will become clear later. By the way, apologies for the quality of some of these pictures, I took them as I was stitching in the evening by artifical light.

First up was the sea surface, couching grey Rainbow Gallery (RG) Fluffy Fleece twisted together with white RG Arctic Rays. The seabed consists of three lengths of a beige RG Ultra Suede, also couched. There’s a lot of couching in this design, which does make it relatively quick!

Sea surface and seabed

Next came the seaweed, and more couching. On the left a variegated thick silk from The Thread Studio; I think I picked this up at a Knitting & Stitching Show some years ago. The shade I’m using here, Marble, doesn’t appear to be part of their range anymore. The other bit of seaweed is a nameless silk ribbon from my silk ribbon bag. I did look at some hand-dyed Au Ver à Soie ribbon, but the colour changes didn’t quite work for this short a length so plain green it was, couched down in twists. For the rocks I used some rose gold pebble beads (appropriate name); I bought these online for a children’s project years ago, and found them infuriatingly uneven in shape and size. In this project, that was a bonus!

Seaweed and rocks

The coral was the first thing to be stitched rather than couched; using a thick spun silk from Oliver Twists (again bought at one of the Knitting & Stitching Shows) my first idea was to use either Palestrina stitch or (possibly the most obvious choice) coral stitch, but the rather complicated shape I’d drawn and the thickness of the thread made that too complicated, so it’s a combination of French knots, small straight stitches, and some knotted stitches that I made up as I went along. Septimus’ head is outlined and shaded in stem stitch using two shades of RG Treasure Braid Petite (21 Copper and 27 Ice Pastels). I chose that blend because it seems the best match for the metallic in the thread I’ll be using for his tentacles.

Coral and a head

The moment I started planning an octopus/septopus I thought of one of the speciality threads from the Paint-Box Threads Inspiration Pack I got for Christmas as being ideal for the tentacles. The metallic part snaking in and out does a great job of suggesting suckers! Unfortunately it turned out to be too thick and fussy to do all the tentacles in it – they would have been impossible to tell apart – so three of them were worked in doubled Anchor metallic perle #5 (white/gold). For the eyes plain DMC was an option but I wanted them to stand out so I opted instead for Kreinik #4 braid 5760 Marshmallow and RG Treasure Braid Petite 05 Black, both in satin stitch. The white is stitched across the ovals, the black pupils lengthwise.

What's in the box in detail The eyes done, but what about the tentacles? Tentacles in two different textures

The last part was the figure 7 in bubbles, for which I used unbranded iridescent beads (probably a size 8) They got a bit close to the sea surface, but I think they still work. What surprised me, though, was how different the beads and other parts of the project looked with different lighting! Below is the finished piece, once photographed with the light coming from the right, and once with the light coming from the bottom.

Finished and lit from the side Finished and lit from the bottom

And so on to finishing. From memory I thought the aperture in the card I had in mind for this was 10cm square, and because I wanted a tight fit that’s the size at which I printed the design transfer. Unfortunately the aperture is 9.6cm… So a slightly tighter fit than intended, but with a bit of fiddling I got it all in. Phew.

It will fit...just The finished card

And now it’s over to you – whether you’re making a birthday card (add the desired age in bubbles) or just a Cheer Up! card, get out those odds and ends in your stash and start experimenting. The Septimus Freebie download has the design in two versions, the original Septimus and a more traditional octopus with the full complement of tentacles. Enjoy!

Babies galore

Another baby! Unlike baby Evelyn, baby Noah is known to us only through his paternal grandparents, who are members of our Small Group (groups within our church that meet for Bible study, chat, support, prayer, encouragement and so on, all by Zoom at the moment) so just one card needed this time. But not simply a repeat of Evelyn’s motif; that would just feel like a production line!

What then? Well, with a baby called Noah what could it be but an ark? I grabbed a scrap of paper to sketch a quick idea (and only afterwards noticed it had some scribbles on it for last week’s group meeting – how appropriate). The smudgy lines at the top are a rainbow, the circle outline is the size of the aperture of the card I want to use.

Sketch for Baby Noah's card

Then it was a matter of tidying it up in my image editing program, where I also added a cloud and some words. I didn’t draw in the individual rainbow lines; instead, I intended to do the top line in red, the bottom line in purple, and then work inwards from both ends spacing the colours out more or less (as it turned out definitely less) evenly. At this point I didn’t decide whether to go for a solidly filled rainbow or just thin lines of colour, but thought it would probaby be the latter as the rest was going to be outline-only as well. The cloud would have a detached buttonhole frilly edge, possibly in a fluffy thread like the clouds in the Hope designs.

The tidied-up design

Just because I could I printed the design out in three sizes, and found aperture cards to go with the two larger sizes. And then I decided that although the smallest size would probably look really nice done in one strand of cotton, the detail would be easier to show in the largest size, stitched using two strands. I would keep the smallest one to stitch in one strand at some later time, but for now go with the version I could be reasonably sure would work.

Which size to pick?

Time to start stitching! Cotton sateen again, as it doesn’t need a backing fabric, and this time simply good old DMC stranded cotton; it has so many colours to choose from, which makes a nice change from some of the speciality threads.

Picking the colours The transferred design and the colours

As you can see I pre-wrote “BOY” in silver gel pen, intending to stitch “it’s a” on top of the rainbow; I mean, on top of the stitching. That was clearly not going to work but I pushed that problem away for the moment and got on with the rest of the design. I do like this non-solid way of stitching the rainbow, though!

First progress shows the rainbow lettering won't work

Eventually I wrote the additional words in a very fine blue drawing pen, and outlined the silver letters. Then I added a frilly edge to the cloud. I caught the thread once or twice so it’s not as neat as I would have liked it to be, but then clouds aren’t regular, are they? Inside the card I quoted a children’s song that was part of our online Sunday service only a few days before he was born: “The Lord was good, the Lord was strong / And Noah lived his life for Him”.

The main stitching finished with the writing in the cloud With the fluffy cloud edge Made into a card

By now the card has been delivered, but I’m still playing with the design and tweaking it here and there. The boat definitely needs some colour besides the three browns, but the ones I used were a bit too different from the rest of the design. I will try using colours from the rainbow, or slightly lighter shades from the same series. I also picked a slightly lighter green for the rainbow and lowered the windows a bit. The fluffy cloud detached buttonhole edge works OK in the larger version but for the smaller version I’ll go with stem stitch in fluffy thread, and I may also try simply stem stitching the outline without any fluff at all. And when I’m happy with them I’ll write the instructions and pop it on the website for you to create your own celebratory ark!

Trying out the tweaked design in two sizes

Golden curls for a brunette

Some time ago I finally got the book that accompanied the V&A Opus Anglicanum exhibition which I was lucky enough to visit in 2016. I’ve been dipping into it off and on (it’s not really a book you read from cover to cover in one sitting!) and last night I got to the final exhibit, the Worshipful Company of Fishmongers’ Pall. This is a beautifully embroidered coffin cover which was used at Guild members’ funerals. It features several depictions of St Peter, who was their patron saint, and of their coat of arms which is supported by an armour-clad merman and a mermaid holding a mirror. I’m afraid for reasons of copyright I can’t post pictures here, but you can see the pall and several other pieces in this V&A article. Have a particular look at the mermaid.

The Opus Anglicanum book shows her in a full-page close-up, which shows some wonderful details. For example, the mirror she is holding shows her reflection – how is that for attention to detail! But what really drew and held my attention was her hair. Let me post a close-up of a small segment of it, which I think is allowable for illustrative purposes:

The mermaid's hair

Can you see how the hair is stitched? I can’t be be absolutely sure just from the picture, but it looks to me as though the embroiderer worked a background of yellow silk (probably in split stitch, as that is the stitch most commonly used in Opus Anglicanum) and then couched gold threads on top in wavy curls. The result is wonderfully effective and 3D and tactile!

I was reading this and studying the picture at about 10.30pm, so setting up a bit of a doodle cloth and having a play was not really practical, although I was sorely tempted. And today unfortunately Bruce the kangaroo’s felt-padded leg took priority, and tomorrow her tail needs doing in time for Saturday’s class. But I definitely want to have a go at stitching hair like that, and for a very particular reason: Mechthild.

Remember Mechthild? She is going to be (when I get round to her…) the royal companion to Ethelnute the medieval king. She also has long flowing locks with just the sort of wave that the mermaid’s hair has.

Mechthild

There are a few things to consider. Challenges, possibly even snags. The least of which is the fact that Mechthild is a brunette, and gold couching is going to show up to rather more startling effect than I really intend. Nowadays some goldwork threads come in many colours, but I don’t think smooth passing (which is the obvious choice of thread for this) does; and even if it did, it would not be in keeping with the period at all. Silver would, and copper possibly, but neither would really solve the problem. She may just have to have a peroxide bleach. More problematic, however, is her size.

Working from a picture taken at an angle and some not very helpful measurements, my best guess is that the mermaid is at least 15cm from the top of her head to the bottom of her tummy (where her tail begins), and that her head (top to chin) is about 6cm. Mechthild is about 7cm high from crown to bosom, and 3cm from the top of her head to her chin. It would take some very fine passing to create the same effect.

And you know what? About a week ago I just happened to order some fine passing from America, among which there is a lovely rose gold, and which according to Royal Mail’s tracking information is at the moment in Langley (near Slough, my husband informs me). Once I’ve got Bruce’s padding out of the way, I feel a bit of goldwork hairdressing coming up!

Four shades of fine passing

Stretcher bars, eyes and rainbows

Some days ago I found myself saying to my husband, “More threads isn’t always the answer”. Yes, I know – heresy! But I have redeemed myself by ordering a pair of longer side stretchers for my Millennium frame. As I was commenting on a fellow member’s Cross Stitch Forum post about Millennium frames and Lowery stands I wrote “with hindsight I would have chosen the slightly longer side stretchers” and then thought, well, why not actually get them! The idea is that with the larger stitching area I could use it as a sampling set-up for the RSN Certificate goldwork module, mimicking the slate frame set-up better than a hoop can.

Now Needle Needs, known for their excellent craftsmanship and their beautiful, sturdy and effective frames and stands, are unfortunately also known for slow delivery and less than ideal communication. Personally I’ve never had any problems, possibly because I just ring them instead of emailing, but I know other people have had difficulties. I’m not in a frantic hurry for these stretchers (I’ve managed very well without them so far, after all) but in view of wanting to use them for the goldwork module it would be nice to have them before I finish! So I rang them to ask for a time frame – and found that the gentleman I spoke to remembered me (and my husband’s vintage Austins) from when I visited their workshop to try out the Aristo lapstand back in 2015!

Trying out the Aristo lap stand

Anyway, he said he would be making some stretchers of the right size in the next few days, and yesterday I got an email to say they would be delivered by 9th November, exactly one week after I ordered them. There may, of course, still be glitches, but it all looks promising!

Until then I continue to do my sampling on the spare silk mounted in a hoop, which works well enough. Today I heard that next Saturday’s Certificate class will go ahead, with only two students which should make it nice and safe, so I’m glad I managed to do most of my homework to show Angela. Part of that involved “mixed couching”, where instead of using a pair of the same threads you couch a pair of dissimilar threads, for example rococco paired with twist. Because rococco is by far my least favourite goldwork thread I decided to practise mainly with that, starting with it combined with twist, and then trying to work a pair of rococco and Jap right next to it, bricking the couching stitches as much as possible.

Mixed couching

“As much as possible” turned out to be not very much – one of my questions for Angela will be how on earth you evenly brick anything that has rococco in it, with its wave that should be regular but in practice turns out not to be even when stitched in a straight line, let alone on a curve. Oh well, I’m meant to be learning so it’s just as well I have questions smiley. (The picture also shows some improvement in my stitching already: there is a definite gap between the two pairs where I start on the left, whereas they are much better abutted as I went on. Reassuring to know sampling helps to sort these things out.)

Another thing I’ve been sampling is kangaroo eyes. That rather sounds like a buffet I don’t want to try, but actually it was a very useful exercise. In the design drawing, the kangaroo’s eye is roughly triangular, and my original idea was to use chips of smooth purl to somehow fill in that triangle, either with the chips all running vertically (with the front one slightly curved) or with some used as outlines (another idea of making them all run parallel with the top sloping line never even made it to the sampling stage). As you can see both these options looked awful. So then I started playing with the idea of a spangle with two chips of smooth purl for the top and bottom outline. That effect was much more like it, and after some experimenting with spangle sizes and placement of the securing stitches I eventually decided on the one indicated by the orange arrow: a 2mm spangle with the slit facing forward and one securing stitch facing backward.

Lots of kangaroo's eyes

And finally, remember the rainbow project I called Hope? I’ve been stitching quite a lot of variations on the theme (including a personalised one for a young girl facing a lockdown birthday) and was hoping to put the chart pack on the website this month, but the design was taken up by a magazine for publication which means I can’t publicise it myself until after that issue of the magazine has come off the shelves (some time next spring). I think I can probably get away with a teeny-weeny sneak peek though…

Five rainbows

How a kangaroo ousted a seahorse…

…and was in turn endangered by a miniature gecko. The story of how a goldwork design can be influenced by fabric, bedtime stories, and a Baptist minister.

Once upon a time, in 2015 to be exact, I sketched a whole series of ideas for goldwork designs, among them a toadstool, a sort-of-daisy and a seahorse. Forward a year, and on a visit to the Viking Loom I bought some scrumptious hand-painted silk dupion in turquoise, blue and purple shades. Forward another four years, and I’m starting the goldwork module for my RSN Certificate. For which I need to stitch my goldwork design on silk dupion. Well!

Sketch for a goldwork toadstool Sketches for a goldwork daisy and seahorse Hand-painted silk dupion

No-brainer, right? Sea-coloured dupion, seahorse – done! Hmm, not quite. All these sketches were for designs without any rules other than what I liked. But the goldwork module comes with a brief; there are only certain materials you are allowed to use (no kid leather, no smooth passing, no rough purl or wire check, no silver or copper let alone any other colours) and there are certain techniques you have to use (bricked Jap, mixed couching, cutwork over soft string padding), sometimes with a specified minimum area. The seahorse couldn’t quite fit all that in, and I’d have to get rid of some of the materials I’d originally included. No worries (keep that expression in mind…), we can add to it. How about a treasure chest? I worked out that that could be made to include several of the required techniques, so I did some sketching to work out the proportions and positions of seahorse and chest to make them into a coherent design.

Adding a treasure chest to the seahorse

And then, in my pile of sketches, I came across an undated, very basic sketch of a sitting kangaroo with the scribbled note “find good pose. check eye shape” and an indication of padded cutwork along the tail, and some chipping on the haunch/hip joint. (It also had a small sketch of a hot air balloon, but I ignored that.) A kangaroo… well, it would be unusual; I’d found plenty of sea creatures when looking at previous Certificate goldwork pieces, but no kangaroo (although there was a koala). It wouldn’t work with the hand-painted silk dupion, of course – I’d need to buy some more shades to have a good range of options (oh the hardship). As I talked to Hilary at the Silk Route about this I mentioned that it was now between a seahorse and a kangaroo and she immediately plumped for the kangaroo, simply because it was so unusual; and Angela, my tutor, had also greeted my simple sketch with some enthusiasm, not surprising perhaps as she is Australian smiley.

A basic kangaroo

Anyway, I figured there was no harm in finding some more kangaroo pics and deciding on a suitable position, and what about a pouch and possibly a Joey? And then it hit me. Haasje!

Haasje (“little hare” in Dutch) is the cuddly toy my grandmother bought for me before I was born. For various reasons it was a very special welcome into the world, and Haasje became my constant companion. He was also my champion: when an older cousin told me that “earworms” (Dutch for earwigs) would creep into your ears at night and nibble your brains (I had no older brothers, but my cousins obviously did a great job as substitutes), I looked for a solution to keep me safe. One ear was protected by the pillow, but what about the other? Haasje, of course! For several years I slept with him snugly held against my ear; my mother didn’t find out why until I was a grown-up.

Haasje, my constant companion

Now when my favourite aunt lived with us for two years and told me bedtime stories every night, she chose Haasje as the protagonist, and in one particularly memorable series of tales he travelled all the way to Australia, where a passing kangaroo gave him a lift in her pouch. He wasn’t used to hopping that fast and high, so he clung on for dear life while nervously looking down at the ground. That was it. The seahorse was forgotten. I had a design!

Haasje in the kangaroo's pouch

As is always the case the design went through several changes before it was finalised – it gained some grass, and a cloud with the sun behind it – but the basis for me was a panicky Haasje travelling by kangaroo (I hope to convey his wide-eyed look of fear by means of a big round spangle). In class I did some more work on what materials to put where, where to have padding, and which bits to leave open to contrast with the solid gold parts; the cutwork for the tail remained, as did the chipwork haunch, and other techniques and materials were added in, making sure all the requirements of the brief were covered. When I got home I did a mock-up (not easy for goldwork) to give myself a better idea of the balance between open and solid, and I think I’ve got it about right. I also printed the cleaned-up design on tracing paper to make the pricking needed for the prick & pounce transfer process.

The colour mock-up The tracing for prick and pounce

Then in the middle of this whole process, after Haasje had been added but before my class, our minister shared a holiday snap during the Sunday service’s all-age talk of this teeny-weeny little chap (that giant white thing is a teaspoon), almost changing my mind a second time, but although I did find some lovely pictures of miniature geckos in beautifully sinuous positions perfect for goldwork, I decided to stick with Bruce (as I have called the kangaroo) and Haasje.

The miniature gecko shared by our minister

Remember I mentioned getting some more colours of silk dupion? Here is the selection I got, with the two at the top bought specifically for Bruce. The olive shade was not at all what I was looking for, so that became my doodle cloth, but I absolutely loved the shade called Ether. It was a bit of a surprise as the picture on the Silk Route website was rather brighter, but actually this less saturated look was just what I wanted.

A collection of dupion shades

Unfortunately, although the 28cm x 33cm cut was fine as regards size, it had the grain running the wrong way. Well, “wrong” for this particular design. In order to accommodate the design I’d have to use the fabric in portrait orientation, but in that case the grain (which is very visible in silk dupion) runs vertically, and Angela and I both agreed that that would look all wrong. So this piece of fabric will become a second doodle cloth, and I’ve bought a fat quarter of the Ether dupion which is easily big enough to cut a piece of the right size with the grain running horizontally.

This does mean I won’t be able to fully frame up until my next class, as I would much prefer to attach the silk to the calico with a tutor to hand. On the few occasions I’ve attached a piece of silk to backing fabric I’ve ended up with puckers in the silk at the end of the project, so I want to get this absolutely right. Apparently the secret is to baste the two layers together on the design lines when the whole sandwich is under tension.

However, we could get the calico framed up. Angela had never worked with a slate frame this small so it was a new experience for her as well! But apart from everything being rather smaller, the rest of the process is pretty much the same: sew the top and bottom of the fabric to the webbing, sew herringbone tape to the sides, and lace up using the lethal bracing needle (I won’t show you the wounds…)

Sewing the calico to the webbing Lacing the side tapes to the bars

By the way, do you remember the four protective flaps I made for the big slate frame? True, they overlapped quite a bit, but it will give you some idea of the size difference when you see the effect of a single flap attached to the new frame.

Four flaps covering the large slate frame One protective flap is enough

And that’s it so far! I’ve got my homework – getting the silk ironed, sampling some couching and s-ing, creating a tonal plan, pricking the transfer, cutting the layers of felt padding; Angela is definitely keeping me busy smiley. After the next class I hope I’ll be able to show you the silk all framed up and with the design painted on, and who knows even a bit of gold (although all the padding needs to go on first, so it may be a while before I get to play with the bling bits – but there’s always the doodle cloth).

Ready for my homework!

A snowman goes public, and a silk gets overlooked

The latest issue of Stitch, the Embroiderers’ Guild’s magazine, hit the shops last weekend, and you may recognise a certain snowman in one of the small cover pictures – yes, Forever Frosty has made his first public appearance! It’s always great fun seeing your own project in print, and this time they gave me a full double spread especially for the goldwork diagrams as well as the main article with the usual photographs and instructions. I’m really pleased with it, but I can’t help wondering why colours never seem to come out quite right in photographs, even professional ones; the fabric is definitely blue-er in real life.

Stitch magazine, issue 127 Forever Frosty

Sending the stitched models to the magazine for photographing is always a bit fraught – the Stitch people are really careful with them, that’s not the problem, but their postal journey there and back is a time of nervous anticipation: will they make it, or will they become a Lost Item? So it was with a sigh of relief that I welcomed Frosty and the little willow that made it into issue 125 safely back home last week, in time for us to take them on our visit to my mother-in-law, who is a keen needlewoman and who I knew would like to see them.

So now I can concentrate on other things. The RSN Certificate, for one thing – but more about that in a later FoF. The other thing is Hope, my new rainbow design, which I’m currently working on in two different versions. I’m planning a third before putting the chart pack together, by which time the design should offer any stitcher a variation that suits her.

Remember the blues I was having a bit of a ponder about? Well, based on various digital shade cards I decided that Splendor 966 was probably the blue I really wanted: a little darker than the Splendor blue I already had, with the added bonus of being the same brand as all the other silks in that particular version of the rainbow.

Splendor 966, a slightly darker blue

I’ve been meaning to expand my collection of Splendor silks but unfortunately no shop in the UK has the entire range, and so for some shades I will have to resort to US sellers (I prefer Stitching Bits & Bobs who have been very helpful in the past) and just take the import duties and postage on the chin. But West End Embroidery, who are equally helpful and in the UK, have a fair few shades so I decided to start there – get as many of the shades on my list as they have from them, then go to SB&B for the others. Fortunately, Splendor 966 was one of the shades in their collection.

I went through my list, and their catalogue, and may have added a shade or two that wasn’t on my list, and finally hit the Check Out button to place the order. The order confirmation email duly arrived, and as I glanced through it I realised one shade was missing. Yes, I’d forgotten to order 966…

A quick phone call to Yvonne remedied that, so that when the order arrived, the blue which was the initial reason for the order was there among all the pretty colours which were not strictly necessary. It would have been terribly embarrassing having to place a second order for one single colour – I might have had to add a few extras smiley !

The whole Splendor order

Rainbow choices and a mystery

My rainbow is growing apace! Apart from a couple of evenings this week when we have other things on, I’ve been stitching a band a night, and I like how it’s developing. There have been a few decisions to take along the way, though – not quite the relaxed just-get-on-and-stitch project I first had in mind – but that is part of any project that will eventually become a chart pack or kit. And in a way it makes me concentrate more on the design and how I want it to look.

I wrote earlier about backstitch versus cable stitch in the red band; and for the orange band I had to choose between plain and reverse chain stitch (I went for the latter – easier to start a new thread mid-line). The yellow band threw up another decision; in my provisional notes I’d put it down as diagonal satin stitch, which would mean gradually changing the stitch direction to compensate for the curve. Not impossible of course, but not very relaxed either, and I did want to try and keep it relatively simple. Straight satin stitch then? You’d still need to adjust the stitch direction, but it’s definitely easier than in the diagonal version. Unfortunately that wasn’t the effect I wanted, and anyway I suspected that both diagonal and straight satin stitch throughout would look too solid, with too little texture. In the end I went for blocks of diagonal satin stitch alternating in direction. But would it need a split stitch outline? I started one just in case.

A provisional split stitch edge

The split stitch looked rather messy – I don’t really like doing split stitch in more than a single strand – so I started from the other end of the band without split stitch, tucking the ends under the previous band on one side, and knowing they’d be covered on the other side by the next band. And it looked just fine. Good, I’m all for simplifying things! The incipient line of split stitch was unpicked and the whole band worked without it; split stitch may make an appearance as a proper filling stitch in the smaller version worked in an indivisible thread, but here it isn’t needed.

Alternating satin stitch without a split stitch edge The yellow band finished

The green band, in stem stitch, posed no problem. The blue band, to compensate for this, threw up two.

First dilemma: fly stitch or Cretan? To begin with I was almost certain I’d go for fly stitch, then I doodled both and suddenly I wasn’t so sure. They both looked rather fun!

Fly stitch versus Cretan stitch

After discussing both options with my husband I decided to stick with fly stitch after all; much though I like Cretan stitch, I felt that (in contrast to the original satin stitch band idea) it has too much texture – a bit too fussy for this project. OK, fly stitch. But…

… in which blue? From a practical point of view it makes sense to stick with one brand of silk throughout, but the Splendor blue was a bit lighter than I’d like and the only darker blue of the right sort came from my collection of Caron Soie Cristale.

Which blue to choose

Rainbow Gallery’s Splendor silk is a 12-stranded silk in a slightly unusual distribution: it consists of three “bundles” of four strands. There are other silks on the market which use the same distribution (Crescent Colours Belle Soie, Gloriana Silk Floss and Thread Gatherer Silk ‘n Colors) and their weight too is pretty much identical, so I’ve long suspected they are really exactly the same silk marketed by four different companies. Ideally, then, I’d find a darker blue in my stash of these brands, but I have a fairly limited selection and moreover they are all overdyed or variegated threads rather than the solid blue I was looking for.

Caron Soie Cristale seemed a good alternative as it is also a 12-stranded thread, although not of the 3×4 type, and the individual strands are of a similar weight to Splendor and its doppelgangers. I cut a length of the darker blue, stripped four strands from it, got ready to thread them, and realised that the four strands together were noticeably thinner then the four strands of Splendor I’d been using. On closer inspection, the thread turned out to consist of 16 thinner strands. Had I misremembered the strand count and weight of Soie Cristale? I checked four or five other bobbins and this is the only Soie Cristale I have which has 16 thinner strands. I am puzzled.

The rogue thread, standard Soie Cristale and Splendor

Oh well, we work with what we have. Six strands of this rogue blue looked to have about the same bulk as four strands of the Splendor, so I got to work with that. Having struggled with six rather wayward strands for several hours I am happy with the look of the stitch, but the colour seems rather dark. Perhaps with hindsight my original Splendor blue would have been better. Unpick it all? That’s a bit drastic. I’ll see if it’s grown on me by the time my next stitching session comes around…

The blue band finished

By the way, exciting news – I’ve got a Certificate class booked at Rugby! Next Wednesday I hope to make a start on mounting the Jacobean tree, and going over my paperwork with Angela.

InspiRussian

Some weeks ago on the Antiques Roadshow someone brought in a Russian tea set and a rather exquisite enamel napkin ring which the expert pointed out was not actually part of it. It was Russian, though, and in fact turned out to be by Fabergé. I really liked the floral pattern on the napkin ring so I paused the programme, took a picture, and used it to make some sketches later. It just cried out to be stitched; silks would be ideal to show the sheen of the enamel but for some reason I saw it in my mind in crewel wools, and as the napkin ring was done in cloisonné enamel the main colour blocks of the embroidery would have to be outlined in some form of metal thread (copper or muted gold) to mimic the fine metal strips in the original.

As I scribbled down all these observations plus some colour ideas I was a little worried about copyright, but after some thought came to the conclusion that anything that age is unlikely to be covered anymore. If anyone knows differently, do please let me know before I start stitching! I’ve already got the design transferred to my favourite linen…

The Russian design transferred to a piece of linen

Having produced my first coloured version of the design, I set about choosing wools. I love choosing threads from my collection of Heathway Milano crewel wool; quite apart from the joy of opening drawer after drawer of glorious colour, they are a delight to handle, beautifully soft and fondleable (yes, that is now a word). I picked five colour families, Old Gold, Madder Pink, Lagoon, Goblin Green and Cornflower Blue. For now I wasn’t too concerned with how light or dark the design was going to be, just with getting the right shades.

First attempts at picking colours

And I wasn’t. Getting the right shades, I mean. The combination of blues and greens I’d gone for in my digital version was always going to be tricky to replicate, and it might have been easier to go with something closer to the original napkin ring, but I’d grown rather fond of my version by now so I was jolly well going to see it through! The problem was the blue – it needed to be just a tiny bit closer to the green end of blue without merging into the turquoise shade. It was obviously time to hit the shops, or rather one shop in particular: Catkin Crown Textile Studio.

Steve and Hazel not only stock the entire range of Heathway Milano crewel wool at a very reasonable price, they are also invariably helpful – I can thoroughly recommend them. This time what I needed from their store of goodies was the Bluebell colour family which is just that bit less pure blue than the Cornflower family. And as I was getting those I might as well get the missing shades in the Madder Pink family, so that I had a wider range to choose from for the flowers. And as I was getting those I was only a few skeins off qualifying for free postage. And so, uhm, well…

The shades I needed The shades I added

Moving on, it was time to compare the Bluebell and the Cornflower combinations to see which one was going to make the final cut. Colour preferences are very personal, but for me the Bluebell version immediately appealed in a way that the Cornflower one hadn’t. Bluebell it is!

The Cornflower combination The Bluebell combination

Since then I have made a few changes to the colours, but only in the way they are distributed, particularly in the flowers, so no need for another purchase smiley. I also turned the black design lines golden yellow to better show the effect of the cloisonné outlining. And that’s as far as I go for the time being – first I have a rainbow to finish (among one or two other things…). But it’s nice to know I won’t run out of things to stitch any time soon.

The revised colour version, dark The revised colour version, light

Incidentally, I’ve been thinking what to call this design. At the moment I’m considering either Exquisite Enamel or Fabergé Floral; but perhaps I should just stick with the title of this post!

Light and hope

I may have mentioned once or twice that I have more than enough projects to keep me going for a long, long time. Works actually in progress (like Llandrindod and Hengest), works ready to go with the design transferred and the materials chosen (like Soli Deo Gloria and Come Rain), and several still in the exciting design stage (like Mechthild, Pickled Garden and the nameless Russian piece). And that’s without the kits and designs by other people that I have on the go or on my shelves!

But sometimes something needs to be stitched.

I’ve been having trouble with my eyes for some time now. Partly the usual thing of getting older and needing longer arms to read things, partly the fact that because of lockdown I haven’t seen an optician for some time and probably need new glasses, and partly because of a progressive condition which causes cloudiness in my left eye. For now that last part is an annoyance rather than seriously getting in the way – it’s a bit like having smudged glasses all the time (and in fact I do keep trying to polish them when I’m not thinking about it). But I have no idea how bad it will get, or how quickly. And that worries me. But (as our minister reminded us in last Sunday’s sermon) worrying is a very ineffective thing to do. And a couple of weeks ago, as I was worrying about the light going out of my eyes I suddenly thought of the Light of the World. And it comforted me. So I grabbed a bit of fabric and a 3-inch hoop and stitched the words in a style which is not really usual for me at all, with gel pen additions. If it speaks to you, feel free to copy it (I’ll keep the pop-up picture a bit larger than usual).

Light of the World

The other design that has elbowed its way to the front of the queue I’ve called Hope. In the 1980s, when I was a teenager, a Dutch organisation called Agapè ran a campaign to encourage people to think and talk about faith. Its logo was a rainbow (and I’ve only just now realised it has a reddish purple on the outside instead of pure red) with the words “er is hoop” (“there is hope”).

The 'Er is hoop' logo

I’ve always loved rainbows and they’ve been rather prominent lately; even so, until a week or so ago I hadn’t felt any urge to stitch one. But when I did, and after a few sketches that weren’t what I wanted, I decided that I wanted the rainbow to be based on a circle. Some years ago, when flying to the Netherlands, I saw the shadow of the aeroplane inside what looked like a completely circular rainbow. It is apparently known as a “glory”; to me it looked like a sign of protection and security, and it always stayed with me. The photograph I took isn’t particularly clear but I hope it gives you an idea. With that starting point I sketched what became pretty much the final version of the design, a circular rainbow partly covered by a cloud containing the words “there is Hope”.

Glory around the shadow of a plane The design sketch for Hope Hope transferred onto blue cotton

Now I had to decide on stitches and colours. I wanted each of the colours to be in a different stitch, some line stitches following the arc of the rainbow, some with a different stitch direction or texture. And for the threads, silk. Chunky silk, in bold colours. I went for Rainbow Gallery Splendor, which is 12-stranded arranged in 3 clusters of 4 strands; each cluster should provide good coverage in a design that I chose to stitch a little larger than I would normally go for. Most of the colours were easy to pick, but I had a bit of a dilemma over the green. The one that seemed to fit in best was a very vibrant green, rather brighter than I ideally wanted (I’m not quite sure why I bought that shade in the first place!) But the only other green that would fit was on the dull side. After some comparisons I decided to go with the bright option – hope, after all, is a bright thing!

Splendor silk colours for the rainbow, with two greens

As I was about to start stitching the order of the various stitches from red to purple needed a bit of work, but eventually I was reasonably sure that I’d got them arranged the way I wanted them and it was safe to put the first stitch in.

The stitch plan for Hope

Now this project struck me as something nice and relaxing to do – pretty colourful bands that just need filling in, a whole band in stitch A, then a whole band in stitch B, hardly needs any thought at all. Hmm. This is what I got done the first evening:

First stitches

There were several reasons for my lack of productivity. The red band was planned in backstitch as a bricked filling, so with the backstitch in one line offset compared to the next line, like a brick wall. I started a line of backstitch, with stitches that were far too small. I’m simply not used to producing stitches this large and chunky! So that line was unpicked, and I started again, trying to remember to make the stitches larger while keeping them even.

But then there was the fact that backstitch is quite a wasteful stitch, producing a slightly messy stem stitch on the back of the fabric (blue arrow). How about using cable stitch? This produces the same effect but with less thread waste on the back of the fabric (orange arrow).

Backstitch and cable stitch seen from the back

I unpicked my backstitch and started again in cable stitch. Bad move, as I found it impossible to produce an even arch this way. Unpick again, work the very first line in backstitch (that’s where I got to on that first evening), then cable stitch from there on with the backstitch line as a guide. This worked much better.

First line of backstitch Starting a double line of cable stitch Cable stitch continued

Another option I considered (and tried out on a doodle cloth) was cable stem stitch (yellow arrow), which is quicker to work than cable stitch because you don’t have to gauge the width of your thread every time you place a stitch – like ordinary stem stitch, cable stem stitch is worked along a single line. But the effect lacks the straight lines I wanted in this first band, so I stuck with the combination of backstitch and cable stitch.

Doodling for Hope

And this is where I’ve got to so far. I like the texture of this band, and I look forward to seeing the contrast with the next bands, both in texture and colour.

Hope so far

Later this month we are hoping to visit my mother-in-law and I need a travel project; she is a very talented embroiderer and we like to stitch together, but as we also chat while doing this I need something straightforward. I could, of course, take the Ottoman Tulip, but I think I’ll set up a smaller version of this design, to be worked in only a few different stitches, none of which need a lot of attention (perhaps alternating bands of stem and chain stitch), and using an indivisible thread – either coton à broder (right) or perhaps floche (left), which comes in fewer colours but is lovely to work with. I’ll keep you posted!

Coton à broder and floche