Category Archives: Blather

CORNER AND TASTY MILESTONE

By kbsalazar on | 4 Comments

My improvised corner on the current piece appears to be working out. And it looks like the original stitcher(s) hit upon the same notion, and did something very similar. Here’s what I have:

Note the extension of the zig-zag frame to a full iteration of the pattern, but one headed off on a right angle to the initial bit. And the beginnings of another red flower section in the triangle made by the border. Looking back at the original, although all four of its corners are treated differently (and a couple of them quite awkwardly), one does appear to take a similar approach:

We will see if this gets me into any unforseen trouble, because looking at the original, I do see some kludges that address the variance in placement between that truncated corner flower and the framing zig-zag. Fingers crossed. Still it’s fun to see that I seem to be sharing the thought process of someone else, from way back then in time.

As to Meshy in cotton – I’m getting better at it as I learn more about the thread’s breaking point, and how much the ground cloth weave can be compacted by tight stitching.

The openwork texture doesn’t show well in such narrow spaces. It’s also hard to see in person without backlighting and practically putting one’s nose against the work, but the open mesh effect is there. I’m increasingly pleased with this, but I still don’t know to what purpose I will put the finished cloth.

Milestones

It’s no secret that since The Great Excavation and subsequent rehab/recovery, I’ve been living entirely on the labors of my Resident Male. While he has always handled the bulk of the cooking, I did contribute every now and again, with daily cleanup, baking special treats (especially during the holidays), and doing the occasional leftover reheat/repurposing, mid-week. But I have been a true freeloader since mid-March, and have only recently resumed unloading the dishwasher and doing other minor household tasks.

But yesterday and today I baked!

We are having some friends over tonight for dinner. I decided it was time to step up, and volunteered to make small ramekin chocolate cheesecakes

I made six of these little guys. They have three layers, and are a mash-up of several recipes. I used keto ingredients so they are low-carb, low-sugar, but not low-fat. And yes, I will clean up the edges a bit for presentation.

The bottom layer is a cocoa shortbread, made from King Arthur Keto wheat flour (no exotic nut flours, our guests are allergic), butter, cocoa, and faux sugar (Swerve brand, confectioners style). Next is the cheesecake part – standard full fat cream cheese (the bagel’s best friend), no-sugar dark chocolate baking chips (Choc Zero brand), heavy cream, eggs, vanilla, and a touch of salt. On top is a standard proportion ganache made from the same baking chips and heavy cream.

I did them in three stages with a small rest between the base and shortbread, then finished them with the ganache this morning. I was mildly tired after being on my feet so long yesterday, but not truly fatigued. While the shortbread and ganache I winged on my own, the cheesecake part is a combo of several keto cheesecake/chocolate cheesecake recipes.

I’m pretty confident that these will be acceptably tasty, with a dense but not rock solid texture. If not, I’ll report back, tweak my notes and in the future try again. Still, I’m proud of my dessert and happy to have cleared another recovery hurdle.

Posted in: Blather, Mixed Stitch Italian Multicolor | Tagged: , ,

DITHERING

By kbsalazar on | 5 Comments

I am still not sure what to stitch next. As part of the stash archaeology portion of the planning process, I did a quick rummage through my accumulated threads. And I’ve been collecting them since grade school.

This box holds a mix of all sorts of things. Most date back to about 1966 when I first got an allowance, but it’s mostly full and partial skeins of J&P Coats Deluxe 6-strand embroidery floss and DMC 6-strand embroidery floss. I’ve got some older bits in there, too – legacy from my grandmother Pauline’s stash.

There is also a handful of Madeira 6-strand floss mixed in. I’ve never actually bought that brand, so I suspect it was second-hand stash that was given to me, or that I found at a yard sale. An interesting detail is that Madeira is now known for specialty packaging (in addition to thread quality), but the put-up I have in this scrum is all pull skeins. I can find no information on when the company changed over to the specialty packaging, but I suspect I acquired these stray skeins no later than 1985.

Other oddments include some soutache left over from SCA dresses done in the late 1960s, plus hose spools of variegated color silk (or possibly rayon) machine embroidery thread. They are end spool spoils, discarded as being insufficient for industrial use, but salvaged by my grandmother Minnie (the union seamstress/machine operator) for personal use, before she retired in the mid 1960s.

The oldest in the collection? These.

I have about a dozen different colors of the that JP Coats Deluxe, all with the 10-cent price on the skein band itself, but this indistinct tannish grey one had the clearest label. From the price and the color (purchased to stitch a bunny on a pair of 6th grade jeans), I can say with authority that I bought it in 1968.

The purple one is Lily 6-ply cotton floss, one of the grandma-Pauline-hand-me-downs. Although embroidery floss is still marketed under that name, it hasn’t been made by Lily itself since the 1960s. From the style of the typography on the wrapper, my guess is that this was purchased in the 1950s. The blue skein is Cynthia 6-ply cotton floss. I can find nothing about that brand or the possible maker. Dating again from the typography, I’d say that one is even older than the purple skein, and is another Pauline-leftover.

But that’s not all. In the past 10 years or so I’ve been the recipient of quite a few stashes, as friends and coworkers came into crafts supply inheritances they were not interested in keeping. And I’ve pursued several free trades or secondhand purchases via the local on-line yard sale lists. For example, some of the thread below was tossed in when I bought my second Lowery floor stand.

This material is a jumble of leftovers. Some of it is wound on bobbins (not my preferred system of storage), other is still in the original form factor. Most of it is single or partial skeins. Almost all of it is standard cotton floss, mostly DMC and Anchor. A small amount sparkly fleck special effects thread is mixed in, but no true metallics. There’s also a bit of white-labeled “craft floss” – inexpensive imports sold in multicolor packs at big box crafts stores. That’s best suited for braiding friendship bracelets since it’s usually short staple, and not of proven washability. Of note is that special packaging for Madeira, right there at the center bottom. That’s quality stuff, all full packs, and probably what I would use first of all of this bounty.

Now, my two leading possibilities for ground.

First, a lovely 19 x 27 inch (48.26 x 68.58 cm) piece of 40-count linen – a holiday present from my spawn, who enable me when they can. I’m very impressed by the vendor, whoever it was. Not only is the stuff cut exactly on true, it’s also neatly serged on three sides, with the fourth being selvedge. Usually I have to true the piece and hem myself. From the particular form of the orange stripe and line of blue stitching along the selvedge I think it might be Newcastle linen, but other firms do orange stripes, too.

The candidate on top of the linen is a yet another free trade/adoption acquisition. I have two lengths of this edged narrow weave, both about 6.25 inches x 5 yards (15.87 cm x 4.57 meters). The effective stitching area however is 4.875 inches wide (123.83 cm) due to the fancy brocaded borders.

I had been thinking of doing a squared off blouse yoke with it, but that would work better if the stuff was narrower. I’m not up for doing curtains or edging a trailing hem with this. The width is also a bit problematic for many other uses on clothing. About the only thing I can imagine is running it across the top of two wingspan wide to-the-knee lengths of linen, and fastening it at strategic points to make a peplos-like summer swing top/beach living cover-up. Hmmm… that might just work. And summer wearables should be done in washable thread, not the red silk. I don’t have enough of any one color in my ancient stash of cottons, although I’ve got plenty of black in my current on-deck stash….

So, what am I left with after this open bit of nostalgia and mental dithering?

If the peplos idea doesn’t firm up, I’ll probably prep the linen for stitching – establishing basted edges and center lines for the embroidery, but I’m not sure WHAT to stitch. Inhabited blackwork like the Unstitched Coif? Another randomly composed piece combining bands, motifs, and fills, done at whim (but with no motto)? In the Madeira colors, or in red silk?

Yet another wall hanging. A one of a kind wearable just for me. Decisions, decisions….

Input, other ideas, hoots of derision all gratefully accepted.

Posted in: Blather, Uncategorized | Tagged: ,

SERIOUSLY, FOLKS…

By kbsalazar on | 22 Comments

This is post that’s not easy to write.

Some of you have wondered about my rush to release both Ensamplario Atlantio III, and the single-download edition of my Epic Fandom Stitch-Along. And there may be more coming out in the next few days. There is a reason.

In gamer’s parlance, sadly I’ve rolled a 5. Not a 1, thank heavens, but nothing good.

I join the legion of folks who have been handed a surprise cancer diagnosis. In my case it’s another over-engineered and uncommon Salazar project – not breast, lung, or any of the usual suspects. I’ve got a chordoma – an exceedingly rare form of bone cancer that’s eating my tailbone (coccyx) and the area immediately above.

The bad news is that I’ve been subject to this invader for a while, with the symptoms it generated being masked by the all too normal day to day annoyances many post-menopausal women have, most notably lingering lower back pain. (Side hint – if you have pain that the oft resorted to palliative modalities like physical therapy and medication don’t address, insist LOUDLY that your doctor engage diagnostic mode. I it would have been better off had I done that earlier.)

The good news is that while my growth is large, it’s contained, has not spread, and is operable. I will be headed to the hospital later in March to have at it. Best outcome is that I although I will be physically diminished, I will regain basic mobility. With healing I should be able to sit, stand, walk, and climb stairs. Some bodily functions and systems will also be compromised, but nothing that modern medical technology cannot address.

I choose to fight, and fight hard. I will not let this thing daunt me. I will pass through, and emerge much as I am now, although I will be moving more slowly, and with more care.

What can you do to help? There’s not much, but I know I will appreciate your companionship, dark humor, and distraction as I move through post-op and rehab. I will especially enjoy seeing what you’ve been up to playing with my knitting and stitching “pattern children.”

I know folk feel awkward at times like this, but please don’t be shy about contacting me. I might not answer right away (especially in the weeks just before, during and immediately after the procedure), but your notes, memes, embroidery/knitting/crochet/other hobby pix, and assorted shenanigans will brighten my day. One thing though, please don’t send flowers. The sentiment is deeply appreciated, but they make me sneeze.

Oh, and look out for Fernando (aka, The Resident Male). He’s going to be especially grumpy.

I leave you with a thought from the science fiction TV show Babylon 5, from the character Ranger Marcus Cole:

“I used to think it was awful that life was so unfair. Then I thought, ‘wouldn’t it be much worse if life *were* fair, and all the terrible things that happen to us come because we actually deserve them?’ So now I take great comfort in the general hostility and unfairness of the universe.”

Posted in: Blather, The Big Fight

DEJA VU, BUT WORSE

By kbsalazar on | 4 Comments

A serious digression from stitching, knitting, crochet, and general blather.

Back in 1981 I was an eager young space cadet, a staff technical writer in the employ of The New York Institute of Technology. I was working on grant proposals and on research contracts the school had, mostly with US Federal agencies.

Among the proposals and grants were ones that funded the NYIT computer graphics lab – the staff of which eventually moved up and on to become Pixar; and a fantastic early intervention math and sciences augmentation program aimed at assisting minority kids, but especially girls and young women from middle school, then up and into college for tech/science/math. It included full NYIT scholarships for those who prospered in the program. Sally Ride was the speaker at the initial kick off banquet for that one. I’ve always wondered what became of those kids…

On the general editing/compilation side beyond LOTS of grad school grant requests and assorted small publications, this one really stood out.

The effort was led by Dr. King Cheek, a dean of NYIT and brother of the then president of Howard University. Dr. Shannon was a noted researcher in labor economics and education. I was the foot soldier going where they sent me, collecting data on index cards, alphabetizing, condensing abstracts for inclusion, and typing the volumes for printing on a Selectric (this was before NYIT got early DEC word processors). For this they both graciously suggested my name appear first because their reputations were already established – another publication wouldn’t mean much; but for me as a 25 year old, it would be quite valuable.

It was 1981, still in the pre-Internet, pre-automated/accessible collections era. Annotated bibliographies on specialty topics were quite common, as were resource lists. The two volume set was intended to be updated annually, and was funded by the US Department of Labor, Office of Youth Programs.

All well and good. The bibliography clocked in at 363 pages, with about 1560 entries. The resource list, 159. Both volumes were indexed. The set from kickoff to print took about 18 months to achieve. Other than a temp typist to help in the last three weeks to make deadline, and copious guidance/improvement suggestions from my leaders as they read through each day’s additional content, it was all me. We printed something like 750 sets, with the Office’s intent to distribute to DOL locations, academic libraries, and other stakeholder/interested parties.

While the books were being duplicated and bound, then President Reagan abolished the Office of Youth Programs.

While we had gotten paid for the contract, there was no one to whom to submit the books. We were directed to box them all up and ship them to a Federal Archives location. And so with the exception of my two copies (one my mom has for bragging rights); the copy retained by each of my co-authors, and (possibly) one at Howard University, these books were never distributed, in fact – never seen again.

So for me at least, current events bring a wave of deja vu. But not the pleasant, nostalgic kind. The kind that sizzles against antagonistic blundering about, and produces intense anger.

We’ve been here before. It wasn’t as blatant then, but it isn’t new.

Something has to change, and change can’t happen soon enough.

Posted in: Blather | Tagged:

THE 2024 HOLIDAY COOKIE WRAP-UP (MORE OR LESS)

By kbsalazar on | Leave a comment

Time for the annual cookie roundup.

First, here is the cookie plate, photo courtesy of the Resident Male. Two plates, actually – one for the slimmed down cookies made at least in part with reduced carb ingredients, and a smaller one for “full octane” bakes, made with conventional sugar, all purpose flour, and chocolate.

We’re getting better at lowered-carb baking here, but in all honesty, the originals are better. For those on more restrictive diets than ours, note that this is LOWERED carb, not zero carb. I would not recommend my mods for someone who is under a strict regimen. We for example are not banned from carb consumption, we are just trying to cut down, not eliminate them completely. So with that, here’s the roll, with notes on changes to what happened before, and on the travails of lowered carb baking.

Lowered-Carb Plate

  1. Oysters. This is pretty much my original hazelnut sprintz/chocolate ganache filling sandwich cookie, but with a couple of differences. I used 2/3 cup of granulated Swerve white sugar substitute, and 2/3 cup of Swerve powdered sugar substitute. I find that the Swerve monkfruit sugar sub is sweeter than regular cane sugar, so when I sub I use a tad less. In addition, I find that the granulated if used solo in a baked product can produce a bit of a gritty texture, so I go halfsies with their powdered sugar equivalent. That’s cornstarch-free, so it’s really just the same product, ground much finer.

    I also used a mix of 1.5 cups King Arthur Keto baking flour, and a half cup of regular all-purpose flour (APF). The Keto flour has a bit of a rye-like/bran-like flavor. It also absorbs liquids and fats differently. Some recipes require additional moisture. Some are overwhelmed by the fat content. The use of a little APF vastly improves cookie texture and flavor in both cases.

    For the filling I made a standard 1:1 ganache with heavy cream and Choc Zero no-sugar chocolate baking chips. And a splash of vanilla. Worked quite well, but I recommend microwave melting for the Choc Zero – not stovetop melting. It scorches very easily. More on this later.
  2. Buffalo Bourbon Balls (which we sometimes make with rum and not bourbon). Here is a similar recipe for a full-carb cookie. My modifications ended up being a two step process. Since using store bought vanilla or chocolate wafers was right out, I had to make my own to crumble for the base of this no-bake cookie. I used a recipe similar to this one, rolling the dough out into two giant rounds. Since I was going to crumble them up after, there was no reason to form individual cookies. I ended up having enough cocoa cookie crumbs both for this recipe, and for the base of a cheesecake I plan on making next week.

    Other mods on this one included substituting toasted walnuts for pecans (no pecans were available the week I made these), using the Swerve confectioner’s sugar in place of the standard issue (and shorting that by three tablespoons), and using a scant quantity of agave syrup instead of corn syrup to glue the whole mess together. Please note though that even with these changes, a cookie with agave syrup and a significant quantity of booze cannot be considered truly slimmed.
  3. Chocolate chips. Not the best success, but edible. Again, the standard Toll House cookie recipe, but using a 3:1 mix of Keto flour to APF; subbing in the Swerve equivalents of the brown and white sugars; and using the Choc Zero chips in place of standard bittersweet chips or chunks. On the sugars, I took the make-it-less-sweet bite out of the quantity of white sugar, leaving in the brown for flavor. I also divided the remaining quantity of white sugar in half between the Swerve granulated and powdered products.

    Obviously these did not spread like standard drop cookie style choc chips. That has to do with the way the fake sugars play with the butter and moisture in the cookie. Next year I will add more liquid to the batter to see if that helps. Also the Choc Zero chips scorched a bit in the 375-degree-F oven. Next time I will not bake anything containing them at hotter than 325-degrees. Still, edible and not horrible.
  4. Peanut Butter Cookies. I didn’t try to slim down the peanut butter component in these. I started with the Joy of Cooking classic. Teddy natural chunk peanut butter all the way for flavor. But I did use the 3:1 ratio mix of Keto:APF; and the Swerve brown sugar/white sugar, minus about 10% in volume of the white to compensate for savage sweetness. This is the first year I’ve done a slimmed down peanut butter cookie without having the baking sheet absolutely awash in oil, dripping down into the oven, making a mess, and threatening a fire. The texture on these was good – perhaps a bit less tender and more “digestive biscuit” like, and the flavor was spot on.
  5. Triple Gingers. Slimming down another of my originals here. With no zero-carb white chocolate chips to hand, I just used the regular. Ditto with the minced crystalized ginger. But for the rest I proceeded as per the chocolate chip drop cookie batter. Keto:APF; Swerve brown:white sugars (-10% of the white), and the rest. Like the chocolate chips, they retained their craggy ball shapes instead of spreading out nicely like my original recipe, but they have good flavor and texture.
  6. Russian Tea Cakes. The ethnic attribution on these overlaps so strongly that it’s hard to differentiate. But I will call this set Russian Teacakes because it used toasted walnuts in place of pecans (another victim of the Great Pecan Shortage this year). Again the Keto:APF flour ratio was changed, and the Swerve powdered sugar was deployed. The finished product was good, but the pecan-rich Mexican variant is so big a family fave that disappointment ensued. (See recipe below.)
  7. Earthquakes. Only minorly slimmed. I started with this one before departure, but I decided to use regular Trader Joes 60% cacao bittersweet and not the Choc Zero stuff for this one because the flavor and texture areso dependent on the cacao solids:cocoa butter ratio of the chocolate component. But I did do the keto:APF and sugar subs as with the others. Not quite as fudgy or crevasse ridden as the standard (like other keto flour containing cookies they don’t spread as well), but also in the acceptable range of results.

Full Octane Plate

  1. Brown Butter Chocolate Chunk Cookies. A specialty of Younger Offspring. No attempt to mod this recipe because it’s one of the all time best chocolate chip cookies out there, at the perfect intersection point of crisp and soft. Younger Offspring coarse chops the chocolate. It flakes and breaks, with the chocolate dust being just as valuable as the chunks to the finished product.
  2. Mexican Wedding Cakes. Miracle! Pecans presented themselves, and we HAD to do a do-over. This is the same base recipe as the Russian Tea Cakes above, but look at how well they spread. And they were just as tender, nut-rich, and luscious as they always are. (Recipe below)
  3. Orange Marmalade Cookies. No point in slimming these, either. Not when the recipe includes a full cup of orange marmalade. A nice light, citrusy compliment to the rest of the rich cookie plate.
  4. Cinnamon Bun Cookies. Yet another specialty of Younger Offspring. These are a wonderful rolled refrigerator slice and bake cookie. But the write-up has vanished off the original website and the recipe can only be found via the Wayback Machine. Skip the icing on this one. There’s absolutely no need for it. And how to get that magnificently even swirl? Surely it’s practice, Younger Offspring having made hundreds of these for charity fundraisers, but also this isn’t a two-dough cookie. It’s one dough, rolled out uniformly thin, and then smeared with a paste of cinnamon, sugar, and butter that’s about the consistency of peanut butter. Then rolled and fridged prior to careful cutting and baking.

Recipe – Mexican Wedding Cakes (also Russian Tea Cakes)

I posted this recipe about 20 years ago but the file appears to have been corrupted. Here is a refresh, with both the original and the slightly slimmed down version side by side. I can’t call the slimmed version a true keto or diabetic-diet-acceptable offering, and I can’t tell you caloric/carb count values. Just that it isn’t as impactful as the full octane version

I can’t even tell you the exact number of cookies that this will make. Lots. Enough to fill an 8-inch tin with a few left over. Especially if you make them the size I prefer for holiday cookies. Since we offer up so many kinds on one plate I make all of them rather small, so folk can taste several different types. I have a two-tablespoon cookie scoop (like an ice cream scoop but smaller). I take one scoop-full then divide it in half and roll both halves into small balls. I get about four sheets of 16-20 cookies. If I were to make these as part of an afternoon tea spread I would probably make them twice as large.

Ingredients for Regular Version

  • 1 cup unsalted butter (not margarine)
  • 3/4 cup confectioners sugar (plus more for rolling later)
  • 1 tsp vanilla
  • 2 1/4 cups all purpose flour (King Arthur recommended)
  • 1/4 tsp salt
  • 1 cup finely ground pecans (walnuts, or hazelnuts may be used but pecans are best)

Ingredients for Slimmed Version

  • 1 cup unsalted butter (not margarine)
  • 1/2 cup plus 3 tbs Swerve confectioners/powdered sugar equivalent or similar monkfruit based sugar substitute (plus more for rolling later)
  • 1 tsp vanilla
  • 1 3/4 cups King Arthur Keto baking flour
  • 1/2 cup all purpose flour (King Arthur recommended)
  • 1/4 tsp salt
  • 1 cup finely ground pecans (walnuts, or hazelnuts may be used but pecans are best)

Cream butter. Add sugar (or sugar sub), and vanilla. Mix together thoroughly. Stir in flour and salt until mixture is uniform in texture. Stir in ground nuts. Chill until the dough is easy to handle.

Heat oven to 400-degrees F (around 204-degrees C). Roll dough into small balls of approximately 1 tablespoon each. Place dough balls on ungreased sheet of baking parchment on baking sheet. They can be placed about two inches apart because they will spread a bit into dome shapes, but shouldn’t flatten completely like chocolate chip cookies. Prepare a soup bowl or small mixing bowl with a quantity of your chosen powdered sugar for rolling the cookies.

Bake 10-12 minutes, until just set (watch these like a hawk after about 8 minutes). Cookies should look pale with just a tinge of browning around the bottom edge. They should NOT be brown all over. Let cool on baking sheet for a couple of minutes, then roll immediately in the prepared powdered sugar and set them on a baking rack to cool. When cool, roll them again then store in a plastic wrap lined cookie tin or similar storage solution. If kept covered they will be tender for about a week and a half, then slowly dry out. They will still be edible, just no longer soft.

Posted in: Blather, Recipes | Tagged: , , ,

MUSEUM DISPLAY OF CROSS STITCH WITH ART

By kbsalazar on | 2 Comments

This week past we were in the Buffalo, New York area, visiting family and friends. We had a splendid time, and one of the things we did was pop over to the newly expanded and refurbished Albright Knox Gallery of Art, in the Delaware Park section of Buffalo. The museum itself is a little jewel box of contemporary art, with a surprisingly comprehensive sampling of works by most of the 20th century’s biggest names. Now it has the room to better display its collection, and additional space to stage specialty exhibits.

Right now they are offering After the Sun – Forecasts from the North – a collection of works by contemporary artists from the greater Scandinavian/Nordic/Icelandic sphere, as they contemplate the effects of climate change on the northern/Polar bordering landscapes and society. The works were done in many media, everything from traditional oil paint on canvas and carved wood/stone or cast sculpture, to stretched scraped membranes, and even a presentation of scented oil. And to my surprise it included a suite of cross stitched pieces. While it’s not uncommon for embroidery to be displayed in a museum, it is more usual for it to be seen by itself, and not as common for it to be displayed alongside other pieces outside of a historical context (like a “life in the 1500s” type exhibit). This was a general arts collection, with the stitched pieces being given the same respect of place as those done in more represented media.

The items below were composed and stitched by artist Vidha Saumya, a resident of Helsinki, with roots in India. Her exhibit’s blurb is below. I wasn’t able to get detailed shots of all of the pieces, but they are shown after the blurb.

Pieces 1-4

A close-up of #4 – Still the Day May Live. I apologize for the skewed perspective. These were hung both above and below eye level, making it difficult to grab a photo.

Pieces 5-7

And Pieces 8-11

Again I apologize for the poor photos.

I don’t pretend to be an art critic (especially not of non-representational art) but I was moved by these. They seemed both immediate and unspecific in time – like dream images barely remembered upon waking, inhabited by an overlay of dread and nostalgia, with flecks of wishful joy.

I want to express appreciation for the curators of this collection, and I wish Ms. Saumya every success. I was very happy to see the medium both given respect, and being used to such good effect.

Posted in: Blather, Embroidery | Tagged: , ,

BUSY END TO THE YEAR

By kbsalazar on | 2 Comments

No doubt it has been a hectic end of year, what with the standard end of year activities plus the finish on the coif project, and the lightning trip to the UK to view the final exhibit. But that doesn’t mean that other things have languished. 

First, because the holiday can’t happen without cookies, even if I am not around to make them all, I present our 2023 cookie plate. Some slimmed down to lower carb versions (with varying levels of success), and some expertly baked by Younger Spawn, whose oven-acumen now far exceeds my own. Luckily Spawn’s job is work-from-anywhere remote and allowed early arrival the week before Christmas. While we were in Sheffield we had a happy house-sitter, tree waterer, and master baker in residence. And said HHS/TW/MBIR had run of the place, its kitchen, library, and media without clumsy parents cluttering available time and space. A win all the way around.

Starting from around 11:00 and spiraling into the center we have:

  1. Brown butter chocolate chunk cookies. A specialty of Younger Offspring, with grated chocolate bits, chunks and dust instead of commercial chips. To die for.
  2. Low carb peanut butter cookies. After all sorts of failures trying customized Keto recipes I fell back on the old reliable Joy of Cooking one, but subbed in King Arthur Keto flour and monkfruit-based sweeteners. I have always used Teddy no-sugar peanut butter, too. A slightly stickier dough than usual because the KA Keto flour and it isn’t as absorbent as regular all purpose flour. A bit more oil release on the baking pan, but this time the cookies turned out pretty close to usual – not dry and crumbly, although I couldn’t get the cookie stamp I usually use to work well and fell back to the traditional fork-tine checkerboard. They were pronounced acceptable by my core audience.
  3. Earthquakes (our name for chocolate crinkles). Full octane. These were made by Younger Offspring, and are especially luscious this year because the batter became the receiving point for ganache left over from another recipe. Not to many fault lines in them this year, but oh so good.
  4. Mexican Wedding Cakes. Another old family favorite done perfectly by Younger Offspring. Lots of pecans in a buttery shortbread base. 
  5. Lower carb Buffalo Bourbon Balls. This is a family recipe that usually starts with a box of Nilla wafers or other similar vanilla or chocolate flavor plain commercial cookies buzzed to fine crumbs. But commercial low carb cookies are hard to find and maddeningly expensive. So I improvised my own, making large blobby plain cocoa cookies using the Keto flour and fake sugar, plus butter and Dutch process cocoa. Then the next day I ground them up and made the usual, but rolled them in a mix of the cocoa and granulated fake sugar instead of the confectioner’s version of the same monkfruit sweetener. (I wanted to save the powdered stuff for other baking because it works better for most of it than the standard). I used agave syrup in place of corn syrup for these. Plus bourbon this year instead of rum, mostly because that was what we had on hand. These actually turned out to be the best lower-carb cookie I’ve made so far. I will have to do it again so I can write up the recipe because it’s worth sharing and replicating in the future.
  6. Jam thumbprints. Another winner from Younger Offspring, who has sneaky ways of setting the raspberry jam in the shortbread base so that it is a neat, non messy, intensely fruity bite. 
  7. Slimmed down Oysters. A take on my own invention, using my usual recipe but subbing in the King Arthur Keto flour and monkfruit sweetener into the standard along with the usual avalanche of ground hazelnuts. Those were hard to come by this year, but luckily I had some in the freezer, left over from last year. I was very happy at how the batter worked with the cookie press. And these were a collaborative effort. I did the cookies, but Spawn did the ganache and filled the sandwiches. The ganache is full octane. 
  8. Lemon macarons with lemon curd. All Younger Span, all the way. These are classic, intensely lemony, and lighter than air. An accomplishment far beyond me. Again, to die for.
  9. Lower carb triple gingers. Obviously the white chocolate chips in the cookies are not slimmed and there is minced candied ginger in there, but the rest of the cookie is my usual recipe, subbing in the low carb flour and sugars. I’m a bit disappointed in these because as a drop cookie they are supposed to spread. These didn’t, remaining the rocky shapes in which they were spooned onto the baking sheet.
  10. Lower carb chocolate chip with cocoa nibs. This is new this year. I started with a keto shortbread cookie recipe, and added keto chocolate chips, plus no-sugar cocoa nibs (left over from last year). The result is pleasing but also a bit disappointing. The texture and taste of the cookie part is too much like a store-bought Chips Ahoy. I had hoped for something more like a home-baked Tollhouse. But they are not too sweet (a common problem with keto baking because the fake sugars are more intense than their standard counterpart). Good enough, but not great.
  11. Unseen – a keto lemon cheesecake in place of our standard Panforte, which could not by any means known to man or woman, be slimmed down. In fact, if I went on a forced march through Middle Earth and could pick only one food substance to sustain me, the Panforte, packed with nuts, dried fruit, and carbs would be a space/weight efficient substitute for Lembas.

Obviously for cookies to happen we also had to hit Max Festivity. Again Younger Spawn leapt in and took over the orchestration of the tree, and deployment of the M&M Man Army:

And to round it out, presents were exchanged. I was well prepared with gift socks, mostly knit since I mailed the coif. This photo omits the two last pairs, along with a nifty folding basket that was a present last year, and has been adopted as my knitting bowl for sock production.

Not to brag, but I am delighted that my family knows me so well. Among the puzzles, wearables, and adornments they gave me this year, were stitching things: a quarter yard of 40 count cream linen, a sweet little tabletop caddy box for needles and pins (I will use it for needles and orts), a small cigarette box that is a perfect traveling needle and thread safe, and a chatelaine. 

As you can see I’ve already put my favorite laying tool, fine needle threader, and scissors on the chatelaine. I put a slice of beeswax in that little snap purse. 

The rose header for it has a sturdy pin on the back. But since I am usually found in T-shirts these days, the weight of the thing might be problematic. This gave me an excellent reason to go stash diving and retrieve a length of evenweave stitching ribbon that I bought at Sajou in Paris when we visited there about seven years ago. A quick trip to the computer to doodle up a new pattern for it, and I’m off and running. It will be an award-ribbon style around the neck piece, with a 90 degree angle in front where the ends overlap. The chatelaine will be pinned to that triple layer of sturdy linen, and the loop will go around my neck. Problem solved. Or it will be as soon as I’m done with the stitching and assembly.

Posted in: Blather, Chatelaine Ribbon, Gadgets | Tagged:

LONG-LOST TWINS, PART VII

By kbsalazar on | 6 Comments

Today’s my birthday, and needlework friend Barbara posted a snippet to my Facebook feed of a voided panel showing couples dancing. That bit of fun led to more digging on my part. I knew of similar panels in a couple of places, so I decided to do another of these posts that only a needlework geek could love.

First, here’s the one that was most prominent in my notes. It’s in the collection of the Rhode Island School of Design (RISD), accession 47.199. They attribute it as Italian, circa 1600, and cite both the ground and the stitching as being cotton. I have some doubts about the materials citation, but I’m not an expert and haven’t seen the piece up close and personal. I do note however that it would be one of the two easiest examples of this family to chart.

It’s hard to see, but the ground appears to be in that tightly pulled Meshy stitch I’ve written about before. I do not know if the foreground and outlines are done in double running or back stitch. There’s no other info on working method or object purpose. But I sort of suspect that this might have been part of household decor – possibly a bed valence or decorative cover sheet, remotely possible – a tablecloth, but for that I would expect to see a butted corner, and not the arbitrary unworked bit at the extreme right of the stitching. It is interesting to see the tease that confirms my working method – there’s a tiny bit of the foliage on the “room divider” at the right edge that was outlined, but the voiding wasn’t worked up and around that little bit of outline, leaving it orphaned and alone. More argument for this having been displayed with that selvedge bit tucked away and unseen, as I would expect for the upper hanging around a bed.

In any case, here are some relatives. First a piece from the Boston Museum of Fine Arts, accession 38.1104. They cite it as 16th century, and Italian, worked in red silk on linen. Looks like the Meshy background to me.

You can see that the design is very close, but isn’t spot on exact. There is a different treatment of detail in both the foliage divider and the castle tower divider. The border (if there was one) is also gone, but we can’t judge that in absentia. There are also lots more small bits and bobs surrounding the dancers and the little guy in the RISD sample. The male figure has traded his crowned turban-line hat for a lush head of hair. And the little guy looks to be better dressed. I’d be tempted to call him a page in this version and possibly a cupid or eros figure in the RISD piece, due to the bit of arrow fletching? sticking up over his shoulder. And although I haven’t counted the units, or investigated closely enough to see if the thread count of the two grounds are even, the MFA’s snippet does seem to be a bit compressed north-south, compared to the RISD one. But not uniformly so. The upper bodies appear to be less squished than their lower halves.

And the third – this one from the Cleveland Museum of Art, Accession 1929.840. They note their piece as being done in silk on linen. It’s pretty clear that this one is in Meshy, too.

Based on very strong similarity between this piece and the MFA holding, I suspect these might have been true siblings, pieces from the same original, cut apart and sold to two separate collectors, which then ended up in two different museum collections. In fact if you compare the right edge of the MFA piece, and the left edge of this one we can see a bifurcated page boy – it is pretty likely that we are looking at the exact snip line where they were separated. As an aside, I like the little unfinished bit underneath the lower left leaf of the foliage divider, at the left edge of the piece. Again, confirmation that outlines were laid down first, then the background was worked.

This one is in the Metropolitan Museum of Art in New York City, accession 47.40. They call it “Border” and cite it as being Italian, and 17th century, worked in silk on linen.

Their original photo is a bit fuzzy, but it’s pretty clear that this piece is possibly another section of the same original that furnished the RISD snippet. Not only are the borders and proportions intact, but the small details of crown/hat, arrow, interior detail on the dividing motifs, and even the dress border of the woman dancer is identical.

And to wrap up, I have one more snippet in my notes. This is also from the MET collection, accession 07.62.58. They cite it as Italian or Greek, 17th century, and note that it’s silk on linen. They rightly describe the meshy ground as drawnwork.

By now you should be familiar with the details of this design. Yes – it looks closer to the CMA and MFA snippets than it does to the RISD and the other MET holding. But there are some subtle differences. The ground line is most obvious. In the other two non-bordered bits of this variant, the stitchers have taken more pains to keep a stable bottom edge of the stitching. That’s not to say there aren’t deviations from that on both pieces, but on this one is is far more evident. There are also some other minor differences in detail on the dividers and on the dancers’ outfits. Now I suspect that it was not uncommon for a very large project like a set of bed hangings to be worked by multiple stitchers. Even if a master laid down the outlines and had a crew working “clean-up” behind, filling in background and detail, a large team working quickly might make these minor copyist errors. I don’t think that there is enough difference here to clearly claim that this has no chance of being a piece of the same original as the CMA and MFA fragments.

So to sum up, I do think that two original artifacts furnished all of these bits. And I would go further to posit that the unbordered one might have even been unfinished prior to its dismemberment. I thank the collectors of the “Indiana Jones” era for heading off on their Grand Tours, and bringing back these pieces. I thank the museums for hanging onto these rarely studied snippets, and for posting photos of them on line, so we can speculate about their origin. And I thank Barbara for flagging the dancers for my birthday.

I return you now to regularly scheduled, non-boring Internet content. 🙂

Posted in: Blather, Embroidery | Tagged: ,

FIRST BUGS, NOW BIRDS

By kbsalazar on | 5 Comments

I’m edging into a new neighborhood on the Unstitched Coif Project. This one is inhabited by birds. The first one is stitched and I’m thinking on the fills for the second. You can see him at the center bottom of the piece, now presented in the correct orientation.

I think he looks a bit like a tiny raven, A slightly confused one at that. I could not resist the visual pun of using the feather fill from the collection presented at the official website for his body. You can make out another oddly shaped bird sketched in below and to the right of the pansy/viola flower.

All in all, I’m pleased with the way this is turning out, although like all participants, I wish my project was proceeding faster. Working so tiny is taxing. Mr. Raven for instance took about four hours to complete, counting the fills, outlining, sequin eye, and couched gold feet.

My game of not repeating fills between units is still afoot, although I am finding it harder and harder to find or devise fills for the particularly tiny areas, like the sepal-leaves on the pansy. And I have to go back and add lighter gold banding the the wings of the big bug.

One more challenge is that of adding the overstitched elements – the couched vein leaves and feather markings on Mr. Raven. I do the fills first, then neaten up their edges with the heavier outlines. But the fills obscure the placement of the overstitching. I do that by eye, referring to a printout of the master design. I’ve mentioned before that others do the outlines first, but with the heavy, embossed reverse chain stitch, working inside tiny spaces would be extremely difficult. I leave that to those who are using outline stitch, freehand fills, and speckling.

Today’s agenda will be filling out the spray of leaves at the (now) right edge, adding the gold stems to it, and flooding the few newly surrounded white space areas with spangles.

In other news, last weekend I visited Younger Spawn and surrendered the bespoken Eyeball Bolster Cushion, seen here in its forever home, on the target low back mid-century modern sofa for which it was designed. A perfect fit. The recipient was totally thrilled.

The sharp-eyed will spot my stitching set up near the sunny window. I added a hex wrench to my stitching kit, and can take the thing including the disassembled stand with me when I am on walkabout.

While I was out in Spawn’s neighborhood we went to a garden center/plant nursery. Spawn added to the resident collection of exotic houseplants that make the apartment a livable and calming oasis. I noticed that the prices for large, healthy outdoor plants were much lower there in the suburban Albany/Troy New York area than they are here in the outskirts of Boston, so I bought some plants to augment my growing perennial collection. Here they are, just before I plonked them into their spots.

The big blue pot in back is a Chocolate Eupatorium (aka Joe Pye Weed). It’s a fall bloomer, with white flowers. The white pot in the middle is a red-leafed Astilbe variant, with purple/red flowers in mid to late summer. And the little guy over near the hose is a low-growing creeping sedum, that blooms purple in the fall. They join the transplanted peony, curly leafed Hosta, lemon Hosta, pink Astilbe, and two types of Brunnera (one red leaf, one green) that survived last year’s drought and fierce heat that doomed my Aconitum (wolfbane), and Hellebore. A less poisonous garden this year, but one I hope will outlive my ungentle care.

PRICE ALERT

One last thing – if you are interested in buying my pattern collection The Second Carolingian Modelbook, you may want to do so before 30 June. Amazon Kindle is raising print fees, and because the thing is on a razor thin margin, I will be forced to raise the price. I am sorry for this. I tried hard to keep it under $30.00 US per copy, and it will remain so until the end of June, but after than the price will be going up.

Posted in: An Unstitched Coif..., Blather, I'll Be Watching You (Eyeball) Bolster Cushion, Second Carolingian Modelbook | Tagged: ,

BLACKWORK/STRAPWORK RESOURCES HERE ON STRING

By kbsalazar on | 5 Comments

NOTE: UPDATED TO BE CURRENT THROUGH 15 JULY 2025

Blackwork embroidery seems to be having an Official Moment right now, with tons of new interest. I’ve got a lot of resources here that might be useful to folk beginning or continuing their journeys, but it’s not well indexed. So I post this round-up of on site resources in the hope of lending a hand. And to be able to point to the whole set if asked. Image at the end for the eye candy effect. List below has been updated since it was originally posted.

Technique and Tools

  • Double Running Stitch Logic. One of many times I’ve tried to explain double running stitch and two-sided work. This post led to the tutorial series listed below.
  • Assorted Blackwork Hints. Answers to questions about my working methods. Making mistakes; guidelines; where to start; simple tracing using “the poor person’s light box”; multicolor; equipment hints (frames, needles, wax); and a list of tricks for path planning in double running logic.
  • Blackwork Thread Thickness and Grounds. One strand or two for double running? Why is it sometimes hard to keep your lines straight and even.
  • Blackwork Heresy. Back stitch, double running, and the hybrid that floats between them, which I nicknamed “Heresy Stitch.” Useful but not something I’ve documented in historical works. Can be easier for people who get lost when working double running, and saves thread when compared to back stitch.
  • What Makes a Blackwork Pattern Difficult? Cautions and mitigations for three challenges, that might help simplify those trouble spots.
  • On Charting. How to look at a photo and then translate the design to paper.
  • Determining the Thread Count of Small-Gauge Linens. How to use a penny (or other tiny thing with a known and stable diameter) plus a cell phone camera to figure out the count of a hard-to-see ground.
  • Cornered Again. One way to handle placement of bands on a band sampler and a wrap around frame edging, with minimal advanced planning.
  • Filling In. More questions from the mailbag, including some unusual names for stitch techniques that appear in museum annotations.
  • Proofing. How I check alignment as I stitch, to make sure I’m not wandering off count.
  • Turning a Strip Repeat into an All-over. This one also belongs under the free linear stitch patterns heading below. A couple of ways to make a single width strip into a double, and how I ended up turning it into a Green Man square.
  • Travel Cover for a Flat Frame. How I made mine, and how you can make one, too.
  • Hoops! Sizes, thicknesses, wrapping, and more.
  • Working on skew counts (non-evenweave linens). An aside in the discussion of a past project, but lots of tech info here.
  • Typography in embroidery design. Choose your typefaces carefully!
  • The Buzz on Beeswax. Why I am such a fan of using it in blackwork.

Inspiration

Voided Works

  • Voided Grounds. A roundup of various treatments for voided work, where the background is overstitched but the foreground remains (mostly) unworked. This is the style that was reborn in the 1800s as Assisi work, and is also known as reserva stitching.
  • Voided Pieces and Outlines. Do historical voided pieces always sport outlines? Were they done first? Were they always on the count?
  • Voided Narrative Panels. A style cluster of voided works probably done by drawing the foreground designs freehand, then working the background up to those lines.
  • Meshy! Working that hard-pulled mesh like voided style that totally encapsulates the ground fabric’s threads.

History, Speculation, Pattern Clusters, Printing Block Migrations and Other Musings

  • The Twain do Meet. Introduction to Kasuthi Kashida. Blackwork’s Indian cousin
  • Looking East Again. Double running stitch pieces from the Wardak Hazara people of Pakistan. Another example of a South Asian stitching tradition that may be one of blackwork’s lesser known Eastern cousins.
  • A Missing Link? A curious family of Egyptian Islamic artifacts of the 10th to 15th centuries, that have no proven relationship to inhabited blackwork (the kind with hard outlines and geometric fills), yet presage its aesthetic.
  • The Azemmour Cluster. A group of patterns that in the time I’ve been paying attention has had their commonality and point of origin increasingly recognized, moving them from late 19th century source annotations that identified them as Renaissance era products made everywhere from Greece to Spain, and placing them in Morocco.
  • The Spider Flower. A design that is probably part of the Azemmour Cluster
  • Revisiting the Stupid Cupids – Multiple versions of the cupid and oak leaf meander.
  • A Pattern’s Pedigree. Random thoughts about a specific family of patterns that shows up both voided and unvoided.
  • The Leafy Family. A wide leaf-bearing meander that shows up multiple times in artifact inventories.
  • More Cousins. The Leafy Bricks group.
  • Cornered! Possible working direction and four different corner treatments of a famous, oft photographed handkerchief in the V&A.
  • Italian Leafy, Occasionally Multicolor. Another design family of large panels and edgings that have curiously similar design elements, and a direct association of one example with the Jewish community of Rome, hard dated to 1582/1583.
  • Long Lost Twins, Part I. That ubiquitous urns and piping harpies design. (I revisited this one in Part V, below)
  • Long Lost Twins, Part II. Oak branch, leaf and acorn design, executed in both monochrome and polychrome, multiple versions.
  • Long Lost Twins, Part III. Another very common pattern with multiple iterations, in multiple museums, two instances of which may have been cut from one original piece.
  • Long Lost Twins, Part IV. Multiple instances of a simple Y and wrap meander.
  • Long Lost Twins, Part V. Lots more on that harpies/urns design; found in many museums, many iterations, and even multiple stitching modalities.
  • Long Lost Twins, Part VI. Two instances of a column design, very probably once cut from the same artifact. Fragments of which are held in two museums
  • Long Lost Siblings? Another case of a single source artifact probably cut in two, now held by two different museums.
  • Long Lost Twins, Part VII. Resuming the series. This is a voided pattern showing dancers, several pieces possibly cut from two originals before dispersal to various collectors.
  • Repeating On and On on Repeats. A summary of the types of rotations and mirrorings commonly seen in long strip patterns
  • Ocular Proof? My argument that Othello’s strawberry speckled handkerchief used in the play to implicate Desdemona might have been conceived of by Shakespeare as a countwork piece.
  • A Curious Applique Technique. Not embroidery, but often appearing in modelbooks alongside it. Take a strip of leather or cloth, cut it with precision into a pattern that duplicates itself on either side of the bisecting line. Twice the yardage and no waste. Wildly clever.
  • The Symmetries of Linear Stitched Fills and Strips. The difference between designs with even and odd numbered stitch counts, and how they can be used to best advantage. Plus pitfalls of aligning them with each other, especially when using purpose-woven grounds like Aida.
  • Griffins. A discussion of a very common griffin design, and how it moved through time and across geography.
  • The Unstitched Coif Project Exhibit. My photos and links for all of the coifs produced.
  • More on 16th and 17th century pieces associated with Italy’s Foa family. Recognizable design elements characterize this cluster.
  • Even More on Azemmour. Additional observations on a cluster of embroideries from Morocco, common in museum and private holdings. Some of which were sold to early collectors as Renaissance fragments.

The Unstitched Coif Project

Talks and Classes

The Stitches Speak

These are the slides from a round-up of historical counted styles I presented at a Society for Creative Anachronism needlework and textiles gathering in 2012. Mostly eye candy, and divided for ease of posting, not by subject area. However sources are listed.

Workshop Handout

This is the broadside I hand out when I teach workshops on double running stitch. It’s pretty much a self-paced tutorial, with the simplest designs at the upper left, and progressing in difficulty to the lower right. If you work these at your own speed as a band or jumble sampler, by the time you’ve done them all you can tackle just about any linear design. And although I do use this to teach double running stitch logic, no one will say you sinned if you decide to complete it in back stitch.

Patterns

Free

Linear Units (Line Segments)

  • Ensamplario Atlantio. Seconnd Edition. A collection of blackwork fills from my doodle notebooks, some my own, some from artifacts, but when I started this I didn’t intend to publish, so I didn’t keep track. Some of the larger ones work well as all-over designs, or for small projects like biscornus or holiday ornaments. All four previous segments of the original release stitched back together, along with some additional content.
  • Ensamplario Atlantio Volume II. More fills, plus some strip designs and yokes. 90% original (exceptions are footnoted). In one file this time, as technology marched on since publication of the first.
  • Ensamplario Atlantio Volume III. You guessed it. Even more fills, plus lots of strip and all-over patterns and even a couple of yokes. Same paradigm as the previous volumes, with the few redacted designs called out in footnotes. Anything indicated with a star is my own original work.
  • My Embroidery Patterns tab. Most but not all of the designs below also appear there, plus more.
  • Rose Chart. Outline for a heraldic style rose
  • Ganesh Project. How to replicate my blackwork method Lord Ganesh, done as a present for a family friend in India.
  • Crowdsourced simple diamond interlace, with small motif fills provided by String’s followers. Use some or all. (Also on the Embroidery Patterns tab).
  • Dancing Pirate Octopodes. The design that led to the crowdsourced project. (Also on the Embroidery Patterns tab)
  • Leopards. (Also on the Embroidery Patterns tab)
  • The Epic Fandom Stitch-Along. 19 bands, 9 of which are quasi-traditional, 10 of which are wildly anachronistic, with spaceships, dinosaurs, pirates, references to Star Trek, Star Wars, and Dr. Who. Guidance for the whole project is included.
  • The Epic Fandom Stitch-Along in ONE easy to download PDF. The whole thing, informational posts, instructions and all charts for the project above.
  • Cat and Mouse. A large panel with Art Deco style cats, mice, and yarn balls. (Also on the Embroidery Patterns tab).
  • Bands from a 16th century Camica. Hem, collar, seam bands, and striping. (Also on the Embroidery Patterns tab)
  • Those Snails. They crawl all over my work. I share some.
  • Jesters at the Fence. A snippet from TNCM (see below).
  • Bead border. (Also available on the Embroidery Patterns tab)
  • Ring of Rats. Another Art Deco style chart (also available on the Embroidery Patterns tab)
  • Tessellated Cats. This design is included in the free book Ensamplario Atlantio Volume III, available on the My Books Tab.
  • Elizabeth Hardwick’s Sleeves. Another redacted chart for a historical alll-over design. Redacted from a portrait. (An easy downloadable PDF is also on the Embroidery Patterns tab).
  • PERSIST sampler – a chart for a slightly slimmed down version of my Persist piece. (An easy downloadable PDF is also on the Embroidery Patterns tab).
  • A Holbein Collar. Collar on a man’s shirt, redacted from a portrait. (An easy downloadable PDF is also on the Embroidery Patterns tab).
  • Hebrew Alphabet and commonly embroidered words. I mashed up a few sources to come up with this one, including a very early Apple II pixelated typeface. But the letter forms are tweaked enough to be mine. (An easy downloadable PDF is also on the Embroidery Patterns tab).
  • Border or strip design. I used this one on my chatelaine ribbon. It’s also in Ensamplario Atlantio III. (An easy downloadable PDF is also on the Embroidery Patterns tab).
  • A Spanish Gentleman’s Collar. An actual example of Spanish blackwork. Redacted from a portrait. (An easy downloadable PDF is also on the Embroidery Patterns tab).
  • Another Portrait, Another Redaction. Sleeve detail for a woman’s chemise charted from a circa 1500 Italian portrait. This one with chickens. (An easy downloadable PDF is also on the Embroidery Patterns tab).
  • Pattern from a Gentleman’s collar, circa 1560. Chart and discussion of graphing from a painting. (An easy downloadable PDF is also on the Embroidery Patterns tab).
  • Correction to The New Carolingian Modelbook, Plate 73 – the really wide interlace. I finally got around to stitching this one up and discovered that two of the overlaps as charted in the book were wrong. So I issue an update. Given the better layout and composition of my more recently composed plates, this pattern is now presented on two pages, both as a wide border and as an even wider iteration that can be used as an all over and as an even wider border. This PDF also available on the Embroidery Patterns tab

Box Units (squares)

  • Unicorn. Box unit (not linear) chart for a unicorn, courtesy of Elder Offspring.
  • Castles and Caravels. Box unit design featuring a three-towered castle, and its relationship of that motif to some Spanish pieces.
  • Knot More Knots! Simple interlaces in box units (Also on the Embroidery Patterns tab)
  • Simple Geometric from 1546. This one is also box units, and works well for stitching, knitting, and crochet.
  • Da Sera Bud Interlace. Another box unit pattern. (Also available on the Embroidery Patterns tab)
  • Fun with Odonata. Another box unit design, this one for dragonflies. Note that they can be used for knitting, too. (Also on the Embroidery Patterns tab)
  • Fun with Lagomorphs. A box unit design for a leaping rabbit. (Also on the Embroidery Patterns tab)
  • A Simple Interlace. I lost the source annotation for this box unit design aeons ago.

Not Free

  • The New Carolingian Modelbook: Counted Patterns from Before 1600. Also known as TNCM. Sadly out of print. It’s in queue for update as scholarship has advanced in the years since it came out. There are corrections aplenty! You might be able to find it on the used market, but at a wildly inflated price.
  • The Second Carolingian Modelbook: A Collection of Charted Patterns for Needleworkers and Artisans. Also known as T2CM Link to Amazon page is on the indicated post.

Tutorials

These are also accessible via the Tutorials tab at the top of every page here. but below they are listed in the correct chronological order

Double Running Stitch Logic

Charting Linear Designs using GIMP Drafting Software

I found commercial charting software treats linear charts as an afterthought, so with help, I invented my own graphing method which I have used for all of my books. This series is for folk who want to move on to designing and drawing their own charts, and doing so using the dot and bar method I invented. GIMP is freeware, and if you’ve ever used Photoshop or Illustrator, and are familiar with layer-based drawing logic, the learning on-ramp for this method will be familiar. Although this was prepared for an earlier version of GIMP, these instructions are still relevant, although the GIMP menu screens now look slightly different.

Just Bragging

  • My big underskirt forepart. Why I stitched it
  • Forehead cloths for modern wear. Kind of like a kerchief, works well and keeps the hair out of my eyes in seaside winds, adapted from the companion piece often seen with a matching coif.
  • Trifles wall hanging. Made as a “mom nag” for my younger spawn, done using blackwork techniques and fills.
  • Blackwork sampler done in 1983. Musings on why this piece is not entirely successful in terms of stitching density distribution.
  • Two Fish. No astrological connection, just two koi circling on couched gold water. Indigo and deep green silk on 40 count linen
  • Fangirl Sampler – A key phrase from the science fiction series by my Resident Male, in an off-world language. It translates to “Life’ll kill you”. I am after all his fangirl army of one. Alphabet from an old Sajou leaflet, but the rest is all my design. The dancing skeletons border is available on the Embroidery Patterns tab.
  • Grape Sideboard Scarf. An artifact-based main field with a self-designed companion border.
  • Blackwork sampler done as the cover for T2CM, finished in 2012. Below.
Posted in: Blather, Embroidery | Tagged: , , ,