All stitching is finished on my bony boi piece! Next it goes off to the framers. This one deserves a nicer finish than I can do myself.

And having played Thread Chicken, this is all I have left.

First sincere thanks again to Paula from Austin, who staged an intervention and shared her own stash. Since the thread I was using is not generally available, her generosity was key to this finish.

And a close-up of one of the “islands,” designed and added at last minute because the composition needed them:

Let’s see… Lessons learned. There are always lessons learned.

First and foremost, the obvious one – double check thread quantities, color numbers and dye lots. While I had two large hanks of multiple skeins of red, both with the same color number, it’s now obvious that one of them was either mis-numbered or a different dye lot. Or perhaps a lot older than the other. They didn’t match. Not only were the colors different (especially in natural light), the thickness of the individual plies also varied, with the “bad” stuff being just a tiny bit heavier. I ended up marling together the last of the “good” color (abetted by Paula’s donation), with the “bad” stuff, and making do.

I tossed caution to the wind in my hurry to get started and did not hem the edge of this cloth. But I did plan an extra generous blank area around the entire piece for later framing, so this ended up not mattering. Other than the annoying shed of edge threads, of course. I have to force myself to edge-control discipline. Hem, hem, hem.

I didn’t grid the piece prior to stitching. Yes, I know others do and find it helpful, but aside from marking my center north-south, and east-west with a line of basting thread, I don’t really feel the need. I went “around the world” on this one. I started the center top and continuing the border counter-clockwise, and had no problems mating up perfectly when I joined back up with the start after my journey. I proof constantly, and I admit a fair bit of picking out and re-doing to stay on count and true.

You CAN stitch outdoors in high winds. Hand held hoops work better than flat frames that can act as a sail when it really starts blowing. One of those zippered clear plastic cases that new sheets and blankets come in helps, especially if it has an inside pocket where the product info used to be. That works great for keeping a chart clean, dry, and away from the wind; and the zippered part is great for containing your threads and other essentials away from sunscreen and salt spray, (and holding the project between working sessions, too). You can even use two magnets to keep place on the chart without removing it from the pocket. Tethering your snips with a retractable badge holder works nicely. But at the beach on on very humid days, watch out for the damp! Some threads may crock or leech dye.

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In a rare departure for me (although more common if I include text), I graphed out the entire project. I wanted the corners to miter nicely, which means I had to compensate at the centers of each side (12, 3, 6 and 9 o’clock as you go around). That meant I had to lay out my design against actual count, so I could fudge the centers. And I did the fudging on graph, rather than on the fly as I stitched.

But having drafted out the entire thing doesn’t mean I stuck entirely to the pattern I had drawn out. Those snails… My original stuck to the small twig and leaf of The Dance, the skeleton pattern I shared. I picked out that first twig and improvised a snail, then kept using the little guy on every repeat after. I also altered the plume flower slightly, taking out a couple of extra bars inside the outline that muddied the design. I did NOT go back and rip out the first two plumes. Those bars are among the mistakes I left in.

I will probably not be going back and ripping out that one very red plume, where I discovered the inadequacy of my “bad” batch of thread. Another difference batch to batch is that the “bad” stuff crocks like crazy, and oozes dye when it’s damp. If I get up close and personal I can tell which bits I stitched at the beach or during our weeks of high humidity and summer heat, just from the halos around the stitched bits. I will NOT be washing this piece. Ever. And I will not be perturbing already-stitched bits, lest I exacerbate the haloing.

Now on to my next piece. I have promised a rendition of my Harsh Language design to a good friend who is a virus-survivor. This friend prefers to remain anonymous.

This should be a quick stitch after Lucus Orthai Ta, and I will use it to test out some new threads received from The Stealth Apprentice. She asks me to trial run some lichen-dyed wools that she dyed herself and is currently evaluating as a potential product for her Etsy shop. I am happy to oblige, doubling the value of the new piece.

And again because someone WILL ask about the meaning of the motto on this one…

The Resident Male is an aspiring science fiction and fantasy writer. He’s getting attention for Fractured Symmetry, the first book in a series featuring a classic detective pair – a grumpy, reclusive genius, and an hands-on action assistant. Only in this case, the genius is Terendurr the Blackstone, an imposing alien; and the assistant is Blair MacAlister, a woman you wouldn’t want to trifle with. The mysteries allow fascinating trips into off-world cultures (his universe is populated by many species, each with their own ethics, biases, strengths and weaknesses). He’s working on a second volume of stories right now. No spoilers – this phrase is a motto of a group that figures prominently in those stories. It’s not in any Earthly language, and translates roughly to “Life’ll kill ya.” So as his #1 fangrrl, I made this piece up for him. Yes, a bit quixotic I admit, but I do believe that he will find his audience, and I won’t be the only fan for long.