Surplus weight(s) and ceramics

I’d been using my Aristo lapstand for most of the work on Queen’s Silks; the stand is better suited to rectangular frames like the Millennium and my small slate frame, but it works with the 14″ hoop I used for the Tree of Life SAL and it just about works with the 12″ hoop which I’d mounted the racehorse in. But my next project will be in a not-quite-10″ hoop (Nurge’s 25cm one), and when trying it out that just didn’t sit well. I’d need to use my Sonata seat stand. Now I love the Sonata, and I’ve used it with hoops up to 8″, but I feared that 10″, especially with the added strain of plunging, would be rather too much for it. Ideally I’d use the Lowery stand, which for some years has been firmly lodged by my armchair. Would it work in my dining room set-up, which is where I like to work on larger or more complicated projects? With no armchair to hold it down, I thought I’d need the old-fashioned scale weights which live in the garage and which Mr Figworthy has been saying for years “will come in handy one day” to keep it stable (they go up to 14 lbs), but it turns out a fairly thin chair leg works, as long as there is a substantial amount of stitcher on top. (Note to self: good excuse for extra pudding.)

Superfluous weights The Lowery in my dining room stitching spot

You may remember last year I bought a small dish and a fridge magnet from Wilton Road Ceramics. Having decided that I needed more needle minders, I thought some of Sue’s ceramic bits and bobs would be just the ticket. At the moment my two main ones are home-made affairs using ceramic buttons – fine for larger tapestry needles, but the itsy bitsy needles I use for goldwork and some other types of embroidery have a disconcerting tendency to get themselves lodged in one of the holes and stand upright, business end up. Something without holes was called for.

Now I’ve been using the large fridge magnet on my Lowery stand, holding a selection of needles ready to use whenever I need them without having to rummage through sewing boxes and needle books, and it works very well. But is is on the large side for keeping on an embroidery, unless the hoop or frame is on the large side too and there is plenty of room around the design.

The first large needle minder on my Lowery

After a few measurements I worked out I wanted something about an inch square, and flat. Sue doesn’t do magnets that size, but she does do what she calls card toppers, small square tiles that decorate cards. She was happy to send me some of those without the cards, and even offered to attach some smaller magnets to them so that they would be ready for use. Not only that, she sent me a little freebie pink heart – I’d looked at some hearts she does for bookmarks, but they were too big. But she found this one-off smaller one in a drawer somewhere and just sent it with the others, wasn’t that kind?

A selection of ceramic needle minders

Unfortunately the small magnets, though admirably effective in sticking to fridges, were not quite up to the task of attracting needles through a layer of ceramics. I asked Sue what they were attached with, hoping it would be possible to perhaps heat them up a little to melt the glue, but it turned out to be E6000, which can only be dislodged with acetone and patience. Patience I have (to some extent), but as I never use nail polish, acetone is not something I have around the house. However, our kind neighbour had a big bottle which she was happy for me to use as much of as I needed. After that it was just a matter of replacing the weak magnets with the small but fierce neodymium ones which Mr Figworthy uses to make magnetic sump drain plugs (what else…)

You may have noticed that among the purchased selection there is also a larger magnet. I fell for the fish, which reminds me of the Ichthus symbol (also known as the Jesus fish because the letters stand for “Jesus Christ, Son of God, Saviour”). I knew from the beach hut magnet that that one is strong enough to attract the needles and indeed, it did solid duty on the racehorse – it even successfully holds the large plunging needle!

The new large needle minder in action

Did I mention I was having a bit of a needle minder spree? This one isn’t ceramic, but the moment I saw it I knew it was perfect for my sheep-mad friend who has recently taken to stitching. And to make the most of the postage it made sense to get one for myself as well! Even if it never actively holds a needle at all (it is on the big side) it makes me smile. Isn’t that quite a good reason in itself?

A perfect lamb of a needle minder

A book, a horse, and a lobster’s claw

Although my summer stitching will be more goldwork (I’d tell you more but it’s a secret for now…), for the Certificate I’ve moved on to Canvaswork, and before we break up for the summer I have one class to get it all set up. Last time Angela advised me to get Jo Christensen’s Needlepoint Book and being a dutiful student of course I did smiley. It arrived just before we went away for a short break (by the sea, lovely!) so I’ve only read a little of it so far, but it looks a very informative book.

Jo Christensen's Needlepoint Book

I’ve also been doing some sampling, on a piece of 18TPI canvas I found in my stash. I have no idea why I had it, and I have no recollection of buying it – it may well have come from one of those occasions where someone hands me several bags of odds and ends because they want their mother’s/aunt’s/grandmother’s/great-aunt’s embroidery things to go to a Good Home. However I got it, it’s coming in useful now! Among the things I inherited from my mother-in-law there is a stitch guide with some very useful pictures of canvaswork stitches, and in fact it showed a better way of “slotting together” Dutch stitch (which for obvious reasons appeals to me and which I hope to be able to use in my Certificate piece) to cover the canvas more completely – the importance of which is strongly stressed in the Brief. It also reminded me of Victorian tufted stitch. I doubt I’ll have opportunity to use it, but it was fun to have a go.

Canvaswork sample cloth Dutch stitch in my mother-in-law's book Two ways of slotting Dutch stitch together Victorian tufted stitch

At my weekly Embroidery Group, which is finally meeting again (though with sadly reduced numbers, and for a very short term only) I’ve taken to working on the goldwork racehorse I started two years ago at a 3-day RSN class. You wouldn’t think goldwork would be ideal for a group where chatting and drinking tea is as much part of the fun as embroidery, but oddly enough it works – well, mostly… I want to finish this, but I want it to be fairly relaxed as well, so I decided I wouldn’t worry too much if my couching stitches were not all exactly 3mm apart, or if my S-ing chips were of slightly different lengths. But because the light at our venue is not the best (especially since one of the strip lights conked out and won’t be replaced until the summer holidays) and the design is drawn on dark green fabric in fine black pen, I managed to overlook the fact that my quite nicely plunged bit of couching completely failed to cover the far end of the outline. Oops. I tried to remedy this by extending one of the lines of couching but that just looked silly, so I unpicked it. For now I’m leaving it as it is and I’ll try and think of something to cover it up in an acceptable way.

The flank couched The flank plunged - with visible lines... Essing along the back completed The horse so far

And finally, the lobster’s claw. I know that sounds a bit mysterious, but it is apparently what the shape of an aficot is based on. And if you have no idea what an aficot is, I sympathise – when I first saw the name and a picture of it (in this article by Mary Corbet) I couldn’t for the life of me imagine what it had to do with embroidery. Well, it’s used for polishing satin stitches. It is also, when well-made in lovely wood, a thing of beauty in its own right, almost like an extremely tactile abstract sculpture. I’d been eyeing these (especially the set which includes a matching laying tool) for months, and finally decided that it was worth getting just for the sheer pleasure I’d get out of seeing and touching it, let alone using it in my needlework! After a lot of to-ing and fro-ing between the various woods available I eventually went for ebony, and here they are: my very own aficot and laying tool. Aren’t they gorgeous?

Safely packaged in tube and velvet bag An ebony laying tool and aficot The aficot fits beautifully in the hand

Drawing the line

That’s what I do for workshops – drawing the line drawing. On the kit fabric. The kits I sell online come with blank fabric and instructions on how to transfer the design yourself, but this would take too long in a 90-minute or 2-hour workshop, so I do them beforehand, with the aid of my trusty lightbox and some fine drawing pens.

Drawing the designs on by hand

But wouldn’t it be nice to get them screen-printed, both for workshops and for general kits? It can look really professional, like King Ethelnute of the Coombe Abbey retreat.

Stylish printing on Ethelnute

There are a few hurdles, however. First of all, people who have found good screen printers for their kits turn out to want to keep this information to themselves. Fair enough, I’ll just have to do my own research. But what about the quality of the screenprinting itself? Ethelnute looked very stylish in his gold outline, and as he was solidly stitched there was no problem about lines showing. But not all embroidery is solid, and in some kits I have bought in recent years this could be a real problem. There were kits with uniformly thick lines which were sometimes difficult to cover completely, like this one from Melbury Hill.

Thick grey lines on a Melbury Hill kit

Its saving grace was that the lines were printed in grey, so that any line showing was not overly noticeable. That couldn’t be said for some of the Sarah Homfray designs, which were printed in quite a bright green. Now let me begin by saying that Sarah’s kits are very well put together and generally a joy to stitch. But the green printing was a bit of a problem especially where lines ran into each other, becoming rather blobby – on the Turaco bird I had to add an extra line of stitching along the leaf edge to make sure everything was covered. In most of the design the printing was nice and crisp and distinct, but it was still quite bold, and working on the fruit trees I found that line stitches like Palestrina stitch did not always cover the whole width of the design line, even with a “spreading” thread like crewel wool.

Some blobby lines on a Sarah Homfray kit The lines are very very green Palestrina stitch does not fully cover

So there were three things I’d have to consider if I wanted to get my kit fabrics printed: I’d have to find a good screen-printer, the colour of the lines would have to be neutral and not too dark, and the lines themselves would have to be quite delicate, especially on designs that are not solidly embroidered or that use fine threads.

The first consideration seemed likely to scupper the process before it properly started as I found it difficult to work out who would be a suitable printer among the bewildering variety of available ones. Another thing was that most of the companies I found would only print on fabrics from their own collection. You can get screen-printing done on linen twill (see the Melbury Hill kit) but I haven’t been able to find out by whom. And then I came across a different process altogether, digital fabric printing. This seems to be used mostly for printing patterned fabric or logos, but surely you could print line drawings? I picked a company that would print samples and uploaded some designs: Whoo Me, the Wildflower Garden, and Forever Frosty.

Whoo Me Little Wildflower Garden Forever Frosty

Now this came with a few complications of its own; like so many printing companies, they would only print on their own fabrics. And they do not print on coloured fabrics – instead, the background colour is printed as well. Not quite as stylish and professional-looking as printing on a separately dyed fabric, but I was willing to see what it looked like. I picked a simple calico for Whoo Me, a plain cotton for the Wildflower Garden (to be printed light blue) and a duchesse satin for Forever Frosty, on the grounds that goldwork deserves something a bit more upmarket and glossy.

Here’s how they turned out:

Digitally printed kit fabric swatches

And I’m quite pleased with them! You may notice that I didn’t take my own advice about using a neutral, not too dark colour for the lines – they are, in fact, black – but this is because I had these printed before I had fully grasped the advantages of the Melbury Hill grey design lines. Anyway, that can easily be remedied if I decide to get them printed in larger numbers. The lines on Whoo Me and Forever Frosty are fairly bold because I forgot to adjust my line drawings – I usually print them quite bold because it makes it easier to trace them through the fabric, so all I need to do is provide the printers with a finer line drawing: they’ll print exactly what I provide.

Especially in the case of quite detailed designs like the Wildflower Garden, the extra cost that printing adds to the workshop kits is at least to some extent off-set by the amount of time I don’t have to spend on hand-drawing them. For the regular kits it is an extra cost on top of the usual materials as they do not usually come with the design pre-transferred; but I think it would definitely add to the user-friendliness of the kits. Let me know what you think – would you be happy to pay a little more for a kit that had the design ready printed on the fabric so you could just pick it up and get started?

Vintage stash and shop sadness

My mother-in-law Elizabeth, who has been a keen needlewoman all her life, has asked me over the past few years to go through some of the embroidery stash she had no further use for (you may remember some interesting goldwork threads she bestowed on me some years ago). Recently, in view of her failing health, she asked me to sift through the remainder and divide it into things I could use, and things to be passed on to her embroidery group once they are allowed to meet again.

In the drawers of her needlework chest I found a wealth of lovely textured threads and ribbons, some of which I hope to use in my Canvaswork module (the next one after Bruce is finished), as well as a variety of metal threads, something that looks like coloured pipe cleaner (the blue a bit mottled with age), and miscellaneous bits and bobs including some pretty mother of pearl thread winders.

Textured threads and other bits and bobs Silk ribbons Miscellaneous metal threads Coloured metal passing Chenille wire, also known as pipe cleaner

But the biggest haul, going by quantity, was an enormous bundle of vintage Filoselle silks. My guess is that they were originally intended for a tablecloth or a project of similar scope, presumably with a pattern of leaves and flowers – mostly leaves, if the amount of green is anything to go by!

Vintage Filoselle silks (and a darning egg)

Pearsall’s Filoselle silk, which has sadly been discontinued, was produced until relatively recently (I bought some in a sale in Cumbria back in 2012). Judging by the paper wrappers, however, these skeins are likely to be a lot older than that. They may well be the same age as the “Journal of the Embroiderers’ Guild” which I found on one of the bookshelves – Spring 1956, when Elizabeth was four years married and a young mother. Perhaps they were bought for the transfer illustrated on the back cover?

An old issue of Embroidery magazine

One of the things that struck me in the magazine was the names, or rather the titles, of the various “Officers of the Guild” and the Presidents, Chairmen (mostly women, actually), Secretaries and Treasurers. Her Grace the Duchess (two, plus a Baroness, if we count vice-patrons as well); a Countess and a Viscountess; numerous Honourables, Ladies, and Honourable Ladies; a Captain and a Major. I fear the Guild has come down in the world somewhat since then… Still, a more egalitarian Guild may well be a reason for rejoicing; but what saddened me when flicking through the magazine was the advertisements. Such an abundance of shops to buy your needlework materials from! And what has happened to them all?

Francis of Bath Street in Leamington Spa is long gone; Celic in Bedford who advertise as Mail Order Stores are now a “catalogue shop”, but what they offer and whether they in fact still do so is anybody’s guess, as Google declines to throw up any further information. The name of Boynton & Turner, “Designers and Makers of Transfers for Every Kind of Embroidery since 1906”, turns up only on Etsy and eBay and the like where people offer their “vintage transfers”. Art Needlework Industries of Oxford is no more either; one of the few mentions I found was about an old shade card for their wool. Harrods – well, Harrods still exists of course, but I had no idea whether nowadays it has “everything for the needlewoman”, let alone whether “demonstrators” are still “at hand from time to time”. A bit of search engine activity brings up a promising page called “Needle & Thread” on the Harrods website, but this turns out to be a clothing brand. The only remotely crafty things seem to be in the Children’s/Toys section…

Adverts in Embroidery magazine

Art Needlework Industries or A.N.I. must have been quite an influential shop – they appear in several more adverts dotted throughout the magazine. As for the other advertisers on the page shown below, the Dundee Heritage Trust has some swatch cards and sample booklets which seem to be the only remnants of Richmond Brothes and their Glenshee Embroidery Fabrics. Like Boynton & Turner, Peri-Lusta turns up only on sites like eBay as vintage materials. Briggs & Co. of Manchester and their “Waffle-Weave Embroidery by Penelope” have been through some changes too – James Briggs & Sons are stil trading, but have nothing to do with needlework now; Penelope seems to be still going although I’m not sure what they stand for now besides the name of a type of canvas. Searching for Aero hoops leads to bicycle parts rather than embroidery, and “Flora Macdonald embroidery needles” once again turn up only in “vintage” sales.

Adverts in Embroidery magazine

Elsewhere in the magazine, Deighton Brothers advertised transfers, “art needlework and needlework accessories” and a book on smocking; they still exist, but only for “on-demand tapestry printing”. Knox of Kilbirnie stopped making their linen embroidery threads (some of which – see below – I found in a charity shop in The Netherlands!) in the 1990s and now produce “industrial and military nets”. The Needlewoman Shop in Regent Street closed in 1985. The Old Glamis Factory in Dundee which produced embroidery fabrics closed in 1984.

Knox linen floss

We still have many amazing manufacturers of threads and fabrics, and we’re not likely to run out of resources any time soon, but it is sad to think of those many, many shops selling beautiful materials which for whatever reason were no longer viable. Fortunately we can still use and enjoy their products, now with the label “vintage”; here is one of each of the Filoselle colours from my mother-in-law’s collection with a square of linen from another of her needlework drawers for a project. A rose, perhaps? Or an E decorated with flowers? Whatever it is going to be, it will be a lovely reminder both of my mother-in-law and of all those wonderful needlework manufacturers.

One of each colour and some vintage linen for a project

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.

A novel use for ice lolly sticks

As the new ickle slate frame doesn’t fit on trestles (just as well, as that was rather the point smiley) I use it with my trusty Aristo lap stand; but you may remember that the Aristo’s arms were just a little bit too short to accommodate the slate frame reliably – and you don’t want the frame to slip off right in the middle of a tricky bit of goldwork! So Mr Figworthy and I teamed up to create a Meccano solution.

Meccano Aristo arm extender

This worked well, but when I first took it to a class it managed to lose a nut in transit. Another slight drawback is the fixed width; surely there must be a more flexible way of doing this? Enter the ice lolly stick (or rather, four of them), courtesy of a friend from church who teaches Sunday School and therefore has a craft stash you wouldn’t believe. Two glued pairs of sticks and four rubber bands later, hey presto!

Ice lolly stick Aristo arm extenders

And does it work? It does. It won’t win any design awards with its Make Do And Mend look, but after several months of use without any problems I’m happy to make do with it!

The ice lolly sticks in action

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!

Is it stash or stock?

I felt very virtuous this morning because most of the embroidery-related things I’ve been ordering recently have been necessary stock: postal boxes for my goldwork and appliqué kits, lightweight calico which is the backing fabric in all the non-counted kits, plunging needles and bamboo hoops for the goldwork kits. But then I came across part of a purchase which I couldn’t quite classify – is it stock or stash? Or both?

The items in question are two lengths of coloured purl. A dark pink one called Berry which will be used for the little flower in the goldwork kits, but which might of course also end up in some of my own projects. And a Bottle Green which is definitely for one of my own projects – a goldwork snowdrop I’m planning. But as that is likely to become at least a chart pack and possibly a kit, perhaps it still counts as stock?

There was no way, however, that I could pass off the things that came with the purls as stock – they were just pure indulgence. It started with a Facebook post by Sarah Homfray showing some octagonal display frames. As I love finishing projects in hoops I thought they’d be ideal, especially as they are the perfect size for a lot of what I do. And as they are quite bulky and fell into the higher postage band anyway this was a great opportunity to add the wingnut tightener I’d been eyeing for some time.

Octagonal frames and a wingnut twizzler

Then, as I thought the postage might stretch to a bit more, the purls were added. I like to be able to offer a nice range of colours for the small flower in the goldwork kit, and that snowdrop had been in my sketch folder for yonks so it was about time I did something about it. And then, as I browsed the rest of the site, I noticed some printed fabrics for two crewelwork fruit trees. They used to come as kits, I think, and they were a set of four: apple, orange, lemon and pear as far as I remember. I really liked them but didn’t really want the kits; I have plenty of threads and the stitching on them was fairly straightforward. Now the apple and orange were there as a “fabric only” option – great for relaxing in-between projects to use up odds and ends of threads in whatever stitches I feel like at the time! They duly made their way into the shopping basket, and as they didn’t tip the postage over into the next band, they were duly ordered with the rest. I’m going to enjoy those!

Printed trees and coloured purls

By the way, having stocked up on postal boxes and small bamboo hoops I’ve been thinking of converting some of the other kits I offer to boxed ones including a hoop, especially the kits aimed at beginners. On the other hand, a beginner at Shisha embroidery may well have done other types of stitching before and therefore already have the necessary hoops. What do you think?

Stitching goodies under the Christmas tree

Did you get any stitchy presents this year? I was thoroughly spoilt – besides non-stitchy presents including a set of good kitchen knives from Youngest and a lovely cross pendant from my husband there was an embroidery book and box of inspiring stash (also husband) and a selection of really useful bits plus some unusual bling (from Eldest, DIL and grandson). And with only the tiniest of hints; aren’t they clever smiley?

I’d rather hoped to be able to pick up my signed copy of this book at my latest Certificate class which was meant to have Angela as the tutor, but they changed the teaching schedule so it was Becky Quine. I could have brought her Crewelwork book (which is from the same series as Angela’s, and Lizzie Pye’s for that matter) and have it signed as well, I suppose, but I thought that would be a bit forward. Anyway, as the new book had to be sent, my husband decided it would make a good Christmas present – which indeed it did! I’ve had a first read through and there are lots of interesting ideas in there; I particularly like the use of Turkey rug stitch for a girl’s plaited hair (shown on the cover).

Angela Bishop's book about embroidering people

A friend on the Cross Stitch Forum had alerted me to the lovely hand-dyed threads of Paint Box Threads; they sell them individually but also in “Inspiration Packs” containing interesting combinations with hand-dyed fabrics and speciality threads. This is the one called “Period Drama”. The sateen is lovely and soft and matches the threads beautifully. The speciality threads look interesting, there’s a sheer ribbon and a neutral & gold thread which can be couched, and something extremely hairy which I’m not sure how to use but it’ll be fun to try!

Inspiration Pack from Paint Box Threads What's in the box in detail

And finally there was this lovely selection. Well, when I say lovely in some cases I just mean “very useful”; I am the first to admit that the 10mm felt for really high padding is not the most attractive thing to look at, but I look forward to using it in future goldwork projects. I’m thinking possibly a toadstool… anyway, that’s for later. The other bits are three gorgeously shiny silks for couching metal threads, a light grey drawing pen for transferring designs, a dinky little pair of pliers which will be great for pulling needles through dense embroidery and bending wires, and some unusual goldwork materials. See the gold and silver looped wire in the pictures? On Jenny Adin-Christie’s website it is called “miniadice”, a wire I had never heard of before. A quick google yields only one other link (to a German website), so I guess it is not very commonly used. That means it’s not really suitable for any designs I intend to publish on the website, but I can still use it to interesting effect in purely personal projects.

A collection of goodies from Jenny Adin-Christie Couching silks, pliers, transfer pen and miniadice

With so many things to read and play with, it’s a shame the Christmas holiday is nearly over! But I’m sure I’ll find opportunities to use my presents even when work occasionally gets in the way smiley.

The joys of curvaceousness

No, this has nothing to do with the festive season or the fact that I inexplicably tend to acquire a few extra pounds at this time of year. It’s all about frames and needles! (Digression – my husband asked how the finishing of plunged goldwork threads was assessed as it would be covered up. I explained that, as far as I knew, if the metal threads on the front didn’t wobble and there were no unsightly bulges the assessors would assume the securing had been done properly. “Ah yes” he said, looking meaningfully at the various Christmas treats lying around, “wobbles and unsightly bulges can be quite a problem.” I ignored him.)

Remember the two SAL Trees of Life that went off for framing? Well, they came back looking rather beautiful in their shared accommodation! One of the things I really like about the finished look is those curvaceous apertures. Because the design for the Tree is just a little taller than it is wide, I made things a bit difficult for our poor local framers by asking the mount to be cut not with two perfect circles, but with two not-quite-circles-but-just-slightly-ovals. I think they came up trumps, don’t you?

The SAL Trees of Life framed

Over the weekend we finally got round to hanging them on the wall. They join a painting I brought with me from the Netherlands when I moved here, and appropriately hang right next to my craft room door. This also means I look at them whenever I’m working on my Certificate or other serious projects at the dining room table – ideal!

And hung in place Right by the craft room!

More curves entered my life this month, this time in the form of needles. I mentioned the ones I ordered from Creative Quilting, but I also found a set of six semi-circular and curved needles at Restore Products. Because the website didn’t mention the diameter I rang them and asked what sort of thickness they were, and the gentleman told me they were surgical needles which they themselves used for box making and mounting. I took the plunge and ordered a set, and they too arrived a little over a week ago. They were a bit of a surprise, being much smaller than I expected; I obviously hadn’t visualised the measurements on the website quite accurately enough. The smallest one, I suspect, will need an implement of some sort to manipulate it through the fabric, much like you see surgeons do in medical programmes. Perhaps the nifty little pliers I got for Christmas… but more about that some other time.

Back to needles. The Creative Quilting ones look the most promising, being more or less the size I’m used to but (as Becky had said) finer than the RSN kit needles and sturdier than the beading needles, so the Restore Products needles have been put away in my needle box for the time being. I’m sure they’ll come in handy at some point; tools and bits of equipment usually do, don’t they? The picture, by the way, shows both sizes of John James curved needles but I’ve only ever used the smaller of the two; I have no idea what I’ll ever use the larger one for, if anything. It doesn’t show a curved beading needle because I broke my last one while waiting for the new needles to arrive…

Various curved needles

And here is the result of me plying one of my new Creative Quilting needles: Bruce’s back is properly and fairly neatly secured! I still managed to pick up a bit of the main fabric once, but fortunately I noticed before pulling the needle through so I could remedy that quite easily. In the not too distant future I’ll show you what the front of this tamed spaghetti looks like smiley.

Bruce's back fully plunged and secured