Tag Archives: blackwork

PROOFING

And we march around the perimeter, making skeleton after skeleton.

I’m just shy of half-way now, and I had to extend a tendril out to that point to make sure that I’m hitting my center mark. And I did!

As you can see comparing the blue line on the photo and the red line on the snippet of my chart, I’m spot on for alignment – not even a thread left or right of my center line.

One question I keep getting is how I maintain my location and ensure everything is in the correct spot without pre-gridding my work (without basting in an extensive set of guidelines to establish larger 10 (or 20) unit location aid across the entire groundcloth). I generally reply, “By proofing against established work,” but that then generates the second question. “How?”

So I attempt to answer.

For the most part I almost never work on fully charted out projects, with every stitch of the piece carefully plotted in beforehand. I compose my own pieces rather than working kits or charts done by others, and as a result I never have a full every-stitch representation as my model. My working method is to define center lines (and sometimes edge boundaries), but I pick strips or fills on the fly, starting them from my established centers, and working from smaller charts that are specific to the particular motif or fill that’s on deck. However, if lettering is involved I am more likely to graph that part out to completion prior to stitching, to ensure good letter and line spacing. (Leading, spacing, and kerning are close to my heart both as someone whose day job deals in documents, and as a printer’s granddaughter.)

For this project I DID prepare a full graph to ensure the centered placement of my very prominent text motto against the frame. I also wanted to miter the corners of the frame (reflect on a 45-degree angle) rather than work strips that butt up against each other, AND I wanted the skeleton repeat to work out perfectly on all four legs of the frame. To do that I had to plan ahead more than I usually do. (Note that the repeat frequency of the accompanying smaller edgings are different from the skeleton strip, so I also had to “fudge” center treatments for them so they would mirror neatly – another reason to graph the entire project).

But even with a full project graph available against which work, I didn’t grid – I worked as I always do, relying on entirely on close proofing as I go along.

The first step is a “know your weaknesses” compensation. To make sure I am on target I almost never extend a single long line ahead of myself, especially not on the diagonal because I make the majority of my mistakes miscounting a long diagonal. Instead I try to grow slowly, never stitching very far away from established bits, so I can make these checks as I work:

  • Does the stitching of my new bit align both vertically and horizontally with the prior work? Am I off by as little as one thread? Am I true to grid?
Checking grid against prior stitches. Am I on count?
  • Is my new bit in the right place? Does the placement of the design element align with what’s been stitched before? For example, in this case, is do the toes of the mirror imaged bois back to back to the pomegranates match in placement in relation to each other and to the bottom of the pomegranate’s leaves?
Checking placement of design elements in relation to each other.
Are my motifs in the right place?
  • Am I working properly to pattern? It doesn’t matter if I am using a small snippet with just the strip design or fill that’s being stitched, a full project chart, or (as I am now) using prior stitching as my pattern – copying what’s been laid down on the cloth. Am I true to my design as depicted?

As I work, I constantly proof in these three ways – checking to make sure that my work is true. And if I discover a problem, I trace back to see where I went wrong, and I ruthlessly eliminate the mistake. For the record – there’s nothing to be gained by letting off-count stand in the hope of compensating later. Trust me – you’ll forget, mistakes will compound on mistakes, and you’ll end up wasting even more time, thread, and psychic energy on the eventual fix.

I hope this explains what I mean by proofing as you go. I know for most of the readers here, this will be second nature, and they won’t have thought of it as a disciplined approach, but for newer stitchers the old maxim “Trust but verify” should become a mantra. Verify, verify, verify. The sanity you save will be your own.

Finally, for Felice, who doubted I was using double running stitch for such a complex project in spite of the in process photos that showed the dashes of half-completed passes, here’s the back.

Yes, I do use knots for work with backs that won’t be seen, but I do it carefully so that the knots don’t pull through. Point and laugh if you must, but I reserve the right to ignore you.

TAKING IT IN STRIDE…

See this egg?

It’s the one on my face. And deservedly so.

A quick recap:

  1. I’m working a project on skew count linen – with a different number of threads in the warp and weft. – Confirmed, that’s a fact.
  2. If a design is worked on such a ground, it will be compressed – shorter in the direction that has the higher count, and stretched out in the direction that has the lower count. – Again confirmed. That’s also true.
  3. I counted my threads, and planned out a design that featured “padding” on to compensate for anticipated compression, so that the difference between the proportions of the strips going across the top of my work, and down the side of it would not be so evident. – Yup. I did that, and I like the extra wide knot strip that I doodled up to use there.

BUT

Major snafu. I did not properly record my count/measurements and reversed them, attributing the denser count to the wrong direction. Instead of the new strip ending up with squatter, flatter skeletons after I rounded the corner, close comparison shows the new bois to be leaner and lankier than the ones previously stitched. Even more embarrassing, I did not notice the problem until I had a fair bit worked up.

So it goes.

Obviously I have a good lesson-learned on this one to add to my roster of mistakes as teaching moments. And I’m not going to go back and rip anything out. (I may have a second lesson on finite stash supply vs. thread consumption rates to painfully experience, too.) So my piece stays as is, and I get to look like an idiot in front of everyone. While this isn’t going as planned, and I did make a giant mistake – it’s not totally fatal. I declare myself just a tiny bit sadder, but wiser, and will keep soldiering on.

You may point and laugh now.

MORE ON REPEATS

The repeat on my Dance strip and corner is a bit unusual, and seems to be causing far more problems for stitchers than I anticipated. I designed it so it could be used both as a straight repeat and as a mirrored repeat, but that appears to be the source of the confusion. I’ve talked about the types of repeats and symmetries before, but I will recap briefly.

Here are some basic types of strip-pattern repeats:

  1. A straight repeat is one in which each unit is repeated “as is”. It is not flipped or mirrored, but marches on like the first line of Rs.
  2. A mirror (aka bounce) repeat works like the second line of Rs. There are two center lines, and the design mirrors itself between them.
  3. A meander, the design elements both mirror and flip.
  4. One-directional meander with mirroring but no flipping.
  5. One directional meander with flipping but no mirroring. (No example to hand).
  6. A tumble, the design elements rotate around a center point. (No example to hand).

There are other ways to construct a symmetrical repeat that elaborate on the tumble, introducing further mirroring or flipping, however I will say only the first four methods above are represented in European embroidery styles prior to around 1700, with types #1-#3 being by far the most common, and #4 being rare, but not unknown. And I can’t lay hands on a good example of #5. I haven’t done a comprehensive survey to determine when tumbles (#6) or their more complex derivatives begin to manifest but I can’t say that I recall seeing them on a museum artifact in the time range I pursue.

I also note that patterns can also include more than one type of symmetry, and layered symmetry pieces can become quite complex. There’s more on that in the earlier (and longer) post on repeats I mentioned before.

Now back to the pattern at hand. Here is the basic unit that makes up The Dance.

Notice that the three bony bois cavort in a playground defined by the center of the framing pomegranates. This unit can be combined to make a strip in one of two ways – As a straight repeat (#1), or as a bounce repeat (#2)

I’ve added the blue arrows to help identify the difference. Look at the fellow lolling on the ground. Above, he’s always facing the same direction. Below, he’s facing his mirror image.

To have a Type #2 bounce repeat that uses THE SAME framing device for both bounce points is at best extremely rare. Most use different devices as the two separators, like this little dolphin repeat from my ever-forthcoming book.

Now. What does this mean? Less authenticity, but more versatility. My current project uses the Dance centered around a single project axis. I use mirroring at ONLY the very center of my piece, with runs of straight repeat left and right until they meet up with a corner. Why? Why not? I liked the look:

But if I were working around a piece with a fixed circumference, like on a strip that was to be seamed into cuff, and there was not room for an even number of repeats, I might appreciate the ability to use an odd number of repeat units (along with type #1 symmetry), to better fit the area to be stitched.

I hope this helps.

GALLERY

Finally. After nine long years since the design challenge was issued and I responded with a pattern for the Flying Spaghetti Monster, a finish has been spotted in the wild.

No photo description available.

Special thanks to stitcher Zelda Doyle, who had fun with the thing, then posted the result on Facebook and made my day. This photo is hers, of her own work, and reproduced here by permission. The chart for His Noodly Glory is here.

Have you done something fun with one of the pattern children and wish to add to our Gallery? Please let me know.

PAST PROJECTS AND LESSONS LEARNED – PART 3

Continuing on and finishing up the parade of past completions, misses, and items still languishing unfinished in the ever growing midden next to my favorite sewing chair, we arrive in near recent times.

In the last post in this series I mentioned sending Elder Spawn off to college with a bit of nagging to hang on her wall for continued parental admonishment. Well, it worked, so I did it again for the younger in 2015.

The request for the Trifles sampler included a laundry list of relevancies, including an overall steampunk theme, with nods to anime and Dr. Who, and at least one dragon or unicorn. I found a relevant precept in Book of Five Rings, then hit all the bases, and along the way playtested a lot of the fillings in Ensamplario Atlantio, plus many that ended up in Ensamplario Atlantio II. I particularly like the soot sprites caught in the mechanism, quoted from Spirited Away. This one was done with some of the faux silk floss I found while we were in India, on 38 count linen/cotton blend. It’s finished as a hanging banner.

Lessons Learned: This was the piece that taught me the joys of beeswax. The “art silk” is very fine but also very unruly, and being quite old when I bought it, can be friable. Waxing held it together, eliminated differential feed of the two plies, and kept me from piercing it prematurely as I stitched with one hand above and one hand below the work.

In 2015 we had an extended stay guest – a friend of Younger Spawn who spent the senior year of high school with us prior to graduation. She needed a send-off inspiration, too. But instead of imposing parental nagging on her, I asked her for a favorite saying she might want on her wall. She suggested this Grace Hopper classic. More tryouts of T2CM patterns ensued. This was also done in the art silk I used for the Trifles sampler, but on 32 count linen/cotton blend.

Lessons Learned: I used this one to experiment with color and open-voiding (squares, diagonals or zig-zags instead of solid fills or meshy stitch). It’s all double running, and like most of my pieces, wasn’t designed for dual sided display, so the color changes didn’t mean that I had to bury all of those ends. I rather like the playful brights I used on this one.

Shhh. But the secret is already out. In 2016 I took my first apprentice. Although my blackwork journey had been recognized inside the SCA with a Laurel award (the group’s high honor for achievement in the arts), it predated the establishment of apprentices as a concept (kind of like squires to knights, but not for martial prowess). But neither my apprentice nor I are good at formal statements, so we kept it under wraps and very free-form. Instead of giving her a green belt, I gave her a long strip of linen, with a belt embroidered at one end – the idea being that she could use the thing to experiment with stitching, painting, printing, dyeing, whatever. I think this is on 32 count linen in Au Ver a Soie silk, but I don’t remember. She’s gone on to make me quite proud of her explorations and achievements in historical arts and sciences (but we are still quiet about the whole thing).

Lessons Learned: While the plain old cross stitch that made up the lettering is not double sided, the belt mostly is. I learned once more what a pain in the neck burying all those ends can be.

In 2017, tired of having my hair blowing in my eyes in the wind and bored with bandannas, I decided to make two forehead cloths – a kind of kerchief popular in the 1500s and 1600s. And yes, I wear them with modern clothing, not re-enactor wear.

In a happy coincidence Stealth Apprentice was busy dyeing embroidery silks with historically accurate ironwood dyes, and asked me to try them out to see if texture, “stich-ability,” strength, or colorfastness in the wash were issues. I’m happy to report that her threads were prime. Both pieces have been through the wash multiple times, and both still look as good as they day they were finished. I made two cloths (only one pictured complete with ties), and while I was at it and abhor wasted space, I finished out the 32 count fabric with a doodle sampler of “Persist.” All of these designs are in T2CM. The darker triangle was stitched with two strands, and the other pieces with one strand.

Lessons Learned: Yes, there’s very little area between the two triangles. I cut neatly between them to separate the pieces, then lined them with well-washed muslin, and made some of the waste fabric into the ties. BUT notice the doodle sampler. It’s awful close to the kerchiefs. Too close. I haven’t finished out this mini-sampler yet, but to do so I will have to border it all the way around with fabric, then affix the entire thing to some some sort of frame, or into a little banner. I should have started that piece closer to the leftmost edge of the cloth. Oops.

This one is probably the most ambitious piece I’ve ever done. Silk, and Japanese gold, with 2mm paillettes, on 40 count linen, and finished in 2018, I loved every minute of my two fishies. The indigo silk was also dyed by Stealth Apprentice. The green is more of the Au Ver a Soie. All counted fills are done in one strand; the darker outlines are worked in reverse chain stitch with three strands. The whiskers are split stitch and the eyes are satin, both done with two strands. The gold is couched down and the paillettes are affixed with one strand of yellow faux silk (more of my India stash). The counted patterns are mostly in Ensamplario Atlantio II.

I spent a lot of time carefully considering (and sometimes picking out) the fillings. I was aiming for flowing mobility, a suggestion of scales, and glimmer under the the water’s surface. While the fills are all strict and regimented geometrics, offsetting them, and picking ones with strong diagonals and curves helped avoid the blocky, heavy look that many projects with fills fall into.

No, no one in this house gives credence to astrology – it’s not a Pisces depiction. The back story is that the Resident Male described a cloth with two fish embroidered on it in one of his early stories. I made it so. (Pun intended).

Lessons Learned: I haven’t put my hand to couching metal threads in other than the most trivial way since that silver horse pouch in 1975. I re-learned a whole suite of techniques to manage it, including plunging and finishing off ends, forming the curves and tensioning the gold as I stitched it down, how to increase or decrease the distance between the couching stitches to achieve the desired radius, and how to keep two unruly strands of the stuff side by side and not flopping over each other for best effect.

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I’m beginning to run out of wall space. In 2019 I decided that I needed to stitch up some napkins – quick and dirty because they will undoubtedly get dirty quickly.

I wanted something fast to stitch that could endure harsh laundering. So I took a chance and ordered some pre-finished “rustic look” napkins and coordinating tablecloth. They’d be useful for my holiday table whether or not they were stitchable. And I lucked out. This is plain old DMC floss on big-as-logs 26 count poly-cotton napkins, and 28-count tablecloth. More or less – none were exactly evenweave when they started, and no two napkins ended up as the same size after pre-shrinking. But I don’t care. I had fun testing out more T2CM designs, and no – while I took pains to work double running and used the catch-loop method to begin each strand, I did not end off invisibly. There are tiny knots on the back of the napkins. So far no guests have turned them over to tsk, tsk.

What about stains you might ask? I don’t care. The napkins were quick and cheap enough to replace if they are too far gone. Note that the eating areas of the tablecloth are NOT stitched. If the thing gets damaged, I can always cut out the center part and apply or insert it into another one. Or not. “Look, here’s the gravy stain from 2023” sounds like it would be a nice bit of nostalgia ten years after.

Lessons Learned: There is no such thing as uniform shrinkage. Ever. Also a tablecloth is big. I ended up using my sit-upon frame to work the center, gathering up the ends of the tablecloth into two pillowcases to keep it clean. That worked well. Oh, and I hate ironing, so don’t expect to ever see this smooth and linen-press pristine.

It’s an addiction. I just can’t stop, so I plunged on, working up three of my favorite strips (and an edging) from T2CM. My Stupid Cupid doodle was done in June/July of 2019, on a piece of craft store 32 count linen/cotton blend, in DMC floss.

Lessons Learned: I ended up going back and editing my book pages on two of these designs because I hadn’t normed the repeats uniformly. My take-away is that it’s ALWAYS good to playtest a design rather than just trusting that one’s initial drafting is perfect.

Finishing out 2019 I thought I’d do up a cushion for my living room sofa. Well, maybe not a cushion. This is more of that faux silk, plus green Au Ver A Soie on 38 count linen. See all of that accursed satin stitch? It took only a couple of nights of working on it before I decided that if ANYONE sat on it with studs on their jeans pockets, I’d have a meltdown. Yet another piece destined to hang on the wall, I guess.

What you see here is the center third of my Leafy Multicolor – a piece very closely based on an extant artifact. I intended on making quite a large item, but the rather large leafy edge would only be on the top and bottom (as displayed in final, not as stitched). Have I mentioned that I detest satin stitch?

Lessons Learned: I really hate satin stitch. Especially in silk or faux silk with a laying tool. This is still on my frame. Everything I’ve done since is escapism because I HAVE to finish this one. But that satin stitch… Shudder.

The book cover project 2020 was a welcome break from you-know-what. It came about after some queries about how to make the book covers I had done back in 2012. I had a book, I had DMC floss, I had 30-32 count cotton craft store even weave, and I had patterns. Why not? So I wrote up the whole thing, from the initial planning stages all the way to the finish, so others could do their own. No idea if anyone will, but I hope someone does.

Lesssons Learned: No one is perfect, least of all, me EVEN when I am trying so hard to be because others are following along. I made a measurement mistake midway, but it all worked out. And going back to the first bit of almost-voiding with a red foreground and a yellow background I did on the Permissions sampler, above – I still like the loud and cheerful look.

And that brings us up to the current piece. I’ll tease that one here, but I save the Lessons Learned for when I’ve fully grasped all of the mistakes I’ve made on it to date.

PAST PROJECTS AND LESSONS LEARNED – PART 1

This post is to answer Susan and Michelle, who asked how long I’ve been doing counted stitching and blackwork, and who wanted to see some of my other pieces.

At the risk of tooting my own horn, here’s the story. More or less. Over the years, I’ve cobbled together a few publications (some still unfinished); given away many pieces; started more projects than I’ve completed; and wandered away to and back from knitting and crochet. Please indulge me as I reminisce. I promise to put in lessons-learned as I go along to make it bearable.

All of these are original compositions of found and/or original motifs. I haven’t done a counted work kit or pattern designed by someone else since I was 12. It looks like I don’t often finish, which while it has some truth to it, I’ve given away many of the completed pieces, so what I have in my stash to show off are the unfinished bits.

The first counted project I did that’s not plain old cross stitch and is in the greater continuum that includes blackwork (that I still have) is a sorry, unfinished sampler I began in high school, circa 1973/74, continuing on and off up to January 1975. There are double running bits in it – among the very first I ever did. Most of the designs I cribbed from photos of band samplers and traditional pieces – taking magnifying glasses to the teeny and blurry photos of historical or ethnographic pieces in general survey embroidery books and books on samplers. It’s probably on 28 count even weave, using Coats & Clarks floss. Colors were haphazard at best – I used what I had at the time, and din’t plan much in advance.

misc-embroidery-3.jpg (582×927)

Lesson Learned: A glimmer of the sad truth that while I am a starter, it’s much harder to be a finisher. I suppose I could go back and add in the tree and animals I originally intended. But there are so many other things I want to finish off first.

By the spring of my freshman semester, I found the SCA – an organization that advocates the hands-on exploration of the arts, sciences, and entertainments of pre-1600 cultures. That put the nail in this piece (being a mishmash of post 1600 band sampler patterns), but I found an inspiration. I had need to make a favor for a certain individual with a Spanish persona. So I zigged sideways and back in time a bit to blackwork, stitched over the summer of 1975. It’s the project that killed the sampler, above.

No photo description available.

The only information I had on blackwork during the summer I stitched this was a tiny thumbnail photo of the Faulklands Cushion in Mary Thomas’ Book of Embroidery. I drew the leaf shapes and my device, and did diapered fillings freehand, on muslin. There’s also a bit of needle lace around the edge, with points at the corners – everything now dirtied and tattered by use. (The silver horse is couched and surface stitched – it’s a pouch, also a present for the same person.)

Lessons Learned: In retrospect – research. Learn and do, not the other way around. There is a lot about this piece that’s flat out wrong, but my heart was in the right place (and also properly given). Also far more people were interested in learning how to do blackwork than the couching, or in a bit of needle lace I was also working at the same time.

The next bit of blackwork I did was after I did a bit more investigation into the style, both for my own edification, and because I wanted to encourage others to do historical stitching, and to do that, I needed to know more about it first. This piece started out as a cushion cover or possibly a tablecloth but within three days of the start, turned into an underskirt for my coronation dress (started just before the crown tourney, October 1976, worn in April 1977). Major thanks for the inspiration to do this piece go to Mistress Kathryn Goodwyn, who gave me Bath’s Embroidery Masterworks book, which in turn furnished the rough outline of the coiling fruits, flowers, and leaves.

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The original dress is long gone, but I still have this Melton wool monstrosity with the entire panel – still a squared off (I never cut off the side bits). There are some small stitched areas you can’t see here, hidden inside the skirt, but the piece was never completed as a full rectangle. It’s worked on a sale faux linen coarse weave tablecloth my mother found on a department store sale table. Probably at something like 30 threads per inch (about 15 stitches per inch). This one is more accurate – diapered fills on the count, heavy twisted chain stitch outlines, satin stitched berries.

A bonus – I wrote a paper on the style and also submitted the piece for credit in my Sophomore year art history course, so not only did I have an SCA coronation dress, I got two As for it in mundane life.

Lessons learned: Stitching to deadline does suck some of the fun out of the project. My double-deadline (our coronation and the associated schoolwork) come to mind every time I look at it. It’s also an excellent reference piece, because I can look at each leaf and know exactly which class and lecture I was sitting through while I was stitching it.

The next thing I attempted was a coif, circa 1979 or so. For some unknown reason I wanted to use muslin as a ground. It’s about 70 or so threads per inch, done with super fine handsewing thread – roughly 35 stitches per inch. I never finished (obviously). This little bit was donated to the East Kingdom Doll Project to better equip my tiny effigy.

Lessons Learned: It’s good to be ambitious, but to be overly so isn’t worth the effort. The teeny-tiny stitching here is largely wasted. At this scale it’s so small that one has to be six inches away to make out any detail.

After this came a series of small pieces, given as gifts, plus works in other embroidery styles. I also issued two booklets of designs for blackwork, hand drawn and photocopied. And I learned to knit. The next piece I still have is this sampler, made circa 1983, in part to remember my father and his favorite saying. It’s DMC floss on a plain linen table runner found in a church rummage sale discard bin.

Many of the designs on this one were in my hand-drawn booklets. But shortly after this I became increasingly rigorous in my documentation. My early notes were lost in an apartment move, and I had to begin again from scratch. This collection bridges that period and moves from my rather more scattered previous inquiries to more of what I am doing now. Note that the sunflowers and hearts on my ’74 piece are here again, just above my signature. There are also four designs on this that I sketched from a missionary’s collection of Chinese designs, collected in the 1890s. I ran across those notes while working as an intern at the Harvard Peabody Museum, circa 1977-1978. A few of the better documented bits made the cut and ended up in The New Carolingian Modelbook (TNCM).

Lessons Learned: Large and done on the fly (added design by design, with little advance planning) I discovered I liked the adventure of “bungie-jump stitching.” Looking back now I am not entirely pleased with the balance of the composition. But it includes a few well-loved motifs and still hangs proudly on my wall.

Next up were a few play test pieces of the designs that were in my earlier hand-drawn booklets that later became the core of TNCM. These were done in the 1980s and 1990s.

The piece above is a bit from a sampler intended as a wedding present for a friend whose engagement sadly ended before the sampler was finished (circa 1985). It’s done in DMC cotton on 32 count linen. I still have it and it’s still not complete, due to some vague association with the unfortunate end of the inspiring romance, and not wanting to tempt fate.

Lesson learned: Don’t pour effort into something that depends entirely on circumstances out of your control. Also, picking a limited color set and sticking with it provides a lot of unity in what might otherwise be a very scattershot work.

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These shameless mermaids that got an honorable mention award at Woodlawn Plantation. I stitched them in 1988, Au Ver a Soie Silk on 36 count linen. I like that I didn’t center the motif on this one.

Lesson learned: It’s surprising what will offend people. The prize committee pinned the ribbon over the bust of one of the mermaids, and put a post-it note over the other. And then hung the thing alllll the way up near the ceiling of the main room, where no one could peek under.

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“Think.” Done for the husband in 1989. DMC on 32 count linen around 1989. The leafy log panel (in TNCM) looks familiar? Scroll up – it’s also on the wedding sampler, but there in multicolor.

Lesson Learned: Visual density of small designs can be overwhelming. I always loved my original briar rose tangle – the corner design surrounding the lion, but only on paper. I’ve never been happy with it stitched up. The detail is entirely lost.

Circa 1990 or so I began work on my Forever Coif. Silk and silver, on 50 count. It’s still on the frame. It was intended to go with a reworked dress that featured the underskirt panel shown up at the top of this tirade. But it was not to be.

The fruits and flowers in the standard strawberry frame are original. I’ve lost the notebook where I had additional motifs doodled up. To finish I will have to think up new ones.

Lesson Learned: I’m still lousy at finishing. Eventually I will. But not as a coif – probably just as a rectangle, and wall-mount. Also, don’t design in a medium that doesn’t allow easy back-up. After this project I switched to drafting on the computer, exclusively.

No photo description available.

“Do not Meddle in the Affairs of Wizards, for they are Subtle and Quick to Anger.” For the husband, in 1995. DMC on 36 count linen One of my faves, with several TNCM designs. This is also the first piece I did that used long-armed cross stitch (LACS) both for foreground in the daSera knot in the center, and background on the bottom motif that looks like an S designed by a Renaissance era Dr. Seuss. More reuse of bits on this one, too, including a scalloped edging (below “wizard”) that’s also on the very first piece on this page.

Lesson Learned: People are easily mystified when you break your words up in a non-standard manner. Also, LACS is lots more fun than plain old cross stitch.

Partially finished shot of a large leafy repeat that’s shown in TNCM. I did finish this but have no pix of the final object. Given to a dear friend after completion circa 1996. Danish Flower Thread on 38 count linen, and more LACS.

Lesson Learned; Take more photos.

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Two “try out” pieces, just playing with no intent to finish either one. Upper one in linen thread, lower one in Danish Flower Thread on 38 count linen. The grounds on the voided strips are all long-armed cross stitch.

Lessons Learned: A lot. Neither of these grounds are true even weave. I was playing with how skew weaves distort designs. The one on the bottom is counted over 3×2 threads to make up for it.

This just takes me up to 1998 or so and I’ve skipped lots of pieces for which I have no photos, but this post is getting long. I guess the main lesson learned is that practice and perseverance help in any pursuit, even the most trivial. If people are interested, I’ll keep going.

DON'T PANIC – AGAIN

A while back I stitched up this piece, both as a tribute to Hitchhiker’s Guide, and as a bit of inspiration for my office. I’m a proposal specialist – managing short deadlines and general panic are my stock in trade.

When I posted this on Facebook last Friday, I got several requests for the chart. So, tweaking memory dormant since 2009, I drafted one up.

I make this chart freely available for YOUR OWN PERSONAL, NON-COMMERCIAL USE.  Consider it as “good-deed-ware.”  It’s tough out there right now.  Pay this gift forward by helping out someone else in need; phoning or getting in touch with a family member, friend or neighbor who could use a cheerful contact; volunteering time or effort; or if you can afford it – donating to one of the many local relief charities or food banks that are helping those displaced from work right now.

CLICK HERE TO DOWNLOAD THE DON’T PANIC CHARTS AND INSTRUCTIONS – THEN SAVE THE PDF THAT POPS UP

Eventually I will add this to the Embroidery Patterns page tabbed above. But for the time being – be safe, stay well, and care for those whom you love.

 

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).

Best Laying Tool

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.

BOOKMAKING 106: QUESTIONS ON THE VOIDED DIAMOND GROUND

Yesterday’s post has inspired a few really good questions. Thanks for sending them in!

Are you working the diamond background in double running stitch?

Susan wants to know if the background diamonds are being worked totally double sided. I answer that while they certainly can be, in this case I am not bothering to do so.

No one will see the back of this piece once it’s in place on the target book. So I am working mostly, but not entirely in double running. Since I have jumped the gun somewhat and begun the background before all of my foreground motifs are complete, I have to be careful not to get ahead of myself and fill in too much – painting my yellow across the site of a future leaf. Therefore I am mostly working in double running, but reserving the right to pop over to “heresy stitch” to advance my working thread as needed, and to avoid painting myself into a corner, or covering up an area that would need to be picked out later.

There must be gaps where the diamonds don’t meet up with the leaves. Are you working half-stitches to fill in those bits?

Lisa, this is an excellent question, and really observant of you to pick up on the issue! Here’s a diagram illustrating what she was talking about.

Note how in some spots, and especially around the tendrils and lobed leaf sections there is a half-stitch gap between the red outlines of my double leaf, and the yellow diamonds. Now I COULD go and work half stitches to continue the diamonds right up to the edge of the red, but in truth – it doesn’t matter. Because the yellow is so light compared to the red, and I’m working with a relatively heavy thread thickness for the count of the ground, the visual impact of those half-stitches is almost nil. So I cheat, and leave them out all together.

How do you get the diamonds to match up as you go around the leaves?

Another excellent question, Erin! The secret to doing this is NOT to start the diamonds in several spots. Begin it in one place, and grow it out from there, working around obstructions as they are encountered. It’s kind of like a fairy ring, (or if you are computer gaming fan – The Creep). By always extending the pattern area from an established bit of work out into new territory, I stay on target, and my diamonds always align.

Have more questions? Ask away!

BOOKMAKING 105 – ONE COVER DONE. CENTERING ECCENTRIC REPEATS

The first side is done! You can see that I’ve filled the entire defined stitching area, and that I’ve mirrored the border all the way around.

You can also see that I’ve left in the basted lines that mark the flap areas I will need to form the slipcover parts.

Now on to the second side. (I’m not going to call these front and back because I intend to let the recipient decide which one she likes better.)

IF YOU ARE WORKING A BOOK COVER YOU CAN STOP STITCHING HERE. Decorating the back and spine areas is a personal choice. You may want to skip one or both of those in order to finish more quickly. No shame in that, but you’ll have to wait a bit for the finishing instructions because I am going to do both.

Finding a Center Point on an Eccentric Repeat

Centering the pattern for the first side was pretty easy. I had basting stitches that marked the exact center point of my stitching area, and I had a pattern with a lovely swirly flower, complete with a perfectly defined center point. I could have used the center of the yellow lattice, but I chose to make the flower the focal point.

But what about an eccentric repeat? One that doesn’t rely on quadrilateral symmetry like the flower does. Or mostly does – that directional swirly center mixes it up just a bit, but the outline of the flower and lattice is solidly four-square symmetrical – you can flip it up, down or left/right and the outline remains the same.

Here’s the eccentric repeat I’ve chosen for this side:

Wow. Where is the center? The double-leaf sprigs do reverse-mirror up and down, but the reflection point is a box, not a dot (the dots representing the “holes” in our ground cloth). I’ve circled it in red.

We COULD work the piece on skew count compared to the established prior work . That’s one of the advantages of using even weave instead of one of the purpose-woven grounds like Aida, but I don’t want to. I’ve left one two-thread unit as a clear zone between the border and the field on the first side. I don’t want to make that clear zone wider or narrower on this side.

Instead let’s find a better “center dot” location to line up with the the basted center lines. Ideally i want the piece to be visually balanced, in spite of the eccentric repeat. So let’s look in the spaces BETWEEN the sprigs. It just so happens that there is a perfect spot. There is a two-stitch gap between the buds on the curlicues – that tendrils that looks like they end with a berry. I’ve marked the dot between them. That’s the spot I mated with my designated center point in this stitching area.

Here’s the start of my stitching. You can just make out the remains of the basted center line to the left (the vertical one is already too picked out to show on this photo). But I’ve included the Blue Dot that matches up to the chart above. That’s the exact center of my area, and that’s my alignment/starting point for this one.

One thing to remember about aligning eccentric repeats this way – they do truncate around the edges. My chosen area is large compared to the scale of the motif. Several full repeats will fit both up and down and across that field. If I were to employ this filling in a smaller area, instead of looking for a visual center point for the design as a whole, I might place the design so that at least one full repeat was shown, or I might center the most prominent part of it (the leaf) in my area-to-be-filled, and let the rest of the design be cut off as it may.

Here’s an example of trying to shoehorn a larger repeat into a smaller area. The dragon won’t fit cleanly on any one side of the gear shape into which it was jammed. But by moving it around a bit rather than trying to center it cleanly, I was able to get enough of it in to make the thing “legible.”

And I continued on. Just as before I worked my way out to the right, until I got close to but not right up against the area where my border should go. I’m using the same border on both sides of the book, so it was easy to count and copy from established stitching. Once I had aligned the center knot on my basted horizontal center line, I worked down from that to the corner, copying the stitching I had already done on the finished cover. Then with my border established, I went back and filled in more of the field.

I liked the almost-voided effect of the yellow lattice on the first side, so I decided to work this design in true voided style. And since just the other day I found an example of a diamond voided fill on a historical piece, why not?

I’m fairly flying on this second side. Being able to copy the border (and being familiar with it at this point), plus the simplicity of the diamond ground is making this bit quite speedy. What you see above is more or less what I was able to stitch in about four hours total time, spread out over two evenings.

And I am liking this fill. A lot. I may have to use it again. Possibly in combo with border I designed to match. Both are in my free book, Ensamplario Atlantio II.

So. Is all of this clear as mud? Do you have any questions? Are you thinking of working an original project based on these principles? It could be a book, a pincushion, a pillowcase, a box top, a small hanging piece – anything. The same hints on defining a stitching area, centering a design, and working on the fly (as opposed to fully drafting out an entire stitch-for-stitch full project chart) all would be helpful.

Unleash your inner doodler/designer! Go for it! I know you can.

BOOKMAKING 104 – QUESTIONS ON LAYOUT AND DESIGN

On to the rest of the border and filling out the field…

I’ve gotten a few questions and feedback notes on this project. I’ll try to answer.

How do you know where to put the centers and corners?

It’s hard to make out on the in process pix because I snip away/tease out the bits as I encroach upon them, but I have basted guidelines showing me the exact center of my piece both north/south and east/west. They are in light blue thread. I’ve also marked the borders of my stitching area in lilac thread. You can just make out the guideline remnants on the photo below.

Also, if you page back in this tutorial series, you’ll see that I started in the center, then worked out to the right, leaving room for my as-yet-unchosen border. Then I picked one and started stitching. When I neared the corner I looked at what I’d done and doodled up a corner, then worked it. I repeated the process, stitching back to the center and doodling up the center bit, working it on the exact center of my marked stitching area. Then I worked the other side of the center bit mirror image of the established stitching.

No photo description available.
How did you get the second top corner to line up perfectly with your basted edge?

It’s counted. The center line of my stitching area is at the exact center of the area to be stitched. That means if there are (picking a number at random) 43 stitches to the right of it, there will be 43 to the left. If my pattern is symmetrical, it’s easy to see when you’ve gotten to the same point on the left as you ended off on the right.

What would you have done if you were one thread off?

It happens. Sometimes for every bit of measuring, exact folding, and counting (and especially on even weave) that center line ends up being one thread or even one full stitch off. In this case – no big deal. I would work my repeat totally symmetrical as I have above, and “push” that tiny bit of overage into the spine of the book.

How do you keep track of where you are with all those colors?

I admit it’s a challenge, and this design would be a lot easier in monochrome. I don’t like to leave long skips on the back, so for the most part, there are a lot of starts and stops. The longest leap I will take is three stitches, and I prefer not even to do that. This means that in the main field of flowers, while I can keep a baseline double running logic chaining flower after flower together, those little crosshatched interlaces of yellow between them are “islands” – each one begun and ended off separately.

You can see in the photo at the top of the page that there are two green threads dangling off the right side of the hoop. Those are the strands I am using for the border outlines. Rather then ending them off at the edge of my hoop, I’ve chosen to keep them “alive.” Pretty soon I’ll be advancing the hoop to finish off the bottom of the stitched area, and I’ll use them up as the border area progresses. Sometimes I’ll take a pin and insert it in the waste edge of my design (or another spot where any perturbing of the ground cloth weave will not matter), then wind the excess thread around it to keep it up and out of the way while I stitch nearby.

And in the border area at the top – I just did some of the green striped “column” that runs down the center of my border. I know that the red ribbon that wraps it is three stitches wide. I started at the edge of the existing red ribbon and worked “heresy style” across the first line, then hopped down and worked standard double running for the center one, and again for the one after that. That meant my working thread was now positioned at the left side of that block of three stripes, and ready to hop over three again to begin the next block of three stripes. I kept going in this manner until I used up my green working thread. Next I will go back and fill in the red ribbon, and finish up with the short spurts of yellow. And yes, that does mean a lot of ends. I would never attempt a multicolor piece that was totally double-sided.

It’s hard enough to pick a pattern, now you want me to design centers and corners, too?

Perhaps I did get a bit ahead of myself and I could have chosen a simpler border. One that isn’t directional like this one with its wrapping is. And mirroring around the center can look a bit daunting, as can doodling up a custom join. But there’s no reason to be intimidated.

I noodled up #1 in the set below. But I didn’t have to. My treatment could have been much simpler.

#3 for example ignores mirroring, directionality, centers, and corners. It just starts at a random point of the repeat, goes across the area to be covered, and arbitrarily ends at the edge of the desired space. Then it starts up again, butted against the bit already stitched. And it doesn’t matter if it’s centered or truncated. (By the way, plain butted pieces with truncated rather than an elegantly ended or mitered repeat is the most represented treatment for corners in museum collections of historical stitching)

In #2 and #4, I’ve kept the mirroring (but I didn’t have to) and inserted small simple shapes to fill the contested areas. #2 uses plain old squares. Nothing fancy. #4 reserves those spots for personalization. Initials, dates, small stars, whatever. What I’m trying to show here is that there is no one right way, and all treatments look good. Go simple, go complex. It doesn’t matter, your piece will be beautiful, and best of all – it will be uniquely yours.

More questions?

Idly curious or wanting to do you own book cover? All is good. Happy to help. Got a question? Send it in.