Continuing on and finishing up the parade of past completions, misses, and items still languishing unfinished in the ever growing midden next to my favorite sewing chair, we arrive in near recent times.
In the last post in this series I mentioned sending Elder Spawn off to college with a bit of nagging to hang on her wall for continued parental admonishment. Well, it worked, so I did it again for the younger in 2015.
The request for the Trifles sampler included a laundry list of relevancies, including an overall steampunk theme, with nods to anime and Dr. Who, and at least one dragon or unicorn. I found a relevant precept in Book of Five Rings, then hit all the bases, and along the way playtested a lot of the fillings in Ensamplario Atlantio, plus many that ended up in Ensamplario Atlantio II. I particularly like the soot sprites caught in the mechanism, quoted from Spirited Away. This one was done with some of the faux silk floss I found while we were in India, on 38 count linen/cotton blend. It’s finished as a hanging banner.
Lessons Learned: This was the piece that taught me the joys of beeswax. The “art silk” is very fine but also very unruly, and being quite old when I bought it, can be friable. Waxing held it together, eliminated differential feed of the two plies, and kept me from piercing it prematurely as I stitched with one hand above and one hand below the work.
In 2015 we had an extended stay guest – a friend of Younger Spawn who spent the senior year of high school with us prior to graduation. She needed a send-off inspiration, too. But instead of imposing parental nagging on her, I asked her for a favorite saying she might want on her wall. She suggested this Grace Hopper classic. More tryouts of T2CM patterns ensued. This was also done in the art silk I used for the Trifles sampler, but on 32 count linen/cotton blend.
Lessons Learned: I used this one to experiment with color and open-voiding (squares, diagonals or zig-zags instead of solid fills or meshy stitch). It’s all double running, and like most of my pieces, wasn’t designed for dual sided display, so the color changes didn’t mean that I had to bury all of those ends. I rather like the playful brights I used on this one.
Shhh. But the secret is already out. In 2016 I took my first apprentice. Although my blackwork journey had been recognized inside the SCA with a Laurel award (the group’s high honor for achievement in the arts), it predated the establishment of apprentices as a concept (kind of like squires to knights, but not for martial prowess). But neither my apprentice nor I are good at formal statements, so we kept it under wraps and very free-form. Instead of giving her a green belt, I gave her a long strip of linen, with a belt embroidered at one end – the idea being that she could use the thing to experiment with stitching, painting, printing, dyeing, whatever. I think this is on 32 count linen in Au Ver a Soie silk, but I don’t remember. She’s gone on to make me quite proud of her explorations and achievements in historical arts and sciences (but we are still quiet about the whole thing).
Lessons Learned: While the plain old cross stitch that made up the lettering is not double sided, the belt mostly is. I learned once more what a pain in the neck burying all those ends can be.
In 2017, tired of having my hair blowing in my eyes in the wind and bored with bandannas, I decided to make two forehead cloths – a kind of kerchief popular in the 1500s and 1600s. And yes, I wear them with modern clothing, not re-enactor wear.
In a happy coincidence Stealth Apprentice was busy dyeing embroidery silks with historically accurate ironwood dyes, and asked me to try them out to see if texture, “stich-ability,” strength, or colorfastness in the wash were issues. I’m happy to report that her threads were prime. Both pieces have been through the wash multiple times, and both still look as good as they day they were finished. I made two cloths (only one pictured complete with ties), and while I was at it and abhor wasted space, I finished out the 32 count fabric with a doodle sampler of “Persist.” All of these designs are in T2CM. The darker triangle was stitched with two strands, and the other pieces with one strand.
Lessons Learned: Yes, there’s very little area between the two triangles. I cut neatly between them to separate the pieces, then lined them with well-washed muslin, and made some of the waste fabric into the ties. BUT notice the doodle sampler. It’s awful close to the kerchiefs. Too close. I haven’t finished out this mini-sampler yet, but to do so I will have to border it all the way around with fabric, then affix the entire thing to some some sort of frame, or into a little banner. I should have started that piece closer to the leftmost edge of the cloth. Oops.
This one is probably the most ambitious piece I’ve ever done. Silk, and Japanese gold, with 2mm paillettes, on 40 count linen, and finished in 2018, I loved every minute of my two fishies. The indigo silk was also dyed by Stealth Apprentice. The green is more of the Au Ver a Soie. All counted fills are done in one strand; the darker outlines are worked in reverse chain stitch with three strands. The whiskers are split stitch and the eyes are satin, both done with two strands. The gold is couched down and the paillettes are affixed with one strand of yellow faux silk (more of my India stash). The counted patterns are mostly in Ensamplario Atlantio II.
I spent a lot of time carefully considering (and sometimes picking out) the fillings. I was aiming for flowing mobility, a suggestion of scales, and glimmer under the the water’s surface. While the fills are all strict and regimented geometrics, offsetting them, and picking ones with strong diagonals and curves helped avoid the blocky, heavy look that many projects with fills fall into.
No, no one in this house gives credence to astrology – it’s not a Pisces depiction. The back story is that the Resident Male described a cloth with two fish embroidered on it in one of his early stories. I made it so. (Pun intended).
Lessons Learned: I haven’t put my hand to couching metal threads in other than the most trivial way since that silver horse pouch in 1975. I re-learned a whole suite of techniques to manage it, including plunging and finishing off ends, forming the curves and tensioning the gold as I stitched it down, how to increase or decrease the distance between the couching stitches to achieve the desired radius, and how to keep two unruly strands of the stuff side by side and not flopping over each other for best effect.
I’m beginning to run out of wall space. In 2019 I decided that I needed to stitch up some napkins – quick and dirty because they will undoubtedly get dirty quickly.
I wanted something fast to stitch that could endure harsh laundering. So I took a chance and ordered some pre-finished “rustic look” napkins and coordinating tablecloth. They’d be useful for my holiday table whether or not they were stitchable. And I lucked out. This is plain old DMC floss on big-as-logs 26 count poly-cotton napkins, and 28-count tablecloth. More or less – none were exactly evenweave when they started, and no two napkins ended up as the same size after pre-shrinking. But I don’t care. I had fun testing out more T2CM designs, and no – while I took pains to work double running and used the catch-loop method to begin each strand, I did not end off invisibly. There are tiny knots on the back of the napkins. So far no guests have turned them over to tsk, tsk.
What about stains you might ask? I don’t care. The napkins were quick and cheap enough to replace if they are too far gone. Note that the eating areas of the tablecloth are NOT stitched. If the thing gets damaged, I can always cut out the center part and apply or insert it into another one. Or not. “Look, here’s the gravy stain from 2023” sounds like it would be a nice bit of nostalgia ten years after.
Lessons Learned: There is no such thing as uniform shrinkage. Ever. Also a tablecloth is big. I ended up using my sit-upon frame to work the center, gathering up the ends of the tablecloth into two pillowcases to keep it clean. That worked well. Oh, and I hate ironing, so don’t expect to ever see this smooth and linen-press pristine.
It’s an addiction. I just can’t stop, so I plunged on, working up three of my favorite strips (and an edging) from T2CM. My Stupid Cupid doodle was done in June/July of 2019, on a piece of craft store 32 count linen/cotton blend, in DMC floss.
Lessons Learned: I ended up going back and editing my book pages on two of these designs because I hadn’t normed the repeats uniformly. My take-away is that it’s ALWAYS good to playtest a design rather than just trusting that one’s initial drafting is perfect.
Finishing out 2019 I thought I’d do up a cushion for my living room sofa. Well, maybe not a cushion. This is more of that faux silk, plus green Au Ver A Soie on 38 count linen. See all of that accursed satin stitch? It took only a couple of nights of working on it before I decided that if ANYONE sat on it with studs on their jeans pockets, I’d have a meltdown. Yet another piece destined to hang on the wall, I guess.
What you see here is the center third of my Leafy Multicolor – a piece very closely based on an extant artifact. I intended on making quite a large item, but the rather large leafy edge would only be on the top and bottom (as displayed in final, not as stitched). Have I mentioned that I detest satin stitch?
Lessons Learned: I really hate satin stitch. Especially in silk or faux silk with a laying tool. This is still on my frame. Everything I’ve done since is escapism because I HAVE to finish this one. But that satin stitch… Shudder.
The book cover project 2020 was a welcome break from you-know-what. It came about after some queries about how to make the book covers I had done back in 2012. I had a book, I had DMC floss, I had 30-32 count cotton craft store even weave, and I had patterns. Why not? So I wrote up the whole thing, from the initial planning stages all the way to the finish, so others could do their own. No idea if anyone will, but I hope someone does.
Lesssons Learned: No one is perfect, least of all, me EVEN when I am trying so hard to be because others are following along. I made a measurement mistake midway, but it all worked out. And going back to the first bit of almost-voiding with a red foreground and a yellow background I did on the Permissions sampler, above – I still like the loud and cheerful look.
And that brings us up to the current piece. I’ll tease that one here, but I save the Lessons Learned for when I’ve fully grasped all of the mistakes I’ve made on it to date.