As I wrote at the end of Not black blackwork! (part 2), I needed to do some unpicking on the left hand tower to mirror image the diaper. That wasn’t too difficult, but when I tried to stitch the pattern, I got in a right muddle several times, even after I had flipped it on the computer and only needed to follow it.
After I finally lost patience with it, I put in a variation on the two smaller towers.
Simple and effective.
I then put in the centre part of the bottom tower.
I decided to start at the top and work down, rather than working up from the bottom, and for some reason this worked better. I still had to concentrate and take it slowly …..
…… but eventually got there.
I definitely need to work on it with no distractions around, at least until I have got into the rhythm of the pattern. I now have to work out the patterns that I want for the next sections.
However, other pieces for the Grasby Embroiderers’ Exhibition next weekend have taken precedence.
I’ve continued working the diaper pattern from last week, and realised I can do variations of this one pattern on several of the castle towers, getting quite different effects.
It will look quite different if I have the diagonal stitches touching, rather than off-setting them, also whether I put in a horizontal stitch at the top and bottom of each rectangle.
I was keen to try out variations, but realised that the castle really needed to have some fabric strips putting round the edge of the blue background fabric, to stop it fraying any more…..
…….. also to be able to stretch it on a frame and put it on a stand, making it much easier to work on, with one hand on top and the other underneath.
I’d counted my backstitches and worked out how many repeats from one side to the other. I was being too impatient to get stitching, so started at the top rather than working out from the middle and outwards from there. I was also playing thread chicken with an old wooden reel of Coats Satinised Machine Twist.
I was really pleased with how it was looking, and continued stitching…..
……. only to find that the last pattern was two threads short of the backstitch edge. I’d had about 6 inches of thread to spare. I was happy with the colour, so didn’t want to unpick and start again and, on looking at it, realised the darker effect on the right hand side and lighter on the left makes the tower appear rounder. Phew!
I then did two rows of the same pattern, but with the diagonal stitches touching on a narrower tower.
I’ve reassessed the threads I’m going to use in better daylight, eliminating some for being too light, too grey, too mauve, or too turquoise. This is the selection to choose from at the moment.
I’ve started with a thicker perlé in the foreground.
It’s also slightly brighter.
I’ve also made the decision to use the same thread and diaper on the symmetrical blocks, so the foreground section will be mirror-imaged. (And writing that has made me aware that I haven’t mirror-imaged what I have done on the left hand tower.) Some unstitching to do next, then.
This is what we have been working on at “In the stitch zone” with Alex Hall at Scunthorpe Library. I have done very little blackwork previously, a couple of little pin cushions, but that’s about all.
I’m not good at counted work, too easily distracted and lose my place in the pattern. I also find working black on white hard on my eyes and, with the high contrast, prone to trigger migraines.
All the same, having seen the start of Alex’s piece I was keen to have a go. We were to use coloured thread rather than black, and a suggestion of working on 14 count Aida. I decided to base my palace on Neuschwanstein, a wonderful castle that we visited with our German friends when camping in the Black Forest many years ago, unfortunately before digital cameras.
When we went to Neuschwanstein, it was a glorious morning, so I decided to use a pale blue linen rather finer than Aida (first mistake) for the background.
Last minute before the first class, I machine stitched round the edge of 8 by 9 inch fabric to stop it fraying as I worked. I used a zigzag stitch, first two sides ok, then something jammed up. Bobbin? Fraying edge? Soon a case of more haste, less speed, but eventually I got it sorted out with tweezers and scissors and quite a bit of tugging.
Once I got to class, I tacked in a centre line both horizontally and vertically, which showed part of the machining problem: the fabric was nowhere near square. Fortunately it is big enough, and can be stretched and mounted square when I eventually reach that stage.
I have a bundle of Paintbox threads that I bought years ago, which I have sat and stroked a few times, but didn’t want to break in to.
I finally have done, using the middle darkest blue for the outline. I’m using running stitch and will go back round to fill in the gaps. The scrappy sketch at the top is what I’m working with, and making the size of the shapes by eye.
By the end of the first session, I’d got a door!
I had hoped to draw up a scale(ish) pattern by the following session, but didn’t get to it. So I continued with the scrappy sketch, using the door for proportion.
Alex had given us a couple of sheets with turrets, arches, windows, etc., which helped for my triangle at the top of the tower.
I then started putting in a turret. The slight curve didn’t work, so a bit of unpicking, much easier with running stitches than back stitch. After a couple of attempts trying to work it out, Alex advised doing a straight line as everything else is straight lines.
It immediately looked better, but by the end of the second session I’d only got to here.
I’ve had a couple of short sessions since. It’s hard on the eyes even with my strong glasses on, much easier to count running stitches than back stitches …..
……for mirror-imaging the bits that need it. I’m working in a hoop at the moment to make this bit easier, by seeing it all at the same time, but being very good about taking it out each time I finish stitching. And I’ll either attach it to a square frame or work it in my hand, once I’ve done the outine. It’s a slow process and will be a WIP (work in process) for a while.
I’ve stayed focused on my shard piece this week, and apart from a Schwam workshop at Lincolnshire Textiles last Saturday, I’ve continued with it each chance I’ve had to stitch.
The first thing was to find some more threads, to vary the shades, texture, gloss and add a bit of sparkle. The “Bella Donna” viscose ones above may look beautiful and glossy, but they are horrendous to stitch with, very quickly untwisting, separating and becoming fluffy. I usually try only to couch with them, but thought the blue was such a good colour that I’d have a go (bottom right). It’s slightly better stitching in thin air with them, at least the fabric isn’t abraiding it, and it does glide against itself ok. It would have been easier to do Corded Brussels, and if I use it for another section it certainly will be the corded stitch.
I also used two of these trusty Madeira threads. I bought them years and years ago in a tiny little shop in Alnwick when we touring in the camper-van. Over the years I’ve used them a lot at some time or other, only for hand stitching, and often with another thread of some sort.
The difficulty with these was using two strands, the first time the blue with a fine perlé, not too bad (middle bottom), and it catches the light more than the photo shows. Then I started using it for the section that went down to the point.
The cord was less anchored, and going into the machine stitch down one side, it pulled it across, and I ran out of thread. While finishing off the end, I realised I could pull it over a little more and leave myself a new section. So I used a strand of the blue and the silver together, both very fine and inclined to tangle, especially as they were rather long with wanting to make sure I didn’t run out of thread again. Again the photo doesn’t show the sparkle.
It’s certainly a slow process. I’d done eight sections by last week and have now done seventeen, and started the eighteenth. I’m not sure how many more I’ll do as I’m assessing where to go next as I go, but I’m enjoying the process. The Corded Brussels Stitch is not only much better to do, it is also significantly quicker than the Brussels Stitch.
The coasters in the photo, showing the piece as is, are from Barcelona; Gaudí’s work is so stimulating and inspiring.
A couple of people have asked me about the piece in the last week or so, and thought it might be based on a stained glass window when I’d told them it was for a piece for Lincolnshire Textiles Exhibition to be held in the Chapter House at Lincoln Cathedral in August. Certainly rose windows and stained glass generally do inspire me.
Looking through photos a couple of days ago I found this, which we came across by accident when we were walking in Barcelona’s Gothic Quarter in April 2013, in the Plaça de Sant Miquel. It reminded me of some of my degree work “Informed by the organic”, that I was working on for the degree show in May.
New work is often influenced by earlier work and input, even when it is subconsciously. Looking through photos is often a good starting point, and although I didn’t find many pictures of the people and dog that I was looking for, I did find lots and lots of things that are ideas for my art and textile work.
My days seem to be speeding up again, more things that I am involved with have started up for real again in the last few weeks. The various sewing groups I go to have changed: from nothing at all, weekly or monthly newsletters, Zoom workshops and meetings, to meeting up again. Several of them have generated new projects already.
Much as I love new projects, it all feels a bit overwhelming. Seeing more people and lots of conversation and catching up is great too, but so much to talk about. How did we fit it all in pre-lockdown?
I’m sure it will all feel normal again soon.
The photo above is for an exhibition in the Chapter House at Lincoln Cathedral next August. No, no, no, not as it is! At Lincolnshire Textiles a few weeks ago we were shown a mock-up of the finished piece in paper, lots of round-ended triangles of various sizes and lengths, in various shades of blue. Anybody wanting to participate was asked to trace off one of the shapes, and write their name on the cartoon, so that none get duplicated. There was a pile of fabric to take a piece from, if required, and I took a piece of fine blue linen. I rarely work in blue so have very little myself, and couldn’t think of anything suitable in my stash. I have got some blue threads, these are my starting ones.
I’d watched the http://textile.artist.org workshop by Jean Draper “Stitching in mid-air” earlier in the week and fancied having a go, so this was my first idea. I’d no idea how to make a frame the right shape, but have now cobbled together something I hope will work. I’ve had a little trial so far, and whether it will look how I see it in my head, time will tell.
I’ve also cut two pieces of pelmet vilene and made myself a new pattern piece. The back is likely to be at least partly visible, so that needs to be taken into consideration too.
At the Allsorts group a fortnight ago it was suggested that we start some Christmas projects, seems a bit soon really. But on past experience, when we don’t start them until mid-November I never manage to get them finished, unless it’s a gift for somebody else. I’m usually finishing mine off on Boxing Day at best, or before they get put away on Twelfth Night, but more likely the following year or even years later.
This is my new resolution: not to be finishing things off at the last minute, or even starting it at the last minute. I want to enjoy the process, not stressing out about getting things finished in time.
My piece of plastic canvas and bag of red and green threads nearly got finished in the morning. The usual problems with counting with canvas work, and predictably not following instructions, and wanting it to mirror image in the middle; a few stitches had to be undone, but it worked in the end.
I’ve used a strand of my favourite Madeira Metallics with the perle thread, which catches the light (I can see a loop on the larger than life size photo below that needs taking through to the back), and Twilley’s Goldfingering.
There was a table of intersting beads and bits and pieces for us to dip into, so I picked out a few sparkly bits to make a tassle. It just needs a piece of red felt attaching to the back, and it’ll be ready for the tree.
I’d missed the last meeting of SEATA (Scunthorpe Embroidery and Textile Association) as it clashed with the Grasby Village Hall Exhibiton, but Sandra brought me a Christmas Challenge decoration pack including a felt pear kit, which I have started. Gold buttonhole stitch to attach the middle (core?), and some purple reverse chain stitching that I could do while we chatted, that’s all I’ve done so far. But I’m getting in front of myself with even starting these things! I’ve not started the Challenge, inspiration hasn’t struck yet.
Finishing off old projects is on the back burner for the moment, but I do want to keep up with and on top of the new ones. I did manage quite a few, while new ones weren’t coming at me thick and fast!
In October 2018 at what was Lincoln Embroiderers Guild, now Lincolnshire Textiles, we had an in-house workshop on Sorbello stitch, a stitch completely new to me, but once you’ve got the hang of it, pretty easy. It’s almost a twisted X-stitch, but can be done so it looks open or closed, regular little squares, squashed or elongated depending on how you place the stitches and where you bring your needle up and take it down. The idea was to use different size stitches in textured yarns and threads, in various thicknesses, to see how they affected the appearance of the stitch.
We were given a piece of fairly open weave fabric to work on, which needed to be in a hoop or on a frame. There were loads of threads to choose from too, some easier to stitch with than others: the stiff ribbons didn’t want to bend and gave a much boxier effect than the soft knitted ribbony yarns.
I’m not sure if the top photo is how I left it at the end of the day, or whether I’ve done some more to it since. I think the outline blue square was added at a later date. But this is how it was in the plastic project wallet in my basket of UFOs, the things that Anne Brooke called PHDs, which I like, and I also call WIPs: “Project Half Done” or “Work in Progress” sounds so much more positive than (yet another) “UnFinished Object”, reminding me that it really is a work in progress rather than an abandoned one. The threads below were also in the wallet.
It all looks a little puckered and loose, but I had released it from the hoop, or more likely ‘borrowed’ the hoop for something else. However, I am trying to take things out of the hoop at the end of each stitching session, to minimise marks on the fabric. Really I prefer frames, but sometimes a hoop is all that is to hand, and is so much quicker to set up for small projects.
None of the threads with it were very thick, so I had a bit of a hunt for thicker ones, sorting and tidying as I went. it didn’t yield much, except a poly-cotton fabric (top left, below) that I used as a lining for a hand-painted and stitched waistcoat, that I made from a programme on the telly by Jan Beaney in the late 70’s or early 80’s. I tore it into strips about 1cm wide, but not so nice to stitch with like the boxy ribbon; however, the colour was just what I wanted. The turquoise yarn has also been around a long time.
Another search around turned up a really chunky blue that I used in an Icelantic sweater that I knitted while still at school. My friend, who was no knitter, borrowed the circular needle and the four needles for the sleeves once I’d finished mine. She couldn’t understand why the sleeves were different sizes…. she’d only used the small needles for the main part of the sleeve, rather than the cuff on the one!
This is what I’ve used around most of the edge of the square. It’s giving a really firm edge to the piece, a bit tricky getting into the corners, and a frame really would have been better than a hoop in this case. The stitches are building up where they overlap, giving lots of texture. It has been quick to work, a nice contrast after the fine crazy patchwork piece of the last couple of months. It’s now ready for some lighter blues and whites, a little more sparkle of sun catching waves, just to finish it off before my palette changes along with the season.
debbidipity 