I have finished the center panel of my mismatched-napkin-accompanying tablecloth.
And on the table with the doodle napkins:
Now comes the hard part. I want to add some red to the cloth, to coordinate better with the napkins. I don’t want to stitch on the pre-hemmed “skirt” part of the cloth that hangs down from the table. Not only is the fake Italian hem quite deep and double thickness, but also I want the embellishments to show on the table top, and not be obscured by place settings. There are a couple of possibilities here.
- Subsidiary motifs “north and south” of the main panel:
2. Subsidiary motifs in the corners:
3. Another border, concentric to the main panel:
Not sure yet, but itching to design it and stitch it up, whatever it might be.
Why stick to original thoughts? This is what I’ve settled on for now. At least until I get enough done to let me see whether I like it or not.
On to the tablecloth!
Here’s one full repeat of the pattern I am using for the main lozenge in the center. It’s one of the largest I’ve found. Not the longest – several of the narrower strips beat it there, but certainly with length and width taken together the one with the largest area north/south plus east/west.
I am in the process of adding another panel of the main design (the section between the “ice cream cones”) left and right of what you see here. Possibly two. We’ll see how I feel about proportions after I’ve finished the initial center set.
And I decided to draft my own companion border for this panel, after looking through and discarding others in my collections. While coordinating borders are less common compared to ones that have absolutely no relation to the design elements in the main panel accompanied, they do exist. Here’s an example (Metropolitan Museum of Art, Accession 79.1.14):
I doodled up a couple of possibilities. One didn’t make it off the drawing board. The second I was more pleased with, and began trying it out:
But once it began to make the transition from paper to stitching, I decided I didn’t like the way it was turning out. It’s too tight, dark, and linear. Plus I don’t like the proportions against the main pattern.
So I will pick out this little bit of companion border, and go back to the drawing board. The goal is something lighter, looser, with more white space. And wider – probably twice the width of what I had doodled up before.
It’s doldrums here at String Central. Younger Daughter is back to university. Others are back to work. I fill my time with nosing around for grant and proposal contract assignments, and my various projects.
First, my sanity project – the doodled decoration on the pre-finished napkins I bought on sale from Wayfair, using the cotton four-ply embroidery floss I picked up when we visited Sajou in Paris (stitching with three plies). I can show a modicum of progress. I’m just picking out random designs from my books and doing them rather informally, with a different design along a single edge of each of eight napkins. The first of my mismatched set is complete. The second in process.
The linen is soft and once washed, a bit mushy. That makes count work a bit more troublesome than it otherwise would be, especially on so coarse a ground. But it’s still rather quick work. The first napkin with the interlace took three evenings (about half shown). The in process photo shows only one evening’s worth of work.
On to knitting. I finished a pair of socks, packed up and sent to the recipient before I remembered to take a photo. They were my “briefcase project” – the thing I always have with me to work on while I wait on telephone hold, on line at the post office, or for appointments. Since I ALWAYS have a pair on the needles, the next pair is already cast on and sitting it its bag, itself waiting for me to be waiting. This pair however is special. Younger Daughter picked out this yarn with the proviso that I knit something for myself with it. I comply.
And my project of long suffering guilt. I promised these Octopus Mittens to my niece late last winter. It was inadvertently destroyed, then was re-started with new yarn, and is now sitting next to my project chair, chiding me that it is being neglected. I plead laziness, lack of inspiration, and frustration with stranding using two strands of DK, knit at sock yarn gauge for warmth.
I MUST finish these. I promised.
How do you flog yourself back into working on a sidelined project? All suggestions gratefully accepted.
Oh, And if you know of anyone looking for a project manager/writer/editor specializing in high tech grants and proposals – send them my way, please.
At long last! The end of the talk from 2014. I hope it inspired you to look up some of these examples, and perhaps, start your own piece of work in one of the styles presented.
And even more. Continuing on with the visuals from my 2014 talk on historical counted thread embroidery.
More from the 2014 Schola talk on historical counted thread embroidery.
The stitching on my Two Fish piece is now complete. The only things left to do are to iron out the pleats from mounting on the stretcher bars, and having it framed.
And a close-up:
For those who wanted something to better illustrate the scale of the stitching, here’s a standard US penny on the work:
For the record, the recipient is so pleased with the thing that we’ve decided to keep it here in the house, rather than consigning it to the beach place. Eventually, after framing, it will end up in our bedroom.
Inching along here on my fishies. Yes, did end up getting the Lowery stand last week:
I really like it and am glad I splurged when I did. For those looking at the photo, trying to parse it out, the stand itself is the grey metal armature – from the heavy base plate, up to the gripper jaw holding on to the wooden cross piece, to which my stitching frame is attached.
The wooden piece with its grasping flanges that engage my frame is a supplemental purchase – the “Long Frame Extension.” I strongly recommend it if you have a Millennium or other scrolling frame, especially if it’s large/heavy, or has wide bars. Because the stand clamps down on the solid wood of the extension, I do not have to worry about overtensioning the jaws and harming the delicate stretcher arm, with its reamed out internal screw threads.
Now, as to actual progress, it’s been hot, and since I sit under a halogen work lamp, and we are not air-conditioning-enabled – I admit slacking off on most hot evenings. In response to questions about my comfy chair, I post this photo, complete with orb-of-the-sun heat-source mini floor-lamp, Morris style recliner, and frame (supported by its new stand.)
No, that’s not a real cat in the chair. It’s a conveniently sized stuffed-toy cat, liberated from the kids’ collection. It serves as a nice, soft supplemental elbow rest. You can also see the embarrassing midden of supplies and in-progress projects, heaped into baskets between the chair and the bookcase, and the ever-encroaching box of on-deck items that is slowly taking over the small table.
The floor stand’s foot is tucked underneath my chair, with a couple of bricks on it for good measure. The extra weight allows me to swing the frame out of my way like a door, so I can exit the chair without having to move the entire set-up, or shimmy under it.
Finally, here’s the paltry progress itself:
I’ve added sequins to the previously un-sequined Fish #1, who was feeling very jealous of Fish #2’s bling. The light is angled to make some of them sparkle, but there is a sequin in the center of each grid area in the body. I’ve also made progress on the gold whorls. Next are finishing the couched gold lines above Fish #1, doing the spot on his head, and starting on the whorls below him. Eventually I will have to scroll up and down a tiny bit to access the remaining swirly bits at the very top and bottom of the piece.
And then I’ll be done.
Next project? Not sure yet. I have a couple in mind. Possibly return to Big Green. Possibly another smaller sampler. Possibly a cushion to replace the stuffed cat. Maybe playing with tambour and wool… There’s no need to rush, I’ll be working finishing up my koi probably until September.
Some progress on Fish #2, plus some more answers to questions that arrived after the last post.
I’ve started on the main body section, using yet another fill from Ensamplario Atlantio.
How do you know where to put the patterns?
I’m not sure whether you are asking how I know which pattern to pick, or how I place them in their designated spot, so I’ll answer both.
Remember, in the last post I answered that I pick fills on the fly, and that occasionally I pick the wrong one? Here’s an example – the first design I attempted for Fish #2’s main body section, shown just before it disappeared forever:
Yes I went back and teased out this bit that I stitched on Friday night, replacing it with the intertwined Os. I originally chose the discarded fill because I wanted something light, but I didn’t like the effect of this flat lattice as the finished bit grew. It was too static, and in a large area, would have been very boring. Plus, it would be difficult to achieve the visual offset that I used on the other side of the spine in Fish #1. So I went looking for a slightly larger yet not too dense replacement.
The intertwined Os work. But as I sat stitching over the weekend, I had an idea (warning – they are usually dangerous). Those centers of the Os? Think of how nifty they’d look and how blingy Fish #2 would be if each center was spotted with one tiny little 2mm gold spangle like this:
I’ve found some, but they come in a couple of different gold tones. I am waiting for my wave lines gold thread to arrive, then I’ll try to get as close to it as I can with the spangles. I won’t be working with that thread or the spangles until all of the blue and green bits are finished and the piece is safely mounted on my larger, flat frame. And that can’t happen until after the coming weekend because I have promised to lead a beginners’ blackwork class in Rhode Island, and I want to have my Big Green Sampler on display using my big scrolling frame.
How do I decide where in the spot to place a design? It depends. Most of the time I look at my shape and find the “meatiest” part. In a square that’s easy – it’s the exact center of the shape, but for oddly contoured areas, it’s not always the geographic center. Then I look at my chosen fill and find the bit of it I want to emphasize. I center the element of the design I want to emphasize at the “meaty” point, and work from there out to the edges of my chosen shape.
Here are a few examples:
In the first red sample, I’ve more or less centered the fill in the shape, starting with the little flower in the middle In the second, I placed the first acorn I stitched so that there would be one full, uninterrupted iteration of that motif, then completed around it according to the fill’s motif spacing. In the gears, knowing I couldn’t get an entire dragon in the shape, I tried to place at least most of one in the upper left first, knowing that the eye starts looking there. As a bonus, you can see that I tried to roughly center the circles-plus-flowers motif in the maroon gear to the dragon’s right. I started that shape’s fill with the twined edges of the interlace immediately above the gear’s center hole.
How do you get such crisp lines and corners?
First, the silk I am using is longer staple and less fuzzy than cotton floss. The red samples above are DMC cotton, and you can see the halo effect around each stitch. Second, I I also wax my threads rather aggressively – even silk. This compacts them and makes them more difficult to pierce. Since each stitch is so short on 40 count linen (20 stitches = 1 inch), loss of sheen and coverage from waxing is not a problem.
I’m using double-running, with occasional short hops in “heresy stitch” to avoid getting caught in a dead-end. Once I’m done the back of this piece will not be visible, so I am not taking pains to make it totally and completely two-sided. However, I do use double running logic for the most part, for better thread economy and to avoid possible show-through that results from long hops across the back.
As I’ve described before, I use a blunt-point needle to avoid piercing the threads of my ground cloth, and never take an over-two stitch: one unit on my chart = one stitch, at all times. While others do use a sharp to pierce the stitching thread, I find that I don’t like the look produced by piercing previous stitches: it’s often bumpy. I prefer the butted-end-to-end look I achieve with a blunt.
You know this isn’t historical blackwork, right?
Yes, I know that, and I never claimed that it was.
Blackwork is a portmanteau term that covers many, many substyles of high contrast work, often but not always done in monochrome. There are counted substyles and non-counted ones. Some are single color or limited color range works done strip-style, counted or uncounted. Some use abutting areas, each clearly outlined, and filled with various stitched treatments, occasionally but not always geometric, and not always done on the count. Some use stippling as shading either inside or outside of their motifs. Some of those rely on tonal variations to give the piece a three-dimensional feeling, and some don’t. And there’s a whole school of modern blackwork that dispenses with outlines altogether, and uses the tonal density of the patterns – sometimes sticking to a limited number of base designs with modifications, and some using a wider range of fills to achieve a range from light to dark. This last group draws inspiration from engravings and lithographs to make intricately shaded and modeled images.
What Fishies shares with historical styles are the use of heavy outlines, metallic accents, and geometric, counted fills. What it doesn’t share is subject matter – this is a Japanese-inspired, quasi-traditional composition. Also, the complexity of the fills I favor is not particularly well documented. Historical inhabited blackwork tends to simpler fills than the wildly detailed ones I often use. I do note that the body fill for Fish #1 WAS adapted from a historical source – from a sleeve shown in one of the late Elizabethan era men’s portraits, that – of course – I can’t lay hands on right now.
Happily I have no pressures to abide by covenants of historical accuracy for this work. I’m having fun. End of story.
Any other questions? Feel free to post them here as comments, and I’ll try to answer.
And its the cold, snowy part of the Boston seasonal experience. Which is not improving my outlook much. But there are bright spots. We do what we can.
Here’s a free offering (also available via my Embroidery Patterns tab, above). This motto just cries out to be a sampler, the irony of using an art that in and of itself requires intensive perseverance to accomplish is just too sweet. Click on the chart image to get the full JPG, formatted for 8.5 x 11 inch paper. (Finished stitching sample courtesy of long-time friend Gillian, who was the first to post a finished piece picture. Her’s is on 14-count Aida, finished post-wash size of stitched area is about 7″ x 9″.)
And here’s the finish from Edith Howe-Byrne on even weave, showing her variant treatment of the concept, using other counted stitches and beads (she’s leaving in the gridwork so she can use this piece as a reference for additional projects):
The alphabets used are (more or less) contemporary with the women’s suffrage movement – found on Ramzi’s Patternmaker Charts site, among his collection of vintage Sajou and Alexandre booklets. The particular one I used for all three alphabets is here. The border is adapted from one appearing in a 1915 German book of cross stitch alphabets and motifs, in the collection of the Antique Pattern Library.
We all do what we can, and I encourage anyone with heartfelt opinions to use their time and skill set in service, as they see fit. Even if you don’t agree with me, filling the airwaves with positive messages rather than caustic imagery can’t hurt.
If anyone stitches this up and wants me to showcase their effort, please let me know. I’ll be happy to add pix of your work to the gallery here.
On my own end, I have been productive as well.
First finished (but not first started) – a quick shrug. Possibly even for me.
This is knit from the generous bounty resettled upon me by the Nancys, for which I continue to be grateful. The multicolor yarn is older Noro Nadeshiko, a blend with a hefty dose of angora, along with silk and wool. It is soft and supple, and although I am generally not a fan of desert colors – is superbly hued, with just enough rose, sage, cream, and grey to be perfect. The accent edge is done is another of their gift yarns – two balls of a merino wool variegated single, worsted weight. I held it double for extra oomph. One thing to note about the Nadeshiko though – it sheds. A lot. And the Office Dogs where I work like to sniff it (it probably smells like a bunny).
The pattern is Jennifer Miller’s Shawl Collar Vest – a Ravelry freebie. It is a no-seam, quick knit, written for bulky weight yarn. The thing fairly knit itself. Four days from cast-on to wear-ready. My only criticism is that the XL size is really more of a 12/14. I can wear it, but it’s very tight, and tends to emphasize attributes with which I am already more than proportionally blessed. My answer to this problem will be to unravel the green finish rounds, and add about 2 inches of stripey, then re-knit the green.
The nifty pin is an official heirloom of my house. Long ago and far away, SCA friend Sir Aelfwine (now of blessed memory) made it for me as a cloak pin. Obviously I still treasure it and wear it when I can.
On the needles is also yet another pair of Susie Rogers’ Reading Mitts, another free pattern available from Ravelry. I’ve done four pair of these, but never for me. I rectify that oversight now.
Obviously, the first one is done. Now for the second.
The yarn is yet another denizen of the Great Nancy Box – a worsted weight handspun alpaca – chocolate brown with flecks of white and pale grey, from Sallie’s Fen Alpacas. The photo doesn’t do the yarn justice. It’s butter on the needles, and gloriously warm. The only mod I make to the original pattern is using a provisional cast-on, then knitting the cast-on edge to the body on the last pre-welt row (to eliminate seaming).
My typing fingers will be toasty when #2 is done.