Stitching with a Shimmy

Shimmying through life with needles and thread…
September 20th, 2010

Stitch by Stitch

Cafe curtain - purple flowers and green/brown embroidered leaves

The beginnings of my cafe curtain!

Although there is a LOT going on right now between getting cross stitch designs ready for the Online Needlework Show, and pulling together a design kit that may or may not be finished in time for it and costuming and rehearsals for bellydance shows in October… I’ve still managed to get some test stitching done on the curtain that’s letting me try things out for the shower curtain. Much fun!

I am using Stroll Sock yarn from Knitpicks for the stitching. So far it has been wonderful to stitch with. It actually doesn’t stretch quite as much as crewel wool, and with the relatively loose weave of the ground fabric I chose has been a dream.  I’d forgotten how much I enjoy working on a large scale – the stitching fills up the fabric so much faster!

September 17th, 2010

I almost Forgot!

I finished the Crewelwork bird a while back!

Pretty pretty! Now… WHAT should I do with him? Suggestions?

His feet and leaf:

Click to enlarge.

September 13th, 2010

Transferring Big Designs…

Or, the benefits of actually reading your needlework library once in a while…

While working on the overhaul of the studio last week (I’ll post pictures in progress later – it’s actually coming along!) I was going through the bookshelves and happened to actually open and glance through one of my Erica Wilson books (realizing that I now have three different titles!). Anyway. In the midst of this wonderful old book (Needleplay) I found… instructions for transferring large designs for wallhangings.  It’s a method I have never seen anyplace else, and it worked like a charm!

In Sharpie, on net.

The gist of it is, use a permanent marker to trace your pattern onto net or tulle fabric (I used petticoat net, because the holes are bigger and the design was VERY large). Then lay or pin the net to the fabric, and trace the design again. I used the micron graphic pen, because micron ink doesn’t seem to bleed or fade when it gets wet…

It worked like a charm on the test pattern (which if it works will become the cafe curtain for the bathroom where the shower curtain lives.  The extra lines you see in the flower are there because I tried to trace it using a window/light box first and failed miserably, despite the fact that you CAN see through the fabric, it just wasn’t working for me. The design transferred beautifully using the net, and I will use it for the shower curtain! Hurrah for no tracing, AND no prick and pouncing!!!

Design on Linen

This is about 18 inches of the center of the design (it really IS straight on grain - the photo's slanted!)

Note: Because the net is nylon, while the sharpie that I used to trace the original design onto IT doesn’t bleed, the micron pen came off the net and onto my hands while I was tracing onto the fabric. I soon learned to use a piece of scrap paper over already traced areas to avoid this. (Old calligraphy trick.)

August 27th, 2010

Tree of Life

Shower Curtain Design

Liberty Sofa Cover Design

The great shower curtain (which I’m now considering prick and pounce for transferring after all… ) is a Victorian variation on the tree of life pattern that became so popular in Renaissance needlework.

No one is really sure whether European needlework influenced middle eastern and Indian woven textiles that were imported, or whether it was the other way around. Like so many things in history, the truth is probably that they influenced each other, and both developed because of it.

Often at the bottom of these designs live lions and lambs in harmony, hunters chasing deer as a symbol of the human journey (no harmony there!) and every other emblem and symbol the Jacobean embroiderer could fit in — these were the people who sewed rebuses into the hems of their dresses, after all! (I’ll look up my reference for that later…. it’s in a book upstairs in the extremely hot studio (the AC still not fixed… we’re getting there, slowly!)

I’m partial to the quiet little plant-ridden hillocks on the bottom of this design. Although I might be tempted to slip in a rabbit (or squirrel) if my husband isn’t watching.

August 25th, 2010

Structure – Choreography and Stitch

Choreography? :D

They have a lot in common, really. Kind of surprising on the surface, but not so much as you dig deeper. Everything has a structure, and physicists are finding that mathematically, everything is related.

I’ve been playing with stitches in crewelwork lately. Often I fall back on old standards that I know work, because they have for centuries – long and short stitch, satin, chain stitch, stem stitch, the occasional french or colonial knot. Blanket stitch and I don’t get along particularly well if I’m not covering wire, and I’ve just recently re-discovered a love for Palestrina knots.

Repetition and Variation

I got to thinking about how similar placing stitches into a design is to placing dance steps in a choreography. The same design rules apply. You need repetition to make sure that your viewer doesn’t get overwhelmed or lost — it creates a safe place – and you need variation or it gets boring quickly.

In dance, we call it the “rule of four.” It takes four repetition for a viewer to get to the “Yeah, OK, I’ve seen that” point – so you can change it up with a bit of surprise on the fourth repetition – 3 hip circles and a figure 8 with the hips for example (or three 8s and a big circle, for that matter…) I can achieve an undulating flow by alternating moves, a-b, a-b, or hip snap, circle, hip snap, circle.

Click for larger image

And this is applicable to needlework, too! (Really – watch me!)

For example, you can use color as in the top wing feathers here – red/blue, red/blue. Or in stitches – stem stitch filling, chain, stem, chain. I did the latter on the bottom wing, with a subtle color addition, too. (And note that the top feather is the equivalent of the 4th rep variation ( it’s a raised stem stitch right now… but I’m considering ripping it out and making it plain stem stitch… it just seems jarring.)

The trellis work grid pattern on the leaves provides repetition and the size change gives it variation.

How do you use repetition and variation? Even if all you do is geometric cross stitch designs, do you ever replace a color with beads? Use more than one color?