Two weekends past The Resident Male and I went to an SCA event, a local one held here in the greater Boston metro area – known within the group as the Barony of Carolingia. We went to honor a worthy friend as she received a well-deserved high award. Sadly, we got there just in time for heavy rain, so our movements were rather constrained, and we did not find many of our old friends. But we did get to chat with several folks.
I brought my latest embroidery in a carrying case I made for an older frame and project, probably circa 1993. While my fancy leaves project was well received, the plain cloth and boring carrying case that was keeping it safe and clean hogged the majority of the attention.
Now, I never thought of that case as something special, and I did blog about it long, long ago (a post that now appears to have been eaten by Internet Gremlins). But apparently it is something that people really would like to have. So I write about it again, to the best of my recollection.
Here’s the cover, shown with the old scrolling/laced frame for which it was designed. Note that although my cover was made for adjustable scrolling frames with protruding parts that stick out in the corners, this could work just as well for a rectangular or square non-adjustable slate frame
And here is the same cover used with my new wider Millennium frame, showing how the piece wraps and holds itself in place without closures or fasteners even on the too-big-for-it frame. We are looking at the inside of the cover. The handle is on the outside, mounted on the long flap at the opposite end from the slit.
In the best of all possible worlds, I would make a second cover, wide enough to protect the side bars of my new frame. But in truth, because lacing isn’t necessary with the Millenium, nine times out of ten, if I want to carry it I just release tension, remove the stretcher bars, and leaving the work on the horizontals, wrap the whole thing up in an old tea-cloth size tablecloth, skipping the carrying case altogether. But for the event weekend event I knew I would often be moving from place to place, and didn’t want to do reassembly each time I wanted to stitch or display my work-in-progress.
I used well washed and savagely preshrunk white 100% cotton duck (a tightly woven twill fabric a bit lighter than denim), but anything sturdy can be used – one of the lighter weight canvases in cotton or linen, for example. I picked white to minimize the chance of color crocking onto my framed work. The adventurous might want to use a showy fabric for the outside public side of the long center strip, and something else on the inside that comes in contact with the stitching. I didn’t want to do that because I didn’t want to deal with differential rates of shrinkage, or dual laundering requirements.
I can’t tell you how much yardage to buy, but note that ALL pieces of this are doubled, except for the handle, which was a rectangle, folded to make many layers, then topstitched. A length cut from a heavy martial arts belt from a karate or judo/aikido gi would work just as well as my improvised handle. Savagely pre-shrink any repurposed belt prior to stitching. (If you know someone who practices, chances are that he or she has a whole bag of leftovers, because most new uniforms come complete with yet another white belt.)
Note that there are NO fasteners on the case, of any kind. The only thing that holds it together is the insertion of the handle into the slit in the front flap. I did this on purpose – I didn’t want to risk snagging my embroidery, or any corrosion of metal parts and subsequent staining if the case happened to get damp. As is, my case can be thrown in the washing machine and laundered on hot, then machine dried without worry.
Here’s a schematic. Apologies for drafting it upside down compared to the photos above:
Note that all measurements on the schematic above should be adjusted to include seam allowances (for example, approximate height of stretchers + (2x desired seam allowance). All measurements are taken OUTSIDE the frame – measuring the working area plus the width of the wooden components assembled in the configuration in which you will be working. Don’t worry about any bits on the corners, they can stick out, like they do on mine.
The “shoulder flap” rectangles should be generous, they need significant overlap to stay in place.
The handle is positioned at the red rectangle, roughly the height of stretcher bar, as measured from the spot where the “shoulder flaps” join the center strip.
The black rectangle is the slit, and is cut and edged after the piece is assembled, positioning it to accommodate the handle. I topstitch/zig-zagged around mine, not taking special care to finish the edge with great precision.
Measuring and cutting:
- Determine the measurements of your target frame (how tall, how wide).
- Sizing the long piece: About 3.75 to 4 times your frame’s height plus seam allowances. That will give enough extra for the tuck part on the handle side, and the front flap that hangs below the slit. It’s width should be the approximate width of your stretchers, plus seam allowances all the way around. Cut 2.
- Sizing the side flaps: Approximately the height and width of your frame plus seam allowances all the way around. Cut 4.
- Sizing the handle. I used a piece of the same fabric, a square of about 12 inches (roughly 30.5 cm) I folded it in half and ironed it, then folded the left and right ends in to meet at the center, ironed it; and repeated – finally folding the entire piece down the center line to encapsulate the layers. Once I had my multilayer strip, I topstitched it the long way, as indicated below, and zig-zagged the short ends rather severely to prevent fraying. I ended up with a heavy, belt-like strip that was about 12 inches long and about 1.5 inches wide (30.5cm x 3.8cm). Precision is optional here – longer or wider/narrower won’t matter much, but I’d avoid making the strip shorter. And you can see why I recommend recycling a martial arts belt instead of fiddling with this part.
You should now have two long strips of fabric, and four smaller units to make the side flaps, plus your handle.
- Lay your long strips down and mark a point on each long side, approximately half of your frame’s height down from one end. Then lay your frame on the strip, aligning the top to the marks you just made, and make a second mark indicating its height
- Sew the side flaps to the long strip, positioning them on the marks (and taking seam allowance into consideration).
- You now have two roughly cross-shaped units, with the side flaps placed such that there’s a “long end” of the center strip, and a “short end”. The short ends will become the front flap.
- Place right sides together, and sew them together all the way around the outside, leaving about 6 inches unsewn so you can turn the piece inside out, capturing all of the seam allowances inside. Do so, teasing out the corners with a knitting needle, skewer, ruler, or dowel. Iron the thing and sew the turning hole closed.
- Up to now, if you used only one fabric for the whole piece, it hasn’t mattered which was the public side and which was the inside of the cover. Pick your favorite side to be the public side/outside.
- On the public side on the “long end” measure down roughly half of the height of your frame and make a mark. Then take your frame, and position it as if you were going to wrap it as I show above. Confirm that the mark is the correct place for the handle to be (it will ride on the top edge of your frame in carrying position). Centering the handle left to right on the “long end” of your strip, sew it to the public side. You might want to leave a little slack as you do so (rather than stitching it on absolutely flat) so that the handle loops up neatly when used.
- Try the cover on your frame. Note where the slit to accommodate the handle needs to be cut. Draw a line here. Take the piece back to the sewing machine and sew around the line several times as reinforcement (you could also zigzag, edge stitch or otherwise finish the area to be slit). Once you are satisfied that the reinforcement is sufficient, use a razor or knife to cut the slit itself.
- You are done. Put the thing on your work-in-progress and admire that your dressed frame is now additionally dressed, warm and safe for transit.
About the only structural element to improve upon the base design would be to stitch some kind of stiffener – possibly another length of the same folded fabric or judo gi belt underneath and parallel to the handle. That reinforcement should be wide enough to stretch clear across the entire width of the cover at that point. The reason is that my handle does pull up through the slit after extended carrying, especially when I use the case for frames different in size than the one for which it was designed.
If I were to make a new case, I might also include a “built in” needle book or pouch on one of the flaps, for convenience. But I am still loathe to add fasteners to the piece, so I’d have to figure out a secure closure that avoids velcro, snaps, zippers, or buttons. Perhaps tied lacings…
Also, I never embellished or embroidered my case. I suppose that I should have (at the very least) put my name on it. If you do decide to ornament the outside of yours, I would suggest selecting hard-wash-compatible threads, and doing any stitching on the pieces, prior to assembly.
If you make a carrying case like mine, please feel free to send pix – especially if you personalize it or improve on my meager design. Your photos will help others as they contemplate making one of their own.
Inching along here on my fishies. Yes, did end up getting the Lowery stand last week:
I really like it and am glad I splurged when I did. For those looking at the photo, trying to parse it out, the stand itself is the grey metal armature – from the heavy base plate, up to the gripper jaw holding on to the wooden cross piece, to which my stitching frame is attached.
The wooden piece with its grasping flanges that engage my frame is a supplemental purchase – the “Long Frame Extension.” I strongly recommend it if you have a Millennium or other scrolling frame, especially if it’s large/heavy, or has wide bars. Because the stand clamps down on the solid wood of the extension, I do not have to worry about overtensioning the jaws and harming the delicate stretcher arm, with its reamed out internal screw threads.
Now, as to actual progress, it’s been hot, and since I sit under a halogen work lamp, and we are not air-conditioning-enabled – I admit slacking off on most hot evenings. In response to questions about my comfy chair, I post this photo, complete with orb-of-the-sun heat-source mini floor-lamp, Morris style recliner, and frame (supported by its new stand.)
No, that’s not a real cat in the chair. It’s a conveniently sized stuffed-toy cat, liberated from the kids’ collection. It serves as a nice, soft supplemental elbow rest. You can also see the embarrassing midden of supplies and in-progress projects, heaped into baskets between the chair and the bookcase, and the ever-encroaching box of on-deck items that is slowly taking over the small table.
The floor stand’s foot is tucked underneath my chair, with a couple of bricks on it for good measure. The extra weight allows me to swing the frame out of my way like a door, so I can exit the chair without having to move the entire set-up, or shimmy under it.
Finally, here’s the paltry progress itself:
I’ve added sequins to the previously un-sequined Fish #1, who was feeling very jealous of Fish #2’s bling. The light is angled to make some of them sparkle, but there is a sequin in the center of each grid area in the body. I’ve also made progress on the gold whorls. Next are finishing the couched gold lines above Fish #1, doing the spot on his head, and starting on the whorls below him. Eventually I will have to scroll up and down a tiny bit to access the remaining swirly bits at the very top and bottom of the piece.
And then I’ll be done.
Next project? Not sure yet. I have a couple in mind. Possibly return to Big Green. Possibly another smaller sampler. Possibly a cushion to replace the stuffed cat. Maybe playing with tambour and wool… There’s no need to rush, I’ll be working finishing up my koi probably until September.
I know there are people who want updates on the Two Fish project. Here’s progress as of last night:
Just two more count-filled areas to go – the cheek between the eye and the gills, and the far fin. The cheek fill will be relatively light, and the fin, much darker than the rest of the fish, but I haven’t picked out either one yet.
Most obviously – I couldn’t wait. Since I don’t plan to relocate the hoop before I end up taking it off altogether and moving to my flat frame, I decided to add the sequins.
As per my earlier random thoughts, I sewed down one 2mm flat gold pailette in the center of each interwoven O shape in the body fill. I attached them using one strand of well-waxed gold tone silk – three stitches per pailette. I’m very happy with the look, and only lost a few that refused to cooperate, skittering away under my chair. If I were to do this again, I’d probably make a muslin cover for a squishy rectangular sponge, and scatter the sequins on it, then use my needle tip to pierce the center hole and pick up each little circle as I needed it. Putting a bunch in a dish, then trying to fish them out one by one with large, clumsy fingers was not efficient.
For reference, the extra-tiny pailettes aren’t a big-box-crafts-store item. I found them on-line, from General Bead in San Francisco. Their 2mm stock is very limited – a vintage assortment of various sizes and colors, made in the 1980s.
I’ve also gotten a start on the heavier outlines. I’ll add the overstitched details to the fins and tail after that. For a while I thought I might render those details in ecru silk, to match the ground fabric color, but I decided that it would be jarring to do that for one fish but not the other. The pailettes are enough of a differentiator between the two. I’ll use blue for those lines, to match the fin/tail color of Fish #2.
Unusual Stitching Gadget/Tool Report
The other bit to report is a rather unorthodox method of remediating crocking – the unwanted transfer of color from the thread to the ground fabric (or the stitcher’s hands).
The deep blue floss silk I am using is an experimental item, an early try at hand-dyed indigo by my Stealth Apprentice. She shared a sample from her initial trial run with me, to see how it worked, and to get feedback to improve her product. But even though we determined that she needed to improve color-set on subsequent batches (which she has done, with excellent results), I am too frugal to let anything go to waste. So I began this project with the beta-test silk.
For the most part, I don’t mind a small amount of crocking on this project. I think it adds to the watery look of the fish. But there have been a couple of mistakes and false starts on my part, where I have had to pick out stitches done in indigo. Those corrections left substantial residue on the cloth. So… How to get rid of the deep blue smudges without harming the already-stitched work? It’s obvious that water-based solutions aren’t going to help. They’ll just float more dye off the threads.
So I hit on an improvised solution.
Yes, that’s Silly Putty. Thinking back, I remember spending lots of time pressing Silly Putty onto newspaper comics pages, to lift images that could be stretched in laughable ways. If it could attract and hold ink from newsprint, might it be able to lift the surface dusting of indigo color from my ground cloth? Maybe…
Looking over the specs for chemical composition and the on-line Materials Safety Data Sheets (MSDS) for the components, it looked like the worst I’d be risking was potential deposit of oil. So I tried it on a scrap of fabric, and saw no oily residue.
I decided to go for it. Using the plastic eggshell underneath to support the fabric, I pressed the Silly Putty onto the smudged area, then quickly lifted it straight up (no scrubbing or “erasing” movements). The goal was not to let it linger on the cloth any longer than it needed to.
While this didn’t work perfectly, three or four quick blots did remove enough of the smudges to even out their tone with the rest of the surrounding area. The blotted area is the part of the back fin, the center of the back fin section closest to the tail.
Under magnification I can see no bits of Putty left in the cloth or in adjacent stitching, nor can I see any oily discoloration. Now that’s not to say that in 100 years (if this piece lasts that long) the blotted areas might not appear extra dirty or otherwise affected, but I won’t be around to do that bit of textile restoration, so for me at least, it’s a win.
Would I try the Silly Putty Solution again under similar circumstances? Probably.
Do I recommend it unconditionally? No. I caution that you carefully weigh possible risks prior to using it on a valuable piece of your own work.
I just got back from a quick business trip. Sadly, I came back with a hitchhiker – a bad cold. But to cheer me up upon arrival was my package from Hedgehog Handworks, with my new Hardwicke Manor sitting hoop frame:
As you can see, I was so excited, I had to try it out right away, even before wrapping the inner hoop in twill tape. I’ll do that this weekend.
First the specs of my long-coveted indulgence. There are two joints providing freedom of movement. Looking at the back of the thing, the first is a slider that regulates height. The turned barrel at the base of the main vertical has a wooden screw tightener, allowing the vertical arm to be raised and lowered. Minimum height (pushed all the way in, with the frame positioned parallel to the ground) is 13.5 inches measured from table top to BOTTOM edge of the frame. Max height on which the tightening screw can be brought to bear is about 18.5 inches. The vertical stick also allows the frame to be rotated left and right, provided the wood screw is loosened to avoid damage.
The second degree of freedom is the y-shaped joint at the top of the vertical stem. The fixed attachment piece from the round frame fits into the slit of the y-shape, and is tightened by a bolt with a metal wing nut. (I will probably replace the wing nut with something a bit more finger-friendly in the future). This allows the frame head to swivel up and down, allowing access to the reverse of the work.
“Orthodox” use position and all of the pix I can find on line show the large paddle piece at the bottom being slid under the left hip, so that both legs sit upon it, and the frame is presented across the user’s lap. Users are also shown sitting bolt-upright on a chair or a sofa.
I’m a bit more relaxed. My favorite stitching chair is a Morris chair, with wide wooden arms, like mini-shelves left and right. It reclines. Instead of sitting upright, I tend to stitch in the reclined position. I also don’t want to bark the chair’s woodwork with the frame, so instead I straddle the base, with the paddle-bottom underneath my right thigh. I can adjust the position of the hoop so that it’s perfectly comfortable and accessible in that position.
All in all, I am VERY pleased, although I may need to stitch myself a small bolster on which to rest my left elbow when working with that hand beneath the frame. The chair arms are too high for comfort, and some support would be useful for extended sessions. Oh heavens. A quick project to make something useful that I can cover with MORE stitching. However will I cope? 🙂
In the same order, I also received some tambour embroidery hooks. I won’t show them here, but will save them for a future piece. Hmm…. that elbow cushion… What do you think?
And finally as a cheer-me-up, Younger Daughter, Needle Felting Maven and all around good kid, saw that I was in need of a small, weighted pin cushion that was presentable to leave here in the library next to my chair. Although she usually does far more intricate shapes (dragons, tigers, airplanes), she made me a little sea-urchin, weighted in the bottom center with a couple of big rupee coins, for extra sentimental value. It’s adorable, simple, in colors that match the rug in the library, and at about 1.5 inches across, with the coins giving it a low center of gravity, so it doesn’t go skittering off – the perfect size and weight.
Finally, I have been making progress on Trifles. As you can see, I’ve got less than a quarter of the surround left to go. And every single gear uses a different filling.
I haven’t made a knitting gadget post in a long time. Here’s a frugal crafting tip, echoing something I posted in 2004.
Save those little, rectangular plastic clips that seal up bags of commercial bread, pizza dough, bulk food purchases, and other groceries. They are very handy for knitting and crochet. Here are some uses.
Stitch markers. Very obvious. All of the standard and exotic stitch marker tricks can be done with these, marking repeats, separating design panels, using them to delineate a group of stitches that will be added or decreased away, using them as an in line abacus to keep track of row or pattern repeat counts.
Progress tags. Like fancier plastic clip style closeable markers, tags can be fastened onto in-progress knitting to mark spots of interest, like centers of pieces to be matched together later while seaming. Because tags are larger than commercial clips, and disposable (in my house, a renewing resource like wire hangers), they can be written on with a Sharpie marker, for one-use notation.
Seam basters. Use the jaws of the tags to hold pieces together when seaming instead of pins.
And here you see another use: pick-up tracking. I have a lot of stitches to pick up along the edges of my current project’s center entrelac panel. The desired number works out to ten stitches per edge triangle. It’s very easy to lose track, an annoying to constantly repeat the count. But if I clip a tag onto the needle, pick up ten stitches after the tag, then I clip it and repeat, the process is relatively painless.
Marching along. As you can see, I advanced the piece on my rollers. Due to the orientation of my chair and frame stand, I’m most comfortable stitching in the lower third of the available area. Plus, being a new gizmo, I wanted to see how full slack, restacking the bars and tightening worked.
My working thread is marking the center point for the next band. That one will probably be in long armed cross stitch, worked both horizontal or vertical, and on the diagonal to create the foreground. Some museums call this “Punto Spina Pesce.” Modern stitchers probably know it better under the name Montenegrin stitch.
I’ve been having a lively discussion in another forum on useful needlework tools. In addition to the standards, I can offer up this:
Tweezers! Not just any dime store pair. I saw some specifically made for electronics assembly at work. They were so perfect, I went out and bought myself something similar. Electronics tweezers are long and pointy, with precision grip ends. The final half inch or so is nicely rounded, and is a good stand-in for a laying tool (for those who like the economy of a minimal tool set). Further up the shaft the profile switches to more of a D. On mine the 90-degree sides of the D are just sharp enough to cut through thread, so inserting the rounded end into a stitch and pushing ever so slightly will break the stitch without harming the ground cloth. Then the fine grip tweezers can be use to remove any thread detritus left over from ripping back. Electronics tweezers are available in many price ranges. Since nonmagnetic/non-conductive isn’t important for stitching, the least expensive pairs work just fine for my purposes.
I also made a blindingly obvious discovery about needles. I usually use fine tapestry style needles on ground cloth that’s 40+ threads per inch. But I often stitch those finer cloths with one strand of embroidery floss. One strand of floss has the annoying habit of falling out of the needle’s eye, something that drives me batty. But over the weekend I found these:
Ball point hand sewing needles, made for use on tricots and fine knit fabrics. You can see in the un-thumbnailed photo above that the eyes are tiny – just big enough for one strand of floss. The points are not quite as blunt as tapestry needles, but they are far less pointy than embroidery or plain-sewing sharps. They slide nicely between the threads of my ground cloth. And the small eye retains the single strand, reducing the time and annoyance of re-threading mid-work. Not orthodox perhaps, but effective.
Folk who know me either through String or in person know that I’m generally not prone to enthusiastic gushing. Passionate ranting, perhaps, but prancing around in delight is not part of my idiom.
I’ve been pacing the floors since my last big embroidery project ended, keeping busy by knitting small things:
Two pairs of socks and a pair of Fingerless Whatevers. Socks are headed to Elder Daughter, whose pitiful pleas will now be gratified.
But finally, my Needle Needs Millennium Frame has arrived, all the way from the UK:
I’ve wanted to get a new flat frame for quite a while. My old one having been bought in the early ’70s, using babysitting money when I was still in high school. Frame technology has advanced. I was very impressed by the review of the thing over at Needle ‘n Thread. Her pix are better than I could manage, and I agree with her observations wholeheartedly. The frame is well made, and works exactly as presented. It’s easy to load with the work (minimal frame dressing), easy to adjust, and a delight to use. All in all a quantum leap over my old one.
The only problem is one faced by all round frame enthusiasts when they “move up” to a flat frame. It’s large. You need three or four hands to use it. One or two to hold the frame, and two to stitch. But I’ve faced this problem before. Behold my ancient Grip-It frame, bought about 20 years ago when I started working on my Forever Coif:
It holds my Millennium nicely in its omnivorous grasp. Just barely, though. I will take the three bolts that make up the fastening mechanism of the jaws to the hardware store this weekend, and look for some that are a bit longer.
And if having this miracle of modern needlework support infrastructure wasn’t enough to hyperventilate about, I have more to celebrate!
If you’re familiar with 16th and 17th century embroidery – the long red pattern strips that probably bordered domestic linens – you’ve seen that odd mesh background. Some museums call it “Punto di Milano”. Others call it “Point Lace” “Punto Quadro” or “Tela Tirata.”
Stitch attributions range all over, in part because there are several ways that a mesh background can be achieved (withdrawn thread; withdrawn thread to make a grid, then darning; pulled thread, etc.) Some books specify that these patterns used Italian Two-Sided Cross Stitch, others say Four-Sided Stitch in addition (or instead) of using an Italian stitch/style name. At this point, I’ll agree with them all because all are feasible. But after long experimentation I’ve finally found a method that’s achievable.
I played with several pulled thread stitches before coming up with this:
It’s the same pattern as the museum piece. I’m working the mesh in two passes. The first is an easy to count pass of double sided cross stitch, worked double and pulled very tightly. The second is a pass in which the bars formed between the cross stitch are whipped four times (two times on edges butting up on un-mesh areas). It’s totally two-sided, identical front and back. While not exactly speedy, using the initial pass to establish the counted pattern is easy, and the fill-in whipping to create the mesh is far less think-intensive than working the same pattern in hard-to-see-the-count long-armed cross stitch. Is this Punto di Milano or Tela Tirata? I am not sure. But it’s darn close!
Requisites for production:
- Flat frame on a stand. You need two hands to do this.
- Relatively loosely woven ground cloth. Most modern even weaves are too dense. This nice, airy piece of linen was provided by StitchPal Pam (Hi, Pam!), who found it too gauzy for her needs. But it’s perfect for mine.
- High thread count ground. Although the weave density on this is good, it’s a bit coarse for this work. To achieve the compression that leaves nice big holes, stitches need to span 3-4 (or more) threads. I’m using 40 count here, stitching over 4 threads. 60 count would be MUCH better, although I’d have to find finer silk thread. I’ll have to investigate this on a future project.
- Silk thread. Cotton isn’t strong enough for all the pulling. Linen would have the strength, but it would be thicker, filling the holes more (and it was also done in linen historically, for white on white stitching).
- Slightly blunted slender needle with a small eye. This is only one strand of silk floss, and you need to spread rather than pierce the ground cloth threads. Still, a total tapestry blunt is too rounded for this delicate work.
Spring floods here. A minor one in the basement, brought on by the inordinate amount of rain we’ve had in this area this month, and at work, with more deadlines rushing one upon the other. Which must be good for business, but is exhausting none the less.
Last post I promised two things. The first one is a dream project. Something I will probably never have the time or resources to accomplish (especially the time): my own embroidered casket. Not the kind you’re thinking of.
Back in the 1600s the crowning achievement of what passed for female education was the completion of a small box covered with embroidery. These were called cabinets or caskets, and often featured dimensional embroidery. They were about the size of a large tabletop jewelry box and were truly spectacular. The Peabody Essex museum in Salem has one one dated to 1655.. Here’s a particularly nice one in the Minneapolis Institute of Art’s collection. They’re highly sought after by collectors.
Via Needleprint, I stumbled across this:
It’s a modern chest base, made by a woodworker specifically for creating cabinets. If you click on the link you’ll see that the individual panels are made to be removed. All that needs to be done is stitch up a piece of the correct dimension and lace it onto the panel, then refit the panel into the cabinet. Now all I need do is set aside two years, a pile of silks and metal threads, some excellent linen, and $800 for the box base (including shipping). Another item on my ever growing never-never list…
The second thing I promised was word of a snail invasion in the Antipodes. Again, not the kind you’re thinking of. Garden plantings are safe. But Friend-of-Friend Fred Curtis, resident in Australia happened upon my book and is doing all manner of happy things with my snails. Here’s a trial for a man’s necktie to be covered with snails. He also stitched a camera straps using TNCM patterns (shown in process), and has used another of its patterns on a baby bib. But back to the snails. Here’s another of his pieces, offering up early spring inspiration to those of us in the Northern Hemisphere.
(Photo reproduced with permission). I’m always tickled to see stuff worked up from patterns I’ve posted, both for knitting and embroidery. If you’d like to see them posted here in the Gallery, please feel free to send me an image or a link. Fred – thanks for the smile!
More progress on my Do Right sampler.
It’s going slow due to mounting work-related deadline pressure, but it’s moving along. Here’s a close-up of the latest strip:
Half cross stitch doesn’t provide anywhere near as dense a background cover as regular cross stitch or long-armed cross stitch, but it does give an interesting twill-like effect to the ground. Plus it uses far less thread.
And in the realm of improvised tools and gadgets – today’s is the lowly thread reel. Flower Thread comes in pull skeins. Or I should say – alleged pull skeins. They are not as well behaved as standard 6-ply floss skeins. Because I hate putting my work down to wrestle with my materials I tend to wind each skein of the Flower Thread as I use it. This is a very traditional thing to do. Little flat thread winders of various configurations were common work basket items prior to the introduction of spooled and reeled threads. You can still buy bone, mother of pearl and wooden thread winders. They’re a wonderful addition to one’s general stitching ambiance, especially for those who pursue needle arts in costumed settings.
But me – I’m cheap. Very cheap. I also am mostly retired from SCA events these days, and no longer need to keep up appearances. I make my own thread reels from business cards. Business cards are a renewable resource for me, new ones cross my desk almost daily. Once I transcribe the giver’s information into an electronic storage, I have little need for the small cardboard rectangles. But they are made from thicker, higher quality paperboard than index cards, manila folders, magazine inserts or other similar items. As a result business cards make sturdier, more durable thread reels. And did I mention that they’re free?
One business card yields two thread reels. As you can see from my samples, precision snipping is optional.
I noticed quite a few hits in the past couple of days from people looking for my Visio knitting symbol stencils (templates). They’re the tools I use to do all of the charts here on String. However those files appear to have gone astray. I’m having problems going back and editing the original posts to edit the links there, so I am offering up this set of links instead.
I’ve got two sets, both for older versions of Visio. For Visio 5 here’s a Zip file containing the basic shape set, increases and decreases, and cables. And here’s the same thing for Visio 2000. I know for a fact that my stencils work with Visio 5, Visio 2000 and the last version of Visio in MS Office 2003. I haven’t had an opportunity to test the latest Visa version of Visio with my templates yet.
Here’s a link to the original post describing my method, but in short – I’ve built a series of “alphabet blocks” each bearing a standard knit symbol. I build my patterns up block by block. I can group or rotate blocks as needed. Once my blocks are in order, I add chart notations, including my grids and row numbering, and a key. I can also use the same system for colorwork charting by assigning my desired colors either to the whole block, or to a small square unit in a block’s center, as needed.
I offer up these stencils to anyone who wants to use them. For the record, I’ve heard that these blocks can be imported and used in other less expensive graphics programs including Edraw. I know that Edraw can open Visio files, but I don’t know if it uses a stencil or template library that can import Visio stencils. I suspect that to adapt my symbols you’d take one of the files in the zip dowloads above, then use Edraw to open it and copy the symbols out.
If you do use my files to create your own charts, I’d greatly appreciate a link back or a line of acknowledgment in your final work. I hope that someone else finds these useful as I do.