The latest band! A narrow one to provide a bit rest and relaxation following on the heels of the ravaging pirates. This is a quickie and should take most folk less than the two weeks allotted for its completion.
Palm Cluster is based on a visual family of historical designs, but is my own, and does not directly replicate any single one of them. Feel free to work it in monochrome, using variegated floss, or in multicolor.
I’ve had some questions from folk who find themselves unable to make the commitment to work the entire Epic Fandom sampler, but are in love with specific strips and have asked about working them up separately.
I answer if it’s for your own personal pleasure, please go ahead. Put these on cuffs, collars, napkins, tote bags, small pouches, or add them to your own samplers. I just ask that you contact me if you are considering the distribution of any pattern that includes my strips (or any of my other charts or designs) either for free or for sale. And as always, a link back to String-or-Nothing if you post about your piece would be deeply appreciated. I derive great joy from seeing what mischief the pattern-children are up to in the company of the creative.
Full info on stitch count and thread consumption plus downloadable PDFs for the charts released to date are provided on the StitchAlong page here (also reachable via the tab at the top of every page on String). I’m stacking all of the SAL info on that page, so scroll down to the newest info at the bottom.
Band 5 was released on The Enablers group on Facebook today, and will be echoed here for posterity on 9 November. Happy stitching!
I present the third band of our Epic Fandom StitchAlong. It doesn’t matter if the pirates are from Never-Never Land, Penzance or the Caribbean – it’s always good to be a Pirate King. Or Queen. Or Monarch.
Here are our finished samples, courtesy of the flashing needles of our Beta Testers, Heather, Danielle and Callie, plus my own finish. Note that the band looks equally good stitched up just in outline or voided. Working that background is totally optional.
Full info on stitch count and thread consumption, plus descriptions of some voiding methods are provided on the StitchAlong page here (also reachable via the tab at the top of every page on String). I’m stacking all of the SAL info on that page, so scroll down to the newest info at the bottom.
Band 4 will be released on The Enablers group on Facebook on 12 October, and echoed here for posterity on 26 October. Happy stitching!
As promised, we proceed with the second band of the Epic Fandom Stitch Along.
Although the overall theme of this piece is fandom unification in a time when face to face interactions among those who celebrate the nerdier side of life can be difficult, every other band will be more traditional in style. I’ve drawn inspiration from historical pieces for the even-numbered pattern strips, but they are my originals, with no one specific source.
This week’s release is Tulips and Raspberries. Here are four finishes.
Above bits, top to bottom, stitched by beta testers Heather, Danielle, Callie and me.
Full info for the Stitch Along is at the SAL tab at the top of this page, or click here to hop direct. Scroll down to the big yellow BAND TWO subhead to find a downloadable PDF containing Tulips and Raspberries. Background info for the project as a whole can be found in the downloadable for BAND ONE
Feel free to post questions – I’d suggest doing it on the SAL page rather than here, so that any info helpful to future stitchers is easy to find. Feel free to send along progress pix or tag them with ##EpicFandomSAL on social media. With your permission (and proper credit), I’d love to post them in a gallery, so we can fulfill our mission goal of community celebration.
Just because I’ve taken a departure from classic stitching and am issuing heretical blackwork patterns for spaceships, robots, and dinosaurs doesn’t mean I haven’t abandoned research. I am also inching The Second Carolingian Modelbook (T2CM) closer to the goal posts.
I continue to find multiple instances of design duplicates scattered across various museums. Here’s a trio. Clearly stitched from the same inspiring pattern. Whether it’s from an as yet unidentified modelbook or broadside sheet, an atelier’s cloth reference sample, or just copied among stitchers hand to hand is impossible to determine. However, this design will be included in T2CM so stitchers of the future can keep this historical “chain letter” going..
First, my own stab at the thing, as worked on my big blackwork sampler. I call it “Leafy-Bricks” for obvious reasons.
The first instance of Leafy-Bricks I stumbled across is in the Boston Museum of Fine Arts, Accession #07.816. It’s a small fragment, but it’s the one on which I based my redaction. They tentatively identify it as likely to be Italian, but do not date it. This snippet was collected in the very late 1800s/first decade of the 1900s during the “Indiana Jones” era of embroidery and lace sample acquisition – the time in which monied families took a season touring Europe, vying with each other to bring back the most exquisite samples of whatever struck their fancy. These collections were eventually donated to major museums to form the backbone of their historical embroidery holdings. The time/place provenances furnished by dealers or middlemen and conveyed with these pieces upon donation are not necessarily to be trusted. Many museums are now revisiting these pieces to correct annotations that haven’t changed in 75+ years.
One interesting thing to note is that the count of the historical ground above is not as square as the count of my modern linen. The design is somewhat squashed left to right and elongated north-south compared to mine, although the unit counts are the same.
The second one is in the collection of the Metropolitan Museum of Art, Accession 09.50.55. Unlike many duplications among museums it’s not an instance of one original artifact having been cut apart for sale to multiple buyers. Not only is the center panel duplicated here, there are also subtle differences in the design, especially in the border. The Met only shows this in black and white and does not provide information on the color used. They date it to the 1600s, and attribute it to Italy.
And third, which I only stumbled upon today. This one appears to be a photo only recently released by the Victoria and Albert Museum, Accession 645-1896. Be still my heart, it shows the design on fragments that were pieced into a wearable apron, providing a use case beyond what can be known from a simple fragment. The V&A also notes that the apron was composed from previously stitched fragments. They label the assembled wearable as 1630-1660, Italian, but it’s unknown what life the embroidered strips had before that usage. Best of all, among their images is one that shows the back. Yup. Double running stitch. And yes, I know they see vases in the composition, but my mind is stuck on describing the center bits as bricks.
Note the stretch across the bottom, seamed together from two distinct fragments. And the butted corner formed by a third, although butted corner treatments are more commonly represented in survivals than are pieces with carefully planned mitered or otherwise customized corners. As far as the design’s manifestation on the apron, it’s very, very close to that on the MFA’s fragment. But it’s not identical. There are small differences in the veining pattern of the main repeat’s leaves which lead me to believe it’s a fragment of another original, and not a leftover from whatever item was repurposed into the apron.
If you’ve spotted other instances of Leafy-Bricks out in the wild or have seen it in a modelbook of the 1500s to 1600s, please let me know.
Oh. And if you are interested in obtaining a copy of The New Carolingian Modelbook (my first and now out of print book), I know it’s hard to find. I don’t have any to sell myself, but on rare occasion someone finds a copy and sends it to me. Just such a copy recently came into my hands. I have sent it on to a charitable auction to benefit the SCA Barony Concordia of the Snows, which recently lost all of its communally held equipment in a devastating fire. That auction will be held on 28 August at East Kingdom Coronation. I do not know if the auction will be web-accessible. If I find out I will update this post accordingly.
Well, having been encouraged and enabled by The Enablers group on Facebook, I’ve finally released the secret project I’ve been working on, and can now post my progress to date.
The Epic Fandom Blackwork Sampler is a very large piece, intended to be stitched by and/or for Epic Fans. It includes strips close to the hearts of many niche interest groups, and will please those who love giant robots, dinosaurs, Dr. Who, Star Trek, Star Wars, retrofuturism, classic bug-eyed monster invasion flicks, snakes, and much more. These theme bands alternate (more or less) with bands that are more traditional in composition, although everything in this project is original.
I have NOT made this a mystery stitch-along because it’s a bit more complex than most, and folk should know what they’re getting into before they commit time and resources. I’ve established a page here on String just for this stitch-along (SAL). Project components will be posted to The Enablers, and will be echoed here on time delay, at intervals over the coming year. Four weeks will be allotted for the larger, more complex strips, and two weeks for the narrower/less complex ones. I am also posting intro material on estimating fabric sizes and thread requirements, so folks can prepare. The first half of that information is on the SAL page, too as of today. More will join it tomorrow. The first pattern band (Giant Robots and Kaiju) will debut on 3 August on The Enablers, and on 18 august will appear on my SAL page, here on String-or-Nothing. The entire project will continue well into 2022.
Not only is this NOT a mystery stitch-along, I want to foster creativity, and am SO looking forward to what mischief can be accomplished based on this offering.
- There are panels that are designed to accommodate voiding – filling in the background behind the motifs, although those panels can stand alone and read well without it. The optional voiding can be done after the foreground stitching is complete, so no decisions to commit to it need be made when the stitcher starts a band with the voiding option. More info on voiding and the many ways to do it will be provided before those strips break.
- There’s no requirement to do the entire thing in a single color, even though monochrome is far more common in traditional blackwork than polychrome. Color choice and placement are entirely up to the individual stitcher. Some options include but are not limited to:
- Each strip in its own color
- Alternating colors between strips
- Using variegated (with back stitch) for one or more strips
- Picking out design features for color highlights (like I did below).
- Working one repeat of a multi-repeat in a contrasting color, so it stands out.
- There’s also a strip intended for customization, to allow signing, dedication, dates, a motto, or inclusion of optional motifs. A design worksheet with alphabets and measured areas will be provided when we get to that one.
- If side borders are desired, go for it, but I am not furnishing those (top and bottom borders would be more difficult to add because my composition isn’t a clean rectangle).
- And last of all, if someone wants to skip a particular panel, or wait until their favorite arrives and work only that one – that’s ok, too. But I won’t be releasing anything ahead of schedule or to special request. If you want a future band, you’ll have to wait breathlessly along with everyone else.
Here’s my own rendition of the thing, to date. This is just the first nine out of the total nineteen strips and some of those are partial. I went for polychrome because I rarely get a chance to do that. I’m using six colors, although you are seeing only five right now. There are light and dark shades of red, green, blue, and yellow. The light yellow will be used in the future for voiding and detail, but I haven’t stitched those parts in yet. You can also see partial voiding in the Pirates strip (#3). I will go back and finish that for the entire band, and eventually fill in the dice on the gaming band and add their pips, but I wanted to lay down as much of the rest of the piece as quickly as possible because I got a late start on it.
Depending on the reception of this piece, there may be follow-ons. So if your favorite fandom isn’t included, there’s always hope.
Oh, and if you are worried that you’ll make mistakes because it looks complicated – don’t worry. I have left mine in, including a quite massive one on the pirate strip. I bet that unless you hunt for it, you’d never notice.
Joining in? Please do. I so adore leading folk astray. 🙂
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.
A hectic month and a miserable year come to a conclusion. But not without completions.
First, as promised in the last post – a family photo of this year’s cookies. I tried to have smaller batches of only ten kinds, but was foiled by a concerted group effort.
Working it clockwise (recipe links for most of these can be found in my last post.
- Noon – Lemon cut-outs, magically maniacal. Special thanks to friend Laura Packer, who sent me the twisted cutters. Oh, and bonus tiny leaf (see below).
- 1:00 – Chocolate pudding cookies. A surprise addition courtesy of Elder Spawn, who for a first fling into the communal cookie pile, did quite well with an intensely fudgy bit of delight.
- 2:00 – Orange marmalade cookies with fresh orange icing.
- 3:00 – Cinnamon swirls. A specialty of Younger Spawn, who dazzles with flavor and presentation.
- 4:00 – Mexican wedding cakes.
- 5:00 – Classic Tollhouse chocolate chip cookies
- 6:00 – Our Oysters – a hazelnut spritz sandwich, with dark chocolate ganache filling
- 7:00 – Meringues (also see below)
- 8:00 – Bourbon/cocoa balls
- 9:00 – Triple Ginger/white chocolate cookies
- 10:00 – Earthquakes – Most folk call these “chocolate crinkles” but we like the more dramatic nickname. For some reason the crevices closed up. Possibly due to overbaking this year. My cookie, my fault.
- 11:00 – Peanut butter cookies
- Center of dial – Jam thumbprints, with mixed berry jam. Another contribution of Younger Spawn.
But that’s only the start. Younger Spawn also made a magnificent Buche de Noel (Yule Log Cake), with chocolate buttercream outside, and hazelnut buttercream rolled in a rich cocoa genoise. Including the traditional meringue mushrooms and little leaf-shaped sugar cookie leaves.
Not to be outdone, The Resident Male rose to the occasion and presented us with a Christmas Eve feast – seared fois gras with chanterelles; French onion soup au gratin; rack of wild boar with maple/chili glaze, plus potatoes Anna and spinach souffle.
And there are more year end finishes!
My Bony Boi piece, back from the framer and suitably hung in its place of honor in the Resident Male’s office:
The Great Masking
And I also finished my three blackwork plague masks.
I used one of Ancient Elna’s specialty cams to make a multi-stitch “hold fast” edging around the outer edge of each of the embroidered components. Then I cut out the shapes with confidence that the stay stitching would prevent any unraveling. (The stay stitching will be buried in the seam allowances, and never be seen.)
After that I sewed my stitching together down the center to make the outer layer. I toyed with a couple of treatments for the center seam to disguise the mismatch, but settled on a simple line of stem stitch, done in Krenick #16 metallic braid. The Elizabethan plaited braid I had originally envisioned was too heavy.
Then I cut the actual protective layers, traced from the same template I used to lay out the stitching, plus the lengths for the ties (I favor ties over elastic). Each mask has two layers of high thread count percale (harvested from retired sheets and pillowcases) in addition to the decorative outer layer.
When that was done, I sewed my linings together down the center, pressed them, and pinned on the ties. Those get sandwiched between the right sides of the lining and decorative back double-layer, with care taken to make sure they are not accidentally sewn over when front and back are seamed together. The two fronts, with the ties pinned to the lining are shown below.
Once that was done it was a simple matter to sew front to back (right sides inside), leaving a bit of a turning space between the two ties on the left. The thing is flipped right-side-out by teasing the ties out and yanking. A press followed by a line of topstitching all the way around to set the edges and seal the turning aperture, and I was done:
Now on to the next thing. But first I have to decide what that is….
I’ve recently had chats with several folk who ask about the number of threads they are supposed to be using when working linear blackwork (fills or the strapwork designs commonly done in double running or back stitch).
I attempt to answer, and the answer isn’t a plain, flat “always.”
There are several factors to consider for counted work. First there is the ground fabric. Some people favor purpose-wovens like Aida, Hardanger, Monks’ Cloth or Anna Cloth. These are made with large, prominent holes for easy counting. They come in a variety of stitch-per-inch (or cm) sizes. They range from 9 to around 22 stitch per inch (aka “count”). The more stitches per inch, the smaller those stitches are.
Other types of grounds are also used, with even weave (or near-even-weave) being less popular than the purpose-wovens. These grounds are flat tabby woven fabrics. They do not have a system of prominent holes for easy counting – to use them the stitcher counts the threads of the weave itself. Most sold specifically for embroidery are more or less true and square, with very close equivalent measurements of the threads running the length of the bolt (the warp), and across the bolt (the weft). The measurement of fineness of weave for these fabrics is expressed as threads-per-inch (or cm), and they can range from around 20 threads-per-inch (tpi) all the way up to 50 tpi or more. Stitchers generally work over a visualized square of 2×2 threads, so a 24 tpi piece of even weave would yield the same 12 stitches per inch as 12-count Aida, but the holes between the threads would be far smaller and less obvious.
Now aberrations exist. Not everyone works over 2×2 threads on even weave, and it is possible to work counted styles on anything you can actually see well enough to count, whether or not the warp thread count is even close to that of the weft. But in general, the ground cloth world splits into purpose-woven/larger more prominent holes; and (near) even weave/smaller, less evident holes.
On to thread.
It’s all over the map. The most common thread used today is standard 6-ply embroidery floss, but there are hundreds of other options. And even plain old embroidery floss is NOT uniform. Not even if they are of the same fiber. For example, DMC and Anchor cotton flosses have very slight differences in ply thickness, with the DMC (most of the time) being ever so slightly thicker than the Anchor. And even within a line, there can be variation because different colors take up dye differently, or because of visual impact of the color used (a dark thread will often appear heavier than one of a lighter color, even if there is no actual difference between them). And if you begin comparing across fiber types/spin types even more complications ensue – One ply of DMC cotton 6-ply is thicker than one ply of Au Ver a Soie six-ply silk, for example.
Here are three examples on even weave (please excuse me for not having Aida samples to hand – I don’t use it.)
First, here is an example of 32-count even weave linen (16 stitches per inch), worked with two strands of a six-ply silk – a small lot product produced by a boutique hand-dyer. Note that the individual stitches are about as thick as the ground cloth’s weave. They fill the holes into which they are stitched completely, and in fact are a bit jammed up into them, making intersections just a bit muddy and tight:
Here is that same ground, worked using just one ply of the same thread used in the previous sample.
You can see that the stitched thread is significantly thinner than the ground cloth’s weave, and that corners and angles are sharper. But the stitching thread still fills the holes, and doesn’t “rattle around” in them. There is another difference – the stitching doesn’t look as even. It’s harder to achieve a uniform appearance with skinny threads, but the difference that shows up in extreme close-up is less evident at normal viewing distance.
Which is better? It depends. One or two threads are both suitable for use with this fabric. Do I want a light and lacy effect? Do I want something darker and more strident? Should I accent the close, dense and angular aspect of a design (as on the left), or should I try to bring out the curves and delicacy (on the right)?
By contrast with these two balanced examples, there’s the piece I am working on right now. I am working the black bit with one strand of standard DMC 6-ply cotton floss. It’s about 14 stitches per inch (28 threads per inch).
Obviously the count on this stuff is skew. It’s not true even weave. Were it so the enmeshed ovals would present more like circles. But it’s close enough so stitched-it-will-be. Look closely at the size of the thread and the holes in the weave. Even though the black thread is slightly thinner than the fabric’s threads (like the lacy sample above) – look at it in comparison to the gaping holes between the fabric’s threads. It’s tiny and spindly. It’s lost. It wobbles. Corners are extremely difficult to keep square, angles are being pulled, and the threads that make up the design do not present in nearly as neat rows as the previous example. This same ground, with two plies of DMC? Much better looking:
In this case, I would advise AGAINST using this particular ground with only one ply of standard floss. It’s holes are too big. I’ll finish out my black interlace mask pieces, but I won’t be using a single on this stuff again.
And mixing thicknesses? It’s a great tool. Jack Robinson – the UK’s Blackwork Patron Saint (now of blessed memory) – was a strong advocate for both historical and modern pieces that mixed thread thicknesses.
Here are a couple of examples of doing so, from my own work. I find it of special use for giving modern-style voided pieces a lighter background touch, although I have also used it to de-emphasize veining inside particularly complex leaves on non-voided work.
First: In addition to using a different background pattern for each, the yellow ground on the left is done with one strand of DMC floss, and the yellow ground on the right, with two so you can see the density.
Second: Foreground and background in the same color, but the foreground is worked with two strands, and the background with one.
Now how does this work out on Aida? Again, I apologize for not having samples to hand. I don’t use it. The reason why I don’t is that I find the holes to be a visual distraction that take away from the presentation of the work as a whole. I’ve seen magnificent stitching on Aida, and I throw no shade on those who prefer it. But to me those holes can be way too big for the thread choices many people use. Like my wobbly sample above, the threads have too much play, and even tension without distortion at the corners or avoiding jaggy lines can be more difficult to control because the holes are big compared to the stitching thread.
For myself and my own work aesthetic, I prefer a well-stuffed hole (sometimes bordering on over-stuffed), and select my threads accordingly. One strand on Aida? I’d suggest two. Or three if it’s 12 or 14 count. But as in all things, my practice is not a yardstick by which you should measure your own preferences.
Look closely at your product. Try to understand why the threads behave as they do. Are you happy with your stitching? Think about your design goals. Even if you are interpreting a pattern by someone else there is plenty of scope in there for your own design choices. Thread thickness and proportion to the ground and to the size of the holes are just more variables you can play with to make any piece visually distinctive and uniquely yours.
Remember my family’s latke rules. Every family’s latkes are different, and every family’s latkes are the best. The same goes for stitching.
I’ve gotten some recent feedback about the way I chart my designs – both positive and negative. However, the oddest feedback was from a couple of people who couldn’t put their finger on what I was doing different, or why. I attempt to explain
First off, I thank long-time Needlework Pal Kathryn for letting me use a snippet of her recently released redaction of a Lipperheide design. Because this design is so difficult to work out, I am using her stellar rendition as a “poster child” for a complex design drafted out using standard tools. Kathryn uses Pattern Maker by Hobbyware to chart. It produces a standard grid, and is largely intended for cross stitch. But with a a bit of work its outlining feature can be used to depict linear stitching (back stitch or double running). With even more tweaking those outlines can be made thicker so they read better against the background grid. Here’s a snippet from a chart she recently released.
In the chart above, each little gridded square represents one “unit” for the stitcher. That unit is most properly worked as a single stitch, and depending on the chosen ground cloth can cover one prominent square of Aida or Monk’s cloth, or a count of anywhere from one to four threads of an evenweave (or near evenweave) simple tabby ground. Work over 2×2 threads of evenweave is the most common.
By contrast, here’s the same snippet, more or less, in my own drafting method:
In my method, instead of showing the background grid, I show dots – the “holes” of the ground cloth. If one is working with Aida or Monks Cloth, each hole corresponds to a hole on the fabric. If working with evenweave, the dots represent the spots where a needle would plunge (every 2×2 threads, 3×3 threads, whatever the stitcher chooses to work). I eliminate the grid entirely. The lines that make up the pattern are broken into direct representations of the individual stitches to be taken. I also have the option of flood-filling the background to indicate an area to be overstitched if a voided effect is desired, without obscuring the “counting dots” of the ground (the grey area on the left).
Quick aside: Here are the three types of grounds, but the samples are not to scale since Monks Cloth usually has fewer stitches per inch or cm than does Aida. Note though that both purpose-woven grounds have very prominent holes, and on each stitches are generally worked over 1×1 unit. Evenweave by contrast is undifferentiated, and stitches can be taken over any number of threads.
As far as I know, I’m the only one who uses the dot/line method of charting. I devised it initially in 1990 for The New Carolingian Modelbook, (released in ’95) and I’ve stuck to it ever since. Yes, it’s different. And for people who are VERY used to the standard grid – my method may be difficult to get used to. But I do think it is an improvement on legibility and a reduction in visual clutter.
One thing I’ve toyed with is instead of using shading to indicate areas to be covered in voiding, using it instead with a color to emphasize the count, for the folks who like to baste guide lines onto their ground, to assist in keeping their place. That would look something like this:
I don’t particularly care for the checkerboard look though – I find it busy and distracting. I think that if anyone is tied to guidelines they are probably better served by printing out the pattern and taking a highlight marker to it, rather than my trying to add that info for everyone.
On my full page graphs, I do indicate the centermost point, and provide margin hashmarks, major ones every 10 units, with minor ones between on the 5s. 5 10 15 20 25 and so on, with the longer major ones on the bold numbers, and the minor smaller ones on the ones in between. But I do not provide the numerals themselves.
How do I go about using my aberrant method? Sadly, it’s not supported by any commercial needlework charting program at either the consumer or professional level. Instead I use a standard open source drafting program – GIMP, and a system of templates and predetermined settings to match those templates. I offer those templates here free on String, along with a detailed tutorial on setting up GIMP and using them (read up from the bottom – the blogging software arranges my lessons in reverse chronological order). One warning – GIMP works on the same layering principle as other advanced drafting programs, assembling finished images from a stack of transparent or semitransparent layers, much the way that cartoon animators build up their on-screen images from stacks of cels. If you’ve used Adobe Illustrator or PhotoShop you will be familiar with that paradigm. If you’ve only used standard needlework charting software you may need to take some time to get used to the concept. But it’s worth it. I may not be able to estimate total thread consumption by color used from my charts (a handy feature of needlework-specific programs), but I have far greater legibility, and no limit to page size or chart scale.
And progress on the current project? I’m about 40% of the way thorough the second side of the first mask. I’ve done a mental flip of the design, too. Not quite mirrored, but enough to complement across the center seam. Thinking of overstitching that center seam with one of the Elizabethan raised plaited stitches, too.
I’ve started on a promised project – a rendition of my Harsh Language piece, as a gift for a friend who prefers to remain anonymous. They survived Covid, and made a special request. I honor their determination. The objectionable word has been zealously cropped out of the image below to prevent irritating the easily-offended.
Although this is a small, quick-stitch, simple piece, I couldn’t resist using it for testing and learning. The Stealth Apprentice’s specialty is researching and recreating historical dye recipes – trying them out on yard goods, threads, and yarns. Of late, she’s been working on a group of dyes derived from lichens and mushrooms, with spectacular results. Sometimes when she’s working on a new recipe, she lets me beta-test her end result. I’m supposed to look for handling properties, color-fastness during stitching (crocking on fabric, or reside left on hands), and the like. And I am very happy to oblige. It’s fun to play with new materials and give useful feedback.
We chatted about this project, and Stealth Apprentice suggested a purple, dyed using “an uncertain lichen – probably a Parmotrema species”; and a mustard gold, dyed using “a dyer’s polypore mushroom”. The purple is a deep claret, and the yellow is a sunny mustard. They are equally saturated, so one doesn’t eclipse the other. I had no idea that these hues could come from lichen and inedible mushrooms, both which I will now view with greater respect. The purple is more true to the snippet above than the magenta it looks like on the winder below, but you get the general idea.
Both wools are of the same base stock prior to their color baths. They are of very soft and fine fibers, a single strand of two tightly twisted plies (which cannot be separated), about the thickness equivalent of three plies of standard cotton embroidery floss. They’re more plush and rounder, of course, with the stretch you’d expect from wool.
For this counted project due to fact that the wool thread is more robust than the cottons, silks, and faux-silk (rayons) I usually use, I’ve picked a ground cloth that’s far coarser than ones I usually use. Coarser in that it has fewer threads per inch – not that it’s harsh to the hand. This well aged bit from my stash is about 24 threads per inch, give or take; with slightly more threads per inch on the warp (parallel to the selvage) than the weft (perpendicular to the selvage). Since I’m stitching over two threads, I’m at 12 stitches per inch – big as logs to me since I’m used to working at 18 to 25 stitches per inch. But the result is spot on what’s required if one strand of this wool is used. If I were to double the strands, I’d probably be looking at working at 10 stitches per inch or fewer, probably down around 6-8 stitches per inch for better, less crowded effect.
Working with the wool and how it differs from cotton, silk, and rayon:
- Needle size: Obviously the tiny eye, round point needles I usually use are too thin for this and their eyes are way too small. Instead I’m using a tapestry needle. I think it’s a size 22, but it has been long divorced from any packaging, and has been living in sin with its mismatched fellows in one of my needle cases.
- Needle threading: Even with the larger size needle, threading is still not easy. Wool fuzzes (obviously) and waxing is right out (also obviously). My little bee needle threader is an absolute must for this project.
- Frame: I am using a hoop. The piece is small, so most of the area to be stitched fits inside it. But not for long. Eventually I will need to re-hoop over previously stitched bits. I will try to avoid doing so as much as possible, but right now I don’t have the option of moving this over to a flat frame. If I have to hoop over the letters in particular, I will be covering them with a soft fabric as padding, to prevent crushing or skewing the wool threads. I’d recommend flat frames, slate frames, or scrolling flat frames for countwork in wool, and will make sure to avoid my hoops in the future.
- Thread abrasion: This is much more pronounced in wool than cotton, rayon, or silk. Drawing the fluffy thread through the tiny holes of the ground cloth’s weave does degrade the strand over time. Spare yourself waste, agony, and an uneven appearance on the front – use shorter strands than you would with any other thread. And yes – if I were to be working on Aida or a ground cloth with larger holes, or using a larger needle this would be abated somewhat. But I much prefer the uniform look of a nice, tight even weave ground over the scattered holes presented by the purpose-woven stitching fabrics, so I am bringing this bit of extra work entirely on myself.
- Stitching technique: Even more so than with cotton (the most forgiving), silk, or rayon (the most unruly), wool needs to be worked in double running or back stitch with vertical passes of the needle through the cloth – not with a “sewing” or scooping stitch. Working with one hand in front of the work and the other behind means that care must be taken not to snag the working thread when the needle is returned by the unseen hand. It’s all too easy to pierce the working strand (it’s fuzzy and soft) and create an headache to untangle later.
- Tension: Wool is springy and stretchy. Cotton is not. Silk and rayon are even less elastic than cotton. It’s easy to stitch the less elastic threads quickly, and getting the feel for how tight to snug them up on a nice, taut, hooped ground is relatively quick. Wool by contrast stretches and then bounces back. It’s VERY easy to stitch it too tightly – stretching it as the stitches are formed, only to see it bounce back later when the ground is released from tension. Save yourself a headache and only draw the threads as tightly as it takes to make them lie flat and even, which will be significantly less tight than you are used to with other fibers.
- Ripping back after mistakes: Don’t count on it. The fuzzy nature of the thread makes it far more likely that stitches will pierce those laid down before, rather than slide alongside them. Ripping back will be painstaking, and the thread that’s recovered (if you are able to do it at all) will be seriously damaged by the removal, too much so for invisible difference re-use. Unless it’s just going back one or two stitches, treat mistakes as lost causes and sacrifice the strand. Snip on the front and withdraw the ends from the back to minimize fibers left on the front.
I’ll continue on with this, learning as I go. For all of the differences, I am enjoying working with wool and look forward to doing more of it in the future. I’ll continue to post (fig-leafed) progress on this piece. Like I said – it’s small and will be a quick finish. I’ll have to put it on hiatus for a few days at the end of next week for another obligation, but even with that should have it done and on its way to my convalescent friend well before mid-September.