“Hello…It’s Me…

…I’ve thought about us for a long, long time”  (sing along with Todd Rundgren)

Yup.  I’ve thought about us for a long, long time.  Through two computers, in fact.  I have killed two computers in one year!  And frankly dealing with anything computer-ish has been sickening for me!

Actually, I have been loving being computer-free!  I’ve had a lot more time for stitching and reading.  I’ve participated in a few stitch-alongs (SALs).  A couple have been blackwork!

One of three blackwork finishes in the past year.

This is the beginning of a SEBA SAL around Xmas 2013

SAL by Brodeuse Bressane

 

Currently…

I’m working on three SALs and in the last two weeks of a design class with Sharon Boggon.  The first project in the class was a monotone piece.  I used a kaleidoscope image of one of the patterns in the chess board that I made for Jeff.  Here’s the finished class piece:

Some old blackwork fill patterns mixed with some modern threads, a few canvas stitches, some embroidery stitches, and some beading!

Would you like to join me in the two blackwork SALs I’m doing?

Both are year-long projects.  One is a quick to stitch canvas take on Sashiko, very much like blackwork.  You could be caught up in less than a week.  The pattern is updated on the first of every month and is FREE.  You can find it (and a lot of other cool patterns) at Blue Dogwood Designs.  I am using my own colorway.

My own rainbow colorway.

The other SAL is more time-consuming but a true joy for the blackwork freak (a non-derogatory 1970s term for someone loves something almost to the exclusion of all else!)  You will learn oodles and oodles about “journeys.”  You don’t have to do this as a reversible piece; in fact, I don’t think you can.  But you can practice tracking journeys so your backs will be very neat so when you want to do a reversible piece, you will feel more than ready.

In fact, for the first blocks I will be posting pics and notes about how I tackled each block so you have as few dark threads crossing as possible on the back side.  So if you’re anxious about how to tackle the more complex pattern, we can talk about it here.  We can help one another!

The best news is that the piece is designed by Elizabeth Almond, one of my blackwork heroines!  The design is called “Saving the Stitches.”  Here’s a bit of my work.  I’ve gotten quite a bit further on, but don’t have it photographed yet.  But, I think this will entice you to try your hand at this free pattern, too.

This the first 3 blocks. Not all metallics have been added yet.

Shows work a bit more clearly. I am loving stitching this. You will, too!

Are you convinced yet?  Get the pattern at Elizabeth Almond’s website with new installments on the first of the month every month for a year or so!  When you are ready to share your progress send me a note so I can link to your blog or website!

 

 

Blackwork Thread Sampler Continues

I have stitched my first stitches on my Blackwork Thread Sampler!  Feels good!  Of course, I’ve already had my first snag.

I was going to use the Trebizond for the cover because it’s so shiny and pretty.  But I didn’t like working with the silk.  Let me be more specific.  I did not like working with stranded Trebizond.  I will do some more research to find out if there is a way to handle stranding the twisted silk so it will handle more neatly in the stitching.

Instead I decided to use an old faithful—Mori stranded silk from Kreinik.  I have used this before and enjoyed it.  It is soft, but strong.  It does not fuzz up while you’re stitching, nor does it break as some threads do.  It is a matte finish, but I can live with that.

So, what exactly am I stitching?  Let me back up a step or two.

I mentioned before there are some factors to consider before laying thread to fabric.  And these are the factors:

1. The threads should be identified clearly in the sample or there should be a legend that will never be separated from the sampler.
2. The threads should be used as fully as they would in any worked piece.  In other words, if the thread is a stranded one, then strand usage should be incorporated to the piece.
3. The sampler should answer any question a person might have about the thread as used in any type of work.
4. The threads sampler should show very clearly the differences between the various thread samples.

I also said that I wanted this work to be like the Encyclopedia Britannica of blackwork thread usage.  For those who don’t know what the Britannica was, it was a reference book, the oldest English language encyclopedia in fact.

So, I’m making a book!  A fabric book!

It took me a while to find information about how to construct a fabric book.  I had a basic Idea, but I really am not interested in trial and error when it comes to finishing.  I want a fail-safe method that will make me proud to show my work to others.  I found a very nice answer at Shade Tree Art.  My model will be my take on Shade Tree’s model.

1. My cover will be the title stitched in black silk on linen.  This piece will be bordered with the “cover fabric.”
2. Each page of the book will be devoted to one thread.
3. There will be a Table of Contents identifying the order of the threads sampled.
4. I will leave several end pages to accommodate threads that will come to market in the future.
5. I’m not sure if I want each page to be the linen with the thread sample or a muslin page that I appliqué the stitch sample onto.
6. If I do attach the sample to a foundation page, I will embroider the page number and identifier info onto the foundation fabric to show how the thread handles on a different ground.

Boy, this is a lot of work to do just to stitch a sampler!  But I’m loving every minute of it, truly a labor of love energized by passion!

What do you think about item 5?  Should the stitched sample be applied to a foundation page or be the actual page itself?  Tomorrow I’ll show you where things are at with the cover.  And for now I’m going to go stitch on it some more.  Feedback, people, feedback!

Synchronicity and Thread

Do you believe in synchronicity?  I do!  Especially when I put a question out to the Universe and the answer is sent to my e-mail box!

Yesterday I shared my Thread Sampler thread list with you and asked for input about any threads that would be good additions to my list.

Today I got my daily e-mail from Mary Corbet’s website, Needle ‘n Thread.  And what was she writing about but,Trebizond!

I’d forgotten it’s on my wish list of threads to buy and try.  It is a lovely, shiney 3-ply twisted silk from Access Commodities.  Your finer embroidery suppliers will have it or know how to get it.  Or you can click on the links in Mary’s article!

I’m adding it to my list!

The Thread Sampler Threads

While we consider if there are other questions I have missed (see previous post), I thought I would tell you about the threads I’ve gathered to sample.  

1. Caron’s Impressions, color 0020—This thread is 50% silk and 50% wool.  It is soft, slightly fuzzy, and has 3 plies.
2. DMC’s Medici, color noir—Another soft, fuzzy thread which is considered a fine weight wool that is not divisible.  Wool threads are non-reflective so will provide a very matte finish.  And it’s mothproof!
3. Vineyard Silk Classic, Jet Black—While this thread is 100% Chinese silk, it feels like the Caron’s Impressions.  It is non-strandable and supposed to not untwist when you’re using it, nor get dented by the needle.
4. Needlepoint Inc. Silk, color 993—This 8 ply thread is 100% Chinese Silk.  Since it is reeled as opposed to spun the fibers are longer and should hold together better.
5. Belle Soie, Noir—French for “Beautiful Silk, black” really does describe this 12 stranded spun silk.  The color is not quite as intensely black as the others, perhaps because it is hand dyed.
6. Baroque Silk, Witching Hour—This company’s colors are so rich, I’m looking forward to stitching with this hand dyed 3 ply thread.
7. Splendor, S801—Rainbow Gallery threads are probably familiar to the average stitcher of today.  Splendor is their 12-ply hand washable silk thread that is manufactured in France.  While I haven’t used this color, I have used the thread in several projects and I love working with it.   This is what Rainbow Gallery has to say about the product:  “This is a 12-ply silk floss with an unusual construction. It has three bundles of four strands each. It is easiest if you pull the bundles out first and then take out each strand. The twist of each individual strand is tighter than most silks. This makes Splendor easier to use. It will not snag on all but the roughest hands. Be careful to ply and lay the silk to keep the nice shine. I have also stitched with each bundle as it comes. This silk is perfect for people who have been afraid of silks. Many of the usual problems experienced with silk will not occur with Splendor. Anyone that stitches with cotton floss will have no problem with it.“
8. Mandarin Floss, M801—Have you played with any of the newer untraditional threads?  I have used Sea Grass with success and now love it.  Mandarin Floss is in this category for me.  It is 100% Bamboo and has 6 plies.  It feels so nice that I may start with it!  This is what Rainbow Gallery has to say about their product:  “It lays better than cotton because it is softer and yet is still quite strong. You can use slightly longer stitching lengths since it wears better too.  It is less costly than silk but has many silk-like properties. Its semi-matte finish doesn’t overpower your other stitches.  Most matte threads lines have gone off the market and Mandarin floss works well as a  substitute. Blends well with with metallic filament for cross stitching.  Great for French Knots, Turkey Work, tassels and twisted cords.”
9. DMC Cotton Floss—I’m sure everyone is familiar with this 6-ply thread
10. DMC Cotton Perle #3, #5, #8, #12, color #310—Everyone is most likely familiar with these, too!
11. Sulky Cotton—This is my favorite sewing machine thread.  I have also used it for hand quilting.  I like working with it so thought I would add it to my list.

What threads would you have on your list?  Any recommendations for one or more that I really should add to mine?

Blackwork Experimental Sampler In Progress

Please ignore the arrows. This motif is 34 stitches by 34 stitches. It would make a charming border

This little project is a marriage of my love of blackwork and my love of samplers.  Anyone who has been following The Shop Sampler blog will know that I have been playing with samplers and stitch practice for this year through the Take a Stitch Tuesday challenge at PIn Tangle and with the support of the Stitchin’ Fingers community.  I have also joined the Yahoo group The Sampler Life.  (As if I didn’t already have enough internet reading to do!)  It is also a good group that is supportive and very creative as well as opening up even more of the international stitching world.

I mentioned in my last post that I am an avid fan of the Antique Pattern Library and have joined that Yahoo group, too.  It’s the best way to keep up with what’s new at the Library.  Also an international community of stitchers, I’m expecting that anyone needing help with translations can find someone there.

So, here’s the deal.

1. I have struggled with what thread I want to use for my Mystery Sampler project.  I’ve looked at and bought a sample of every black thread out there.  I have read about different people’s preferences.
2. I have been playing with different (colored) threads in my TAST projects and it is very clear how certain threads work for one desired effect and some threads will not work in the same situation.  Like twisted thread works well for Double Twisted Chain, but stranded thread just looks messy in that stitch.
3. It is clear—Thread matters!
4. Samplers are the tried and true method of testing patterns!  Hence birth of a new sampler!

Oh boy!  You would think you could just pick up your fabric and start stitching.   WRONG!

Well, maybe a little right.  But I want this sampler to be useful, to be a really good reference, like the Encyclopedia Britannica of blackwork thread usage.  Or Wikipedia entry of blackwork thread usage for those of you who are younger than Baby Boomers!

So what features should be incorporated into this sampler for it to be eternally useful?

1. The threads should be identified clearly in the sample or there should be a legend that will never be separated from the sampler.
2. The threads should be used as fully as they would in any worked piece.  In other words, if the thread is a stranded one, then strand usage should be incorporated to the piece.
3. The sampler should answer any question a person might have about the thread as used in any type of work.
4. The threads sampler should show very clearly the differences between the various thread samples.

And another thing—

1. How does ground affect the thread usage?  How can I work this into the sampler?  Certain fabrics tend to “eat up” the pattern.  Like Aida 14 or Fiddlers Cloth just don’t show silks off at all, in my opinion the fabric is too heavy and overpowers the delicate strength of the silk.  [Are there fabric/thread combinations that you simply would never use?]
2. How does the thread work with colored threads in the case I want to get into the latest thing in blackwork—Colored Monochrome?  I don’t know about you, but I have experienced how different colored threads behave differently than the exact same thread in another color.  Because the dye has an effect on the fiber.  I have found reds can sometimes be rather knotty to work with.  [How about you?  What thread colors have you had weird experiences with?]
3. [Can you think of other questions that should be considered in planning this sampler?]

I have answered some of these questions, in fact many of them at thigs point.  But before I tell you what I have figured out, I want to hear from you.  How would you answer these questions?  What other questions do you think would be important? You tell me then I’ll tell you.  Deal?!

I’ll give y’all a couple days to mull this over before I post again!

Blackwork in the Back seat

Yup.  That’s where blackwork has been for me for a while.  Kind of like it’s in the incubator of my creative brain, waiting to hatch.  Soaking up all kinds of warmth and light, sounds and sensations.

And guess what?!  There’s activity in the “egg.”  It’s about to hatch!  And you get to watch. This is what candling has revealed.

I  transcribed this pattern from a DMC publication written by Thérèse de Dillmont.  I believe it was published in 1908 as it is the Second Book.   There was another published in 1890, the year of Thérèse de Dillmont’s death.  Her niece, also named Thérèse de Dillmont, continue writing for DMC after 1890.

The title of the publication is L’ Art Chrétien en Égypte:  Motifs de Broderie Copte, Deuxième Partie.  Translated:  Christian Art in Egypt:  Coptic Embroidery Motifs, Part Two.   This pattern is on page 9, Panel (Planche) 4 , Design (Dessin) 18.

I found my copy of this pattern book at the Antique Pattern Library.  If you have not checked this resource out yet, you are missing out on an incredible treasure, just like Project Gutenberg.  On the home page of the Pattern Library, click on the catalog tab.  Then click on the technique tab and choose the type of pattern you are looking for.  DO NOT let the fact that many of the pattern books are in non-English languages.  Find yourself a translation tool at Google and you are home—Free!

Yes these patterns are free for you to use as there are no longer copyright holders to the text.  However, you Do Not own the pattern.  The person who approved the scan owns the pattern, thus is technically the copyright holder according to the Creative Common Licensing regulations.  In this case that would be: s cans donated by Sytske Wijnsma, edited Judith Adele 2006.

Bottom line, if you decide to use this pattern, you MUST give the total reference including title of the work, original author, and the owner of the hard copy.  But is that really such a big deal?  I think not!  (Oh, yeah, ignore the arrows before you use this pattern, my software wouldn’t let me remove them.)

Since I had a Major allergic reaction today, I’m going to end this lesson for today. Tomorrow you’ll get to see what is going to happen to this little Coptic motif.

Blackwork Embroidery and Moroccan Mosaics

Blackwork embroidery is, I like to think, the fabric and thread version of the art of Zillij, or Moroccan Mosaics.  The author of the blog Moroccan Design says that once you’ve learned what zillij is and seen an example you will always recognize it.  And I do.  In blackwork embroidery.  In particular in the linear model of blackwork that utilizes geometric design to create patterns, especially reversible patterns (same on the so-called right side and wrong side).

According to Muslim philosophy, life is ordered by a cosmic intelligence even though we humans may not always understand that intelligence and/or it’s message to us.  The patterns that are created in Islamic art and architecture flows from the Muslim’s wish to understand this Creation.  Meditating on the order and flow of the design, contemplating the meanings to be found in sacred geometry is the way to understanding.  This is in comparison to other cultures’ method of representative art which in the Islamic view is a pathway to idolatry, but is is not so different from other cultures’ (i.e., Native American, Tibetan Buddhist) use of mandalas as a meditative tool.

To see how simple it is to create such a design visit the Crayola website for a lesson in zillij or check out the wonderful lesson provided by New York City’s  Metropolitan Museum of Art on Islamic Art and Geometric Design.  When you’ve played with these lessons, put your design to fabric and there you have it–you designed your first blackwork embroidery piece!

Blackwork Mystery Sampler Fabric Size

Have you decided on a fabric for your Blackwork Sampler? I think I’ll figure mine out here. Maybe my calculations will help some neophyte. But before I figure the size, I should say that I have had a brainstorm about my colors! As noted earlier, I’m going use black silk or quilting thread for the blackwork. I’m going to use an overdyed floss for the needlepoint. I’ll be using beads not spangles for accents primarily because I have beads on hand. If I find spangles before I get to that point in my stitching, I’ll pick some up and see which looks better with the pattern. I’m thinking spangles may look better since I’ve decided my accent color will be red! Imagine the red spangles held in place with sharp little black stitches!

I’ve also decided I want my center grid to be marked in red. And to really make the piece pop I’d like to use red fabric. That means I need to see what red fabric my goto fabric shop has. That would be Fireside Stitchery. Well, they didn’t have red available now. So, on to the second shop, Stitchers Paradise. BINGO! They have 24 mesh Congress Cloth in Victorian Red which matches DMC 498 or 816. That works for me! So, I’ll be working with a count of 24 which means there will be 24 threads in one inch. Since I will be stitching over two threads, that means I will have 12 stitches per inch.

Now, my design size is 120 stitches by 120 stitches. Dividing my stitch count by my fabric size tells me the design will cover 10 inches. I am going to add 6 inches to give me a decent border and leave some margin for the dirty old edge tacking.

If I can’t get the canvas, I’ll use linen. Most likely 28 count. Again, I would be stitching over two threads, so that means there would be 14 stitches per inch. 120 stitches divided by 14 inch fabric will yield 8.5 inch square design size. So I would cut my fabric 13 inches square (rounded up).

Do you read the Nordic Needle Newsletter? I subscribe to it and often find very useful information. The latest Newsletter has a very good section on changing fabric sizes. As you scroll down to find it, notice the great info about testing for colorfastedness, working with beads to ensure they are color and tarnish fast. It’s a good page to bookmark!

What are your thoughts on thread and fabric colors?