BADGE TETHERS AND MORE METHOD DESCRIPTION
In the last post I started a method description on working a large project without having to do a full chart of the entire design. I’ve now finished the first end and am starting on the second, so I continue the discussion.
I worked both the top and bottom borders to the same logical stopping point. Since I had begun both of them aligned to the exact center of my piece and was careful to follow the design exactly, the ends of both lined up. More or less. There’s actually one FEWER unit one one end of the top of the end strip than there is at the bottom. But I also bet that without knowing it was there, zooming in and looking for it, you would never have noticed. Again, a variance but not a fatal error, and far less egregious than the errors I’ve spotted on historical pieces.
There’s a lot of “white space” to the right of the stitching, but bear in mind that the opposite side is the one with the wonky end has less free space to play around in (it’s not just photo foreshortening, it’s really not parallel to the edge line I based on the true grain of the fabric). So in order to leave enough room even at the narrowest point, I have allowed for more “waste ground” on the more generous edges. I also am not sure exactly what I will be doing for the border yet. I was thinking a simple hem and some needle lace (picking up something I haven’t done in decades), but there’s also the temptation of a withdrawn element Italian style hemmed edge. And I may just leave all such elaborations off for a bit, to mull it over some more and possibly rehearse those very rusty techniques.
Anyway, back to the stitching at hand. Note also that in the shot above, I was working the bottom border out to the left, to the exact same stopping point as the edge on the right. I continued and finished both long side borders. So it was on to the second short side.
In the photo below the piece has been flipped so that the bottom in the shot below is now at the top. But where to place that second border?
Since the left and right ends of both long side strips end in exactly the same place, it’s easy. I went over to the finished work, determined that the “collision line” where the border meets the field pattern aligns with the curly end of one of the little sprigs that grows up from it. So I found the corresponding point on the second side and began the first pass of double running down it. I didn’t do the whole side, because I know I’ll be working those curls and sprigs eventually, and rather than risk a massive miscount due to the long run between those sets, I would prefer to work the larger floral border, then fill in the little secondary one once that’s been finished. But I DO need to know where the collision line is so I can fill out the truncated edges of my main field design.
I will probably begin the large border again from the center, although since the end points of my other short side border are known, I could just mirror those. We will see where whim and fancy take me. At this point, all of the known issues have been worked out, mitigated, or blissfully ignored. It’s just dogged completion of the motifs and borders from now on.
GADGETS – THE BADGE TETHER
Last year I mentioned using a retractable badge holder to help corral my scissors at the beach.
I clipped it onto the straps of the drink holder of my beach chair. That worked so well, I’ve been looking for ways to do something similar at home. I tried clipping the things to me or wearing my old work lanyards. Too fussy. My favorite stitching chair is wood and leather, with no good clipping spots on it. But I’ve been working this current project on my Hardwicke Manor sit-upon hoop/stand combo. It has a nice, long screw clamp. The clip jaws of one of my badge holders fits exactly on the exposed screw.
While I’m showing the thing holding my favorite scissors and laying tool, with both lapped in front of the work, in actual play the angle of the badge head suspends them behind and away from the fabric, so catching isn’t a hazard. I love the convenience of not fishing around for often-used tools, and the fun of repurposing these tiny work albatrosses for greater ease.
Oh, and on my big flat scrolling frame, remember those penny size strong magnets I glued to the uprights? They hold the badge leashes quite securely, too. So I have the advantage of tools-to-hand on my flat frames, too.
STITCHING ON THE GO
I’m moving right along on the Don’t Be sampler. The cross stitched letters zoomed by. And over the past three days I’ve gotten a good start on the border, as well. Whole piece photo so you can see the overage I’m leaving to facilitate both stitching and final framing, plus the quick hem job.
Note that my observation on the skew weave was correct. Those first couple of leaves on the return under the letters are differently proportioned than the leaves in the edge’s vertical part to the left of the motto. That will become more evident as I march along. I don’t remember exactly where I got this piece of pre-packaged ground, or how long it has sat in stash – possibly purchased, possibly as part of a supply salvage gift from a friend who passed it on to me, but certainly not recently. As it is, I will not use anything from defunct company “MCG Textiles” again. Ground sold as evenweave should be exactly that (ok, plus or minus a smidge I will forgive), but a 16% difference between the number of threads in warp and weft is flat out misrepresentation.
The corner is incomplete. I forgot to pack the correct shade of my garnet floss, so the little berries/grapes in the corner will be done later tonight. On the one green leaf, I’m still deciding whether or not to fill in all or some of the leaves. I used plain old cross stitch with one strand of DMC floss for that, flat out skipping partials, and only working full cross stitch X-units. It’s passable. It’s also tedious. When I am done with the double running I’ll make the grand decision. Every leaf, alternating leaves, or none at all.
Now. Where was I that I was working “on the go”?
We ran away to our place on Cape Cod for a last weekend before the renters descend. We went with some long time friends, so it was doubly fun. And I brought this project with me. Folk have asked before how I pack and bring projects, so here’s a thumbnail. Note that I didn’t do it perfectly this time – after all, I ran out of garnet. 🙂
First, the container. The plastic zip bag below (shown both sides) is something I saved the last time we bought a full set of queen size sheets for our bed. It’s rectangular, with an interior pocket, and a zip all the way around one end. It’s also a very tough plastic.
Here you see the main components of my travel kit – the three pieces that make up my sit-upon frame, the project itself, a zip pouch containing essentials (threads, beeswax; my third-best pair of scissors on a retractable spool and a laying tool, both attached to a beaded badge holder; my needle nose electrical assembly tweezers); a little magnetic stand/folder (with magnetic needle minder attached); and a spare in-hand hoop.
Note that the stand itself is an easy assemble/dissemble, and fits in the pouch with the project. I bring the spare hoop because it’s not always comfortable or possible to use the sit-upon, and because the sit-upon features a fixed hoop-on-stick, it’s cumbersome to use without full assembly.
When I stitch on the beach I leave the magnetic stand folded in the interior pocket of the see-through plastic pouch, with the pattern page on top. If necessary I have a place-keeping magnetic strip that can grip the board through both the plastic and the paper pattern. That way I can keep my pattern safe from dampness and wind on the beach. The supplies/tools zip stays safe in the transparent plastic bag, too, although I do either wear the beaded “chatelaine” around my neck, or clip the retractable badge holder that minds my scissors to my beach chair.
PRESENT TENSE, BUT RELAXED
I have been a very lucky recipient this year, with several fun things to share here.
First was a holiday present from The Resident Male. Noting our stellar lack of success growing a kitchen garden outdoors; our constant consumption rate for of parseley, thyme, dill, cilantro, and other herbs; and the fact that our house has a rather dark interior, he gave me an indoor, self-illuminated hydroponic garden. Which being terminally nerdy, I promptly named “Keiko” after the Star Trek xenobotanist and long suffering wife of Chief Miles O’Brien.
As you can see, Keiko is nearly foolproof. This is a photo of growth at three weeks. Dill is the tall boi. Basil is in the right hand rear grow pod, with Thai basil in front of it. I will report back when we begin to harvest. But so far, so good…
Far less technological but of equal and long lasting delight was a surprise present from Sytske, my Long Distance Needlework Pal (of Antique Pattern Library fame), who lives in The Netherlands. The mail carrier trotted up to my door with the box and rang the bell because it was an International Delivery and he didn’t want to just leave it on the steps. He’s a sweetie who goes above and beyond.
Sytske and I had an email pen pal chat a while ago about an inlaid backgammon board I had bought in Jerusalem while I was in Israel on a summer-long archaeology program between high school and college. She said she had a collection of various items of similar style. We also discussed old needlework tools, and a zillion other things. I was totally surprised at the goodie box I received. And overwhelmingly grateful as well.
First, there was a splendid backgammon board. The one I bought in the summer of 1974 is the smaller of the two. It was the least expensive in the shop, and even so being on a student budget, I bargained for it for the better part of week.
The larger, more ornate and resplendent one is from Sytske. Both are obviously of the same regional and iconic style, very common and extremely popular throughout the whole Middle East region.
The workmanship on Sytske’s board is far more elaborate, with finer inlaid decorations on every surface. Even top edges inside the box and the pieces are embellished. Mine is heavier and thicker, with fewer colors and less detail, and my pieces are plain olive wood rounds.
Now for holiday gatherings, should the yen to play strike us, we can run two games at once. And I think I’ll take some good furniture oil to mine. It’s looking a bit dry and upstaged by the new magnificence.
Wrapped inside the game was a mystery bundle. I unwrapped it carefully and found an entire collection of antique needlework tools!
First there were several bone crochet hooks, three long enough for Tunisian crochet. The tiny hook at the end, even though it’s extremely fine (think crocheting hand-sewing thread fine), I do believe is for crochet and not tambour embroidery because its point is quit rounded.
In addition to hooks, I now have a collection of small needlework assist tools. From the top, a laying tool that by its graduated thickness might also do double duty for enlarging lacing holes or forming thread circles to over-crochet; another smaller laying tool; one with a hole in the end that might have had a secondary use as a bodkin to assist in passing a drawstring cord through its casing; and two laying tools/sewing awls with metal points. Below the measuring tape are two other items – a flat “needle” that could also be used as a bodkin for a round or flat tape, but that is going to become my naalbinding needle; and a sweet little bone needle case, probably from the late 1920s/1930s. It’s the only item I can date, and I do so by its Art Deco shape and proportions. It still has a couple of well worn long plain sewing needles in it.
I’m not done yet. There is more! This is a collection of handles that were probably for tambour embroidery needles (aka aari) or for thread crochet hooks. These are truly impressive because (at least here in the US) they are rather uncommon. A couple of the metal ones may be silver, but they are too small for hallmarks or stamps.
The ones above the measuring tape all have little screw-on ends, hiding a storage compartment where the hooks or needles would have been kept. The top one – the white agate also has a screw-on stone finial protecting the attachment’s “business end”. The ones below the measuring tape do not have a storage compartment. The tiny clamp keys on all of them except the red agate one are still functional and turn easily. I need to fetch out my modern tambour hook set and see if I can use the points in any of these.
One other observation – a couple of these antique implements may in fact be ivory and not bone. There is a marked difference in weight and texture in some of them. For example, the dotted tambour holder, the most ornate of the crochet hooks, the largest laying tool and the laying tool with the hole in the end are all much heavier and finer textured by comparison than other items of similar size. If they are ivory, they would be subject to restrictions in sale without firm documentation proving their age. Which is for me at least a moot consideration, since I do not plan on parting with any of these.
Color me gobsmacked. And grateful. Thank you again Sytske! I am totally thrilled to take on duties as curator of this awesome collection!
MESHY DONE, PLUS KITTING OUT THE FRAME
Yaay! A bit of self discipline imposed, and the forever voiding on the meshy lettuce pattern panel is complete. I have to admit that while I adore the look, I am not wildly fond of the hard-pulling needed to achieve it. I might try it again if I ever find a linen that’s the right combo of threads-per-inch plus nice soft and lofty constituent threads, instead of skinny hard-spun ones.
How does this strip fit into the growing project? After all – it has been about 8 years since we’ve seen the whole thing laid out. For the record, I’ve filled about 45% of the available real estate – there’s a lot more to go.
Now for the next. I don’t think I’ve play-tested these dolphins before (another design in the ever-forthcoming T2CM). The original showed them with a squared fill background in voided style, but I wanted something lighter to follow the dark band I just finished. I left off the voiding, but then decided that the bit looked rather spare. My dolphins needed something to play with, so I added the round elements, and am now pleased. A quickie, this bit took just Saturday and Sunday evenings:
I will add the roundels to the dolphin at right of center, but I left it off so you can see the rather unfinished look it had without something there.
After this one? Probably another narrow strip, possibly a bit wider than this one, and possibly darker for contrast. Then after that I have a double running stunner queued, but it’s rather wide and needs a bit more spacer ground between it and the giant meshy lettuce panel.
In the mean time, as I get up close and personal with the frame I am making little improvements to my set-up. For example, the jaw of the Lowery is steel, and well loved by magnets. But it’s not exactly accessible with the large frame extender unit. BUT when I flip the thing over to terminate a thread, it is. Add a strong classic U-shaped magnet, and I’ve got a handy place to park my snips (the red magnet is just behind the red snipper).
My needle minder works quite well, and sometimes I use it to park my threader. It often does double-duty as a holder for my pattern page. But that can get in the way of the stitching area. So I glued a magnet to the flat side of one of my Millennium frame scroll bars – on the flat side (yes, I tested it to make sure the correct side was up – that’s the one that attracts rather than repels the other magnetic goodies I wanted to use):
I can use this as a rather plain needle minder all by itself, or I can park my fancy one there instead of in the hidden spot where you see it now. Or I can use another magnet with it to hold my pattern page. But best of all, I can use it in conjunction with this page holder I picked up years ago (it used to stick on my fridge door, to hold tickets, recipes, coupons, or whatever).
By just gluing on a magnet, I’ve left the door open for all sorts of other magnet-enabled organizers. There are other styles of clips. Hooks and loops with magnetic bases could accommodate scissors, for example. Finally, I’m still looking for it to test out, but because the rare-earth magnet I used is so strong, I’m betting it can hold my smaller flat metal magnet board. That would allow me to use placeholder magnets on my pattern page while the page is displayed right on my work area.
And where to find inexpensive strong-hold magnets? I recommend the geeky source, American Science & Surplus. They are a clearing house for engineering tidbits, science gear, weird surplus items, kids’ educational toys, and other miscellanea. They are especially good for containers, magnifiers, bags, precision scales and measurers, cutting implements, office supplies, and magnets. Like any surplus store, their inventory turns over quickly, so if you don’t see what you want there today, visit again next week.
REACTIVATION AND SPOILING
I admit it. I was horribly spoiled this holiday past.
My family has fitted me out with all sorts of stitching goodies for the new year. There were silk threads and linen grounds from my mom and the Elder Offspring – enough to keep me going for quite a while. In addition, The Resident Male drew inspiration from a recent Facebook post (plus the general state of the stitching supply midden next to my favorite chair), and gave me a mercer’s chest from Sajou in which to store my embroidery supplies and tools. A princely gift. And yes. It’s already full.
Younger Offspring hand crafted me a Special Object. That book next to the chest – assembled and bound, with an embroidered and beaded cover all of their own devising, it’s full of graph paper pages – perfect for stitch design and doodling. I think my family knows me very, very well.
During the supply sort and consolidation to populate my new tiny chest, I stumbled across the thread I had been using for my Long Green Sampler. That’s a project from about six years ago. I was working on it just before we departed for our expat stay in India. I brought it with me but had no well lit comfortable place in which to work on it, so it languished. I poked at it a couple of times in the years since, but I hadn’t set it up for reactivation. I remounted it and set in again yesterday evening.
No, that’s not a real cat. I would love to have one, but I am very allergic to them. It’s a stuffed toy, liberated from the Spawns’ menagerie. It usually does duty as a very conveniently sized elbow rest, but here he’s blocking sun glare. He can be both obliging and versatile, although (sadly) not very affectionate.
To reprise, Long Green is a long strip sampler, done in Au Ver a Soie’s Soie d’Alger, in color #1846 on 40 count linen (20 stitches per inch). I am picking my strip patterns on the fly, mostly from my ever forthcoming book, The Second Carolingian Modelbook. This particular strip features my attempt at the tightly pulled and totally overstitched meshy background found on so many historical artifacts worked in the voided style. The design is one that appears in museum collections, and that exists in several clearly related versions. I’ve nicknamed this one “The Lettuce Pattern” for obvious reasons.
My redaction with its curious Y-spring companion edging is largely based on this version in the Boston Museum of Fine Arts collection, Accession 99.176:
The date attribution has wandered forward a bit over the years, but is now listed as probably 17th century, possibly being of Spanish or Sicilian origin. Here is another example of Lettuce, also from the MFA, now cited as being Spanish and 17th century, Accession 95.1116 :
Although this one shows quite a bit more in-motif detail than the one above, it is still clearly a closely related pattern, and not a slice off the same original artifact. Both of these have meshy grounds, worked by tightly stitching and displacing the warp and weft, bundling them tightly together – NOT by cutting and withdrawing threads, then stitching over the remaining scaffolding. That’s another technique but distinctly different from the one employed here.
Here’s another example of the Lettuce family. This one features a simple boxed ground (no drawn meshy work here). The original is in the Brussels Museum of Art and History, Accession 20048516. The description cites it as being stitched in red silk, and dates it to the 1500s, but does not include a geographical provenance.
The Brussels example has another special spot in my heart. You can’t see more than a sliver from my clip, but it pairs Lettuce up with another favorite design, proving them to be contemporaries.
As you can see from the photos of my green piece, I’m about half-way done with this band. Here are the others above it, a photo montage shot and composed by fellow India Expat, artist, and friend Tamar Alsberg. I’m a bit greyer now, but so are we all in these salon-challenged days.
Some highlights – bit of braiding in the lower left was a ton of fun – the solid stripes are done in Montenegrin Stitch, and the bit between my hands in the center top – that’s the back. Double running rules!
If you still want more info on these individual bands, you can call up the whole project (in reverse chronological order) here.
DETERMINING THREAD COUNTS OF SMALL-GAUGE LINENS
Lately I’ve been seeing discussion of linen, and whether or not it has to be even weave, sold specifically for counted thread work to be suitable for blackwork, cross stitch or other forms of grid-aligned stitchery. I maintain that while that does make things easier, and guarantees a certain precision look, it may not always be needed. Here’s a sample of a not-quite even weave being used for double running stitch.
First thanks to My Stealth Apprentice for the lovely linen remnant I’m using.
While it looks pretty uniform, it’s not. Up close you can see that the thread count is not even in both directions. Also you can see the combo of thin and thick threads that I admit can make stitching a challenge. But you can also see that both circumstances don’t quite matter as much as one might think.
My own counts, estimated by trying to take measurements between two pins placed an inch apart have been off up until now. But totally by accident, I’ve hit on a better way to calculate thread count, and it happened by using a standard US penny as a reference point to show relative scale.
The penny is three quarters of an inch across by specification. By taking a zoom-in photo, then counting the threads it obscures, we get a vertical thread count of about 33 threads in 3/4″ (counting the threads “tall”), and a horizontal count of about 25 threads in 3/4″ (counting the threads “wide”). A bit of math – multiplying both values by 1.33 – and that works out to a thread count of about 43.9 x 33.25 threads per inch. Not even weave in the least. But I can still work a (slightly squashed) rendition of the design on it. It’s distorted, but in a way that would not be apparent if this was to be done entirely as a strip.
However, I AM working this design as a frame around my central motif, complete with corners, so the skeleton dance will appear rotated to fit all four sides. Just as this bit is slightly squashed north-south, when I get to the side 90-degrees from this, the design will be squashed east-west – making my bony bois and pomegranates taller and thinner than they will appear here.
Optimal? Maybe some folks would object. But I am betting that it will still look good.
Oh, and add a penny (or any other coin or flat object with fixed and known dimensions) to your stitching gadget box, along with your phone’s camera. It’s much easier than those pins…
BOOKMAKING 108: RIPPING OUT AND RECOVERY
The last post of mea culpa probably left people wondering how it was going to all turn out. Here’s the result:
I only needed to tease out one straight line of stitching – the former rightmost edge of the previous side. Now the two borders join to make one larger mirrored strip that takes up the spine area and wraps around to be visible on the front and back. Not as I originally planned, but acceptable.
And I have been able to keep going on the second side, working my double leaves in red, and the diamond fill ground in yellow. Again, not as originally planned – the repeats will not be neatly centered left/right, but because this particular fill is eccentric, I bet it won’t be noticed by anyone who isn’t aware of the problem in the first place. (Mom, avert your eyes).
Now on to today’s submitted question:
How do you rip back?
With great care.
It’s very easy to inadvertently snip the ground cloth, and that’s a tragedy when it happens. But I have some tools that help.
The first thing is a pair of small embroidery scissors with a blunted tip. These are the latest addition to my ever growing Scissors Stable, and a recent holiday gift from The Resident Male. Note that one leg has a bump on it at the tip. That’s the side that is slid under the errant stitch being removed, to make the first snip. Although these are sharp all the way to the tip, the bump helps prevent accidentally scooping up and nipping the ground cloth threads.
To rip back taking all due care, I snip a couple of stitches on the FRONT of the work. Then I employ a laying tool and a pair of fine point tweezers for thread removal. The laying tool was also a gift from The Resident Male, and replaces a procession of thick yarn needles I used before I had it. My tool is about 3 inches long (about 7.6 cm).
My pair of tweezers is one intended for use in an electronics lab. I found it in the parking lot of a former job, probably dropped by someone testing robots in the back lot. I tried to return it, flogging it around to likely techfolk for several months, but had no takers. Seeing it was to remain an orphan, I adopted it into a new fiber-filled life. I love it. It’s wicked pointy, and even with the dented end (probably damaged when it fell off the test cart onto pavement), does a great job of removing tiny thread bits.
Having snipped the threads on the front, I use the laying tool’s point (augmented by the tweezers) to tease out the stitches in the reverse order they were worked, doing it from the back. Luckily this style of work has a logical order and it’s usually pretty easy to figure that out. But in some cases it gets harder. When that happens, it’s another judicious snip on the front, followed by use of the tweezers from behind to remove the thread ends for discard. (While I can sometimes recover/reuse a live thread after I catch a mistake of a few stitches, in general if the run is long, or I’ve ended off the strand there’s little point in trying to save it and stitch with the now-used and damaged/fuzzy piece of thread.)
If the color is in the least bit friable and liable to crock on the ground fabric, I cut more and pull less – making sure to remove all threads from the back rather than pull them forward to the front. This minimizes color/fuzz shed on the front, public side of the work.
If any snipping needs to be done on the back, flat and parallel to the ground, I pull out another resident of my Scissors Stable – a pair of snips I bought at the SCA Birka marketplace event, two years ago. They look like this:
These were a great buy. Inexpensive, super-sharp (I think the snipping action helps keep them sharp), and because they are not held like finger-hole scissors, very easy to manipulate to snip close and flat to a surface.
And what to do if there are fuzzy bits or surface discolorations that remain on the front? Here’s my last resort. I wrote about it before:
Yes. Silly Putty. I have found that a couple of gentle blots will pick up fuzz and shed bits of color. The trick is NOT to scrub, just support the cloth from the back (I use the top of the stuff’s eggshell container), and press the putty gently onto the affected area – then remove it vertically and quickly. Make sure not to let it dwell on the surface.
I will caution that there is risk doing this. I have no way of knowing if anything exuded by Silly Putty will be a life-limiting factor for the threads or ground in 50 years – if discoloration or other complications might ensue. But the Materials Safety Data Sheet for it doesn’t turn up anything particularly evil, and I am willing to risk it. You will have to make that decision for yourself on your own. Having warned you I take no responsibility if it ends up doing so.
CRAWLING ALONG, WITH SNAIL AND BEE
Satin stitch (for me at least) is sllloooowwwww. Especially compared with double running. Even though I am not working the satin stitch on count, the degree of precision needed to do the gold, cranberry, and white bits is even greater than the counted green outlines.
That said, progress is being made:
This is the center of the piece. I’m not entirely happy with every leaf or bud part done in satin, but I am not at this point going to go back and take anything out. What is, is. And for the record, as wobbly and multi-directional as my stitching is, that on the historical piece I have used as my inspiration is about as weak as mine.
But am learning as I go, and things are evening out a mite.
First was finding a better needle. It was pretty clear that the blunt tip/small eyed needles I favor for the outlines are not optimal for satin stitch. First, the eye that’s good for two strands of well-waxed floss is too small for three strands of unwaxed. And that rounded point, so well suited for slipping between threads for double running, is useless for piercing ground cloth threads to make nice, neat satin edges – even if those edges are partially “buried” underneath the outlines. I am not sure what size needle I am using (I pulled it from among a bunch of loose ones in my needle case), but it’s a standard larger eye embroidery sharp – not a tapestry needle.
Second was better threading. I am spoiled by waxing the living daylights out of my double running threads. Even if the two strands I use for the outlines require a tiny snip to get a good “point”, waxing guarantees a stiff, thin, easy to mount threading end. Not so the loose flossy strands of this ultra skinny silky stuff, used in threes or fours unwaxed for the satin stitching. They are unruly, prone to separating, fluffing out at the cut end, and otherwise uncooperative. Sometimes in a fit of desperation, I do wax the last half inch, but I prefer not to do that because the wax does drag off and mat down the rest of the strand. So I went looking for needle threaders to help. Thanks to Mary Corbet’s blog, I found some nifty tools, one of which I didn’t know I needed.
To start with, prior to making any purchases, I wanted to corral my needles, because for the first time ever, I was using multiple needle types on the same piece, and the pincushion at my elbow kept skittering off. I rummaged through my box of Useful Things, and came up with two flat rare earth magnets – formerly the insides of two heavy duty magnetic hooks. I’d saved them when the hook parts died. I glued them onto the verticals of my Millenium, in the corners. That worked nicely to keep my needles at hand, yet out of the way.
Now came threading. Obviously a needle threader would be required to cut down on my swearing and frustration. Mary had recommended some from Puffin. I liked the look of them from the structural standpoint, with flat hook style business ends, and not wire loops. So I ordered two in whimsical shapes vaguely reminiscent of Elizabethan coif motifs. One regular size, one small.
The snail with the larger hook works like a dream with the standard larger-eye embroidery needle. The bee with the little stinger surprised me by actually working with my tiny-eye ball-tip needles. Both are magnet-enabled, and now perch on the magnet I glued onto my frame.
And the needles they displaced? This is the thing I didn’t know I needed. Looking back, I could have done something similar with my two plain recycled magnets, but I never thought of it…
I got one of the Puffin needle-keepers.
This is the pretty side of the thing. It is also magnet-enabled, and the two magnets are quite strong. So strong in fact that they grasp and hold together not only through my cloth, but also through multiple folds of my pattern page printouts. So my design pages now sit neatly next to the area being stitched – not on a separate stand, or balanced awkwardly on a cushion nearby. My alternate needles are firmly fixed in place on the flower’s center, while my needle minder does its double-duty holding the pattern.
Here you see the corner of my frame in its stand-clamp, showing off the needle minder (left), and the glued-on magnet with both threaders (right). Everything to hand.
Please note I accept no freebies and make no endorsement deals. And since I don’t indulge myself often, tiny advances in kit are really special.
I’m a happy camper, even in the face of all that satin stitching. Bravo, Puffin! Useful tools, nicely made.
TRAVEL COVER FOR A FLAT FRAME
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 and boring cloth 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.
Cover laid out, side flaps brought through between work and stretcher bars
Side flaps closed to protect work
Bottom end of long flap brought up, with excess tucked behind the work. Top of long flap brought down over the work, with the handle (attached to the reverse of the long flap) tucked into 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.
The How-To:
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.
Stitching Logic
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.
SLOW PROGRESS IS STILL PROGRESS
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.
String-Or-Nothing 