A New Celtic Cross

I gave myself a day off today from "real" work, and drew and painted this encircled Welsh cross. I've done this one before, several years ago, when I became fascinated with Celtic knotwork and crosses during painting canvases for St. David's Episcopal Church in Austin.

This one was in a book someone loaned me, but I returned the book, and now can't find anything about the history of it. All I know is that it is a stone carved cross on the typical pedestal somewhere in Wales, and I had written "Ennlaun Cross" on the canvas at the bottom.

Anyway, I love fooling around with the counted elements of knotwork, etc. and the geometric symmetry - and also figuring out color schemes for them. For some reason this one went smoothly, and I didn't make but a few errors in the counting - unusual. My concentration was O.K. today, I suppose.

I'm also pleased with the colors I mixed - which, again, is unusual. The gold outline was done with my new Sakura Pen-touch paint pen, which I'm really enjoying, as it's so much faster than the little bottle of paint and a brush that I normally use. The gold isn't as pretty, but for an ornament to be stitched, it's O.K.

A word about this pen: It isn't good, unfortunately, for the actual drawing, as I paint out mistakes with acrylic paint, and the ink repels acrylic. Also, I have no idea how it would behave on a larger piece - such as a pillow or something for a church kneeler, as subsequent dry cleaning could make it lift to the surface. I would have to test it before using it. I don't like to risk disaster!!

As long as I'm showing off, I might as well do the other two - did them earlier in the weekend. I'm suffering from PPD (post project depression) after finishing work for a magazine deadline - so had to play a bit. I had drawn these two also several years ago, but never really finished choosing colors for them.

The second photo is the "Pen Arthur" cross - but, again, I have lost the source and the history. I had written "St. David's" on the original canvas I drew, so it probably is in the churchyard of St. David's in Wales.


The last photo is the cross at Maen Achwyfan in Wales. It is a magnificent stone carving on a tall base, dated at around 1,000 A.D., and shows Viking influence.

If I ever decide to stitch them, choosing threads will be fun - as I have to make a decision whether or not to spice them up with sparkly/shiny stuff for ornaments, or a bit more subdued for frameables. For right now, I'm going to put them away and prepare to do some responsible work tomorrow.

Moroccan Rug Progress

Be sure not to miss the latest installment of Jan Fitzpatrick's current Moroccan rug adaptation!

This is the best one yet, and totally fabulous. You can find her at Thread Medley.

Water and Coral Reefs in Needlepoint!

Once upon a very long time ago - when I first started designing hand painted canvas - we had nothing more than Persian wool and cotton floss to work with. I absolutely refused during those years to do any Christmas ornaments, as these things should sparkle and shine.

They were actually kind of ugly, in my opinion, as little fat pillow things that were perfectly flat in texture. No decorative stitches or metallics or anything of that nature.

In about 1980, counted cross-stitch started becoming very popular. I didn't enjoy it, myself, but I did enjoy finding the Balger blending filament (now Kreinik) and decided one day in 1985 to do a needlepoint ornament with it. I chose a chart of a peach, and put it onto canvas. It was then stitched with DMC floss and the blending filament - and voila! I had an ornament that sparkled.

However, about the same time I designed this pillow (the canvas now very old and grungy and never finished) it never occurred to me to also spice it up a bit by using the blending filament, so I intended to just use the cotton floss.

I had been watching recently Anne Stradal's "needle blending" of the skies over her light houses, and started thinking about doing that with water, as the Great Barrier Reef and it's flora and fauna absolutely fascinate me.

Then someone asked me about blending filament, and the light came on. Also, Anne is now doing a piece with water and fish on it - so the subject of seaweed, etc. came up. I spent a lot of time yesterday researching sea fans, and got quite an education on yet another aspect of Marine biology! Those things are gorgeous - so now my next project is to design some things with sea fans on them and to make them sparkle in a very subtle way with the Kreinik blending filament. I'm excited! (hope I can pull it off). I'm thinking how much more interesting this fish canvas would be with the modern wonders we have now.

The design was adapted from a silk pillow I purchased from a woman in south Florida many years ago. She would dive with her camera off the coral reefs down there, taking pictures - and then paint them onto silk. WOW!

Beads and Cotton Thread for Painted Canvas

I never thought I would say I'm tired of beads - but tonight I am. When a deadline for finishing a project approaches, it's kind of not fun any more. However, I recover quickly from this malady.

Showing pictures of this canvas has been a "before, during, and after" thing, as I want to demonstrate what a great effect it is to just use clear beads instead of a lot of textured stitches (which would clutter up the design anyway), and just plain fine cotton floss - DMC.

In this shot you can see the flower fairly well filled in, but the leaf and some of the surrounding squares are not finished - just filled with skipped basketweave. So far, it is behaving like I wanted it to, with the beaded pattern area standing out from the very plain background.
In the close-up, where the top arrow points, you can see the great contrast of the white DMC perle cotton against the beaded peony. I used the perle instead of floss here, as I wanted a different texture from the floss of the background, but not as textured as the beads. It's an element of the design itself - and not background, as is the dark dark green. The lower arrow points to a great effect achieved by using the beads on the veining of the flower, but leaving the base and the outline plain with floss only.

Remember as you look at this, that the ONLY beads I used throughout are the clear ones (Sundance #250). I did use green beads on that one line around the border and for the little green spots on the tiny tiles in the background of the canvas.

The next picture shows a great area of the peony beaded "solid" as well as the leaf across the top.


This canvas, in the Art Nouveau style (from Mindy) is beautiful in pattern and color, and would have been fine stitched in just basketweave all over. However, I felt it needed a bit of excitement both in the stitching and for the look - so I used beads. They shine more than they sparkle, so it looks good, and not overwhelming.

The little squares on the background of the canvas also now have beads on them in a regular, geometric placement - very subtle.


The last picture is another close-up showing the effect of the beading of the flower and the leaf across the top of it. I think on this one you can see the difference in the white of the flower and the white of the perle cotton around it. The paint on the peony is just slightly "off white," so I used DMC floss #3865, which is not ivory as the 712, but is different from the white white of the perle cotton. It makes a lovely and noticeable contrast.

Tomorrow I'll get back to the Oriental jewel toned piece of Mindy's, and am looking forward to the change of colors! After watching Anne working on the water around the fishes, I've had underwater images on the brain all day when my mind needs to be elsewhere.

I am a great lover of the undersea flora and fauna, and pictures of sea fans have been running around in my head. I can see them now - with Kreinik blending filament for a bit of sparkle. More on that later, along with an ancient canvas I've had for almost 25 years.

A Design Collaboration Beginning! (Sea Critters)

I love this internet and the people I meet and chat with! Anne Stradal and I have spent some fun time plotting and planning on her latest project, which involves some patterns I had in old file folders from several years ago.

She had mentioned wanting to do water in the same way she did the background on her wonderful ghostly trio.This canvas is so funny I laugh when I see it, and can almost hear them singing "We've Got Personality." The background sizzles!

Anyway, about the fish and seahorse. I really like the way she stitch paints everything, and simply sent her the outline drawings I use for these designs - she did her thing with them, re-arranged them and stitch drew them onto canvas.

From here, she'll decide what colors to use that will look wonderful against the planned background. The threads are already chosen for this part, so go watch the whole project develop at she stitches it. It's always a surprise! You'll find Anne at The Cape Stitcher.

Beautiful Threads: Choosing Color Schemes

I ordered these beautiful threads not too long ago from Sharon B. in Australia (Pintangle).

It seems her latest fun/creative endeavor is hand dying hanks of threads - silks, cottons, and wool, and putting them into skeins. She is showing them in packages of coordinating colors, but reminded me that consistent dyelots are virtually impossible, as they are dyed a bit at a time.

She showed on a post on August 13, the total process - and it's a fascinating thing to see. Do go take a look HERE.

I already have my eye on another package, and am told she'll have even more in a few days - so I feel I need to go ahead and order what I want before it's gone. (These may be seen on her Art Fire Store.) Also, when this phase of creativity is over, she will move on to something else - I wish I had a tenth of her energy! I wonder if the woman ever sleeps. Her blog is one I check every morning, as I get so much creative inspiration from it.

Anyway, this is one way I really enjoy putting colors together for projects - and sometimes just invent projects so I can use yummy threads! An entire scheme could be taken from the second from the top perle cotton skein, as it's variations include several beauties!

I like to just dump out the stash of silks and cottons and see what's there that would go along. This package of five skeins is beautifully coordinated as to variations in dark to light shades, and in consistent intensities - makes it easier! Another factor with this package is that several different fibers are represented, which allows for interest in textures.

ADDENDUM: OOPS! I am a computer dummy, and can't get the link I gave for the dyeing process to come up - but the one here is beautiful, as it's showing her band sampler stitches done in these threads, and you can just click on "Search" on the side bar and type in "dyeing threads" - all kinds of places come up to see!!

Stitching with Beads!!

First, a quick look at progress on the Mindy canvas I'm enhancing with beads. Starting on the Peony, you can see in this shot (click to enlarge) the basketweave stitched in cotton floss on alternate rows on the warp (the "bump" threads). I also apply the beads the same way - inserting them as though stitching basketweave on the weft threads, which are a little "dip" on the canvas. The arrow at the top points to this.

The lower arrow is showing that the dark pink of the veins on the petals is stitched also just on the warp bump - and then the beads inserted where the weft threads are left. This doesn't work out evenly, but still looks great when the other beads are applied around it. It isn't noticeable that beads aren't on every other stitch.

Lately I've received e-mails with questions about the way I do the beading on painted canvas, and am told that many instructors are using a lot of things like beeswax and tapestry needles, etc., and that beading seems slow and tedious, and involves a lot of tools and toys.

My method is totally simple and a lot faster to accomplish than many of the decorative stitches. It's based completely on experience of trial and error over the last 12 years, and mostly just plain common sense. If it were slow, tedious, and difficult, I wouldn't do it. Needlepoint is for relaxation.

So first the needles: I use ONLY the traditional, original long, skinny beading needle. I used to get them at a local craft store, but can't find them any more, so order mine from Bead Buddies (link is on the side bar).

Tapestry needles are short, which makes "snagging" a bead out of the container more difficult than grabbing it with the point of the extremely sharp beading needle. There is also the factor of the tapestry needle having the blunt tip, which makes it difficult to grab a bead. Also, the eye of the tapestry needle is larger than the eye of the beading needle, so some of the beads won't go over it without breaking or forcing it. Not so with the beading needle, which has a tiny little eye.

The Sundance beads that I use exclusively for my work are uniform in size throughout the vial, and I never have to throw one away because it won't fit over the eye of the needle. The "tools and equipment" I use for my bead projects are very elementary and simple, and only involve the needles, the needle threader, a prescription medicine bottle cap, and the beads.

A word about the wire needle threader. This one came with the needles, but I normally use one I get from Colleen's store (link on the side bar to The Needle Works here in Austin). These are available in a little package of two threaders, and they last five times as long as the one pictured. I couldn't find mine, as they are buried in the heap of rubble I call my work table.

Threading the needle is easy with the wire threader, but must be done one ply at a time as illustrated. I learned a very long time ago that the cotton floss is wonderful for applying the beads, as it comes in so many colors, whereas beading thread doesn't.

There is also the factor that I can use the same thread to apply the beads as I used on the background - as this canvas is stitched totally in cotton floss. On other canvases, where I use silk or another fiber, I can still match the color in floss for the application of the beads.

Also, the cotton floss is used 2-ply for this, and with the technique of anchoring the beads by splitting the plies around it, the beads don't wobble and will nestle down nicely into the surface "fabric" of the needlepoint.

I do have a book I did on this subject several years ago - and have now revised a lot and added more projects and color pictures. It's available both as a book and as E-books on my web page. Lots of fun, very easy, and very addictive.

Jan's New Rug

If you haven't been over to Thread Medley in a while to watch Jan Fitzpatrick adapt Berber rugs to needlepoint, do go look at her latest one. It's magnificent, and fascinating in the way she goes about the stitching and design adaptation. Every time I think she couldn't get any better, she does!!

Be sure, if you've missed the beginning of this rug, to go back to earlier posts and catch up.

Back to the Beads and Mindy!

Enough of the pirates and back to the beads. Working again on Mindy's Art Nouveau canvas - a change of color, which is refreshing after stitching on the brightly colored one.

I took some "before" pictures before continuing with this one. The first photo just shows what it looks like without the beads, and not much stitching on the floral motif, which is the focal point of this design.

The cotton floss is really pretty on this - soft and with just enough sheen. The next picture is a close-up of the little "tiles" that are inserted among the larger, plain ones. I thought they needed a bit of zing to make them show up well, but not overpower or distract from the rest of the canvas. I used the green beads that are also in the border, but the "red" ones are the clear Sundance #250's that I've used throughout the rest of the canvas. They are applied with the same red floss I used on the flower center. Again, I didn't want distracting sparkle from the beads, but a bit of subtle interest. to liven it up.
The white bumps are smyrna crosses made with DMC perle cotton #5.

The last picture is showing the fun part - definite progress. The interesting thing here is that the very very slight difference in the two greens still shows up well, using the same clear beads.

The stem of the flower is a darker green than the leaf - which is lighter and with more yellow in it. I was almost afraid the difference wouldn't show up well, but it does. If you click to enlarge, you can see the difference in the two greens below the beaded area, where I've only put in the basketweave (skipped).

















I do like the effect of using the "ropy" perle cotton in white to emphasize the outlining. The very dark green is the same one as the one line border, and it will have no beads as it is background here.

Incidentally, I've had a lot of questions lately about textured stitches to use for backgrounds. Background is just that - ground that stays in the back, or should, to let the main focal part of the design show up well. I won't use beads on these areas of dark green on this canvas, as I want them them to recede and stay behind the flower.

Using textured stitches on backgrounds is usually not a great idea, unless it's something neutral and small like T-stitch, as it gets really messy looking as it gets next to patterned areas, and also distracts from the design itself. I especially dislike seeing diagonal stitches as a background, as it just draws the eye to all that directional stitching and away from the central motif.

So much for that this evening - now to go work on the first one, which is the beautiful thing with jewel tone colors. Again, it is so refreshing to have these three canvases by the same designer to work on, as they are very similar, but yet so different in color, etc.

Another Pirate (and friends)

I had to ask Anne Stradal (ABS Designs) if she had a pirate in her line, sporting a Jolly Roger of course. She did, but only has a group picture right now, as these guys are off to a trunk show somewhere.

I was thinking about the fearsome "Black Beard," but this nutcracker pirate has a red beard. These are cylindrical ("rollie") ornaments, and the detail on them is rather wonderful. She can get so much into such a tiny space!

Look closely at the little skull and crossbones on the pirate's hat, and also note that he has a "peg leg." I was gratified to see that Anne recognizes piracy as a valid profession.

The Jolly Roger: Great Trivia!!

While painting today, my mind was wandering a bit (normal for me these days), and I started to think about the name "Jolly Roger," so had to go do a bit of research on it.

I had noticed that there are different versions of this on the pirate flags, such as the crossed swords on the flag associated with the Pirates of the Caribbean. Also, had remembered seeing a red bandana with polka dots on the Hook Wreck Henry's sign - the one that says "Surrender the Booty." (The Dockside Cafe owned by my Charlie's friend Jason Walker from High School in Tallahassee).

It seems that in the 15th century or thereabout, great sailing and trading vessels were on the high seas, and as a matter of national pride and pride in the ships, they began displaying flags with certain patterns and colors, some of which then became the national flags of the nations of their origins.

Of course pirate ships started plundering these ships, and developed their own flags - mainly as a way to terrorize and intimidate the ships into submission without much of a fight. The first ones were red , signifying blood, and then came the black ones, indicating death to all who don't surrender.

The term "Jolly Roger" is thought to be derived from the French "jolie rouge" (pretty red) or from the word "rogue," which describes a vagabond beggar or thief. Another thought is that it is a derivation of the English colloquialism "Old Roger" which was an English slang term for the Devil.

Different pirate related emblems are thought to have been used by different famous pirates for identification of their ships, as "Calico Jack," a fearsome guy who roamed the Caribbean, used the crossed swords under the skull instead of the bones. This one was used in the movies "Pirates of the Caribbean."

Anyway, the histories I found were quite interesting and rather amusing - so try it yourself if you like! As for me - the images and stories I found have almost motivated me to design some more skull type things to thrill ghoulish little grandsons. I also have a grown-up type son, who is a successful and dignified (most of the time) attorney, who still loves pirates and Halloween. He might like a pillow of this sort on his throne in his den at home. (in front of the TV)

Halloween Stuff in Needlepoint

If you haven't looked at Freebies, Etc. lately, go over and see my latest madness - napkin rings for a spooky table setting. My grandsons approve.

Adapting Art and Taking Liberties: A Celtic Cross

About twelve years ago, I became very involved with Celtic knotwork and crosses and other symbolism (Leeks) while doing work for St. David's Episcopal Church here in Austin. Fascinating study, it is!!

Plotting out the knotwork of the encircled crosses of Wales on needlepoint canvas appealed to my mathematical mind, and also my love of ancient history, as these things go way back to the 6th century (St. David's time) and before. Some even show definite signs of Viking influence as the cultures overlapped.

This one is the standing cross at the parish church of St. Brynach (a contemporary of St. David's) at Nevern in Wales, and includes the top part of the base. For some reason, I had to paint it green, and add some garnets for color. (taking liberties in my adaptation)

I've done this one also, just the round top part, as a tree ornament in the same colors. Also, have stitched it years ago for a newphew-in-law who is of Welsh descent, but made it in more "stonelike" colors.




















Here is a photograph of the stone carving, so you can see both sides of it - the one on the right is the view I used for my needlepoint.



















For a fascinating history and series of gorgeous pictures of both the cross and the church, go to this site and browse. It's always good to know the background of a piece of art rendered in needlepoint - makes it more enjoyable!!

Beads on the Painted Canvas: Continuing with Mindy

I haven't had time to work on this as much as I'd like to, but did get a few more beads added and some background.

I had a bit of trouble finding a pink to use on the background around the flowers on the left, and tried everything I could find in my stash, plus buying more at the LNS to see if I could get something that would look right and also coordinate with the light pink on the flower tips. Couldn't find it.

Then it occurred to me, after I kept bringing home exactly the same pink I already had, that when I used the beads on the flower, it would change the look of the floss enough to work fine. You can see where the arrow points that there is a definitely different look!

Also had the same problem with the green. The one I had originally bought looked too bright in intensity compared to the other colors, and again, I went out two or three times, and brought home the same color # - even after consulting the color card. (that will teach me next time to take in a plastic bag what I already have so I can compare. ) Anyway, I went ahead and used the green, and as basketweave makes a color look lower intensity due to the light break-up on the surface, it's perfect.

I also decided to try, in a different area to compare, using plain cotton floss for the white repeating pattern to see if I liked it better than the Kreinik 032, but I didn't. It was entirely too flat looking. The little bit of sparkle in this braid seems to be subdued when the stitching around it is finished. It's great, and the sparkle seems necessary for continuity of the overall look when also using the beads.

Again, it's really amazing how these clear beads look the color of the background on which they are placed, just by applying them with the same color floss. At this point, as gorgeous as the colors are, I'm needing a rest from them, and will go back to the first one I started, which is Art Nouveau in style, and in soft, earth tones for a change. Having the three to "rotate" (as Pat of Needleartnut says) really helps me not get tired of the project as a whole - and keeps me busy.

Another Prayer Kneeler Idea!

I've been going through my old old files on Cross designs, and found this one I had forgotten about. It was painted for a customer for the Episcopal Book of Common Prayer, and the design was adapted from a Faberge' egg. (I was in my Faberge' phase at that time)

As I remember, the egg was a miniature, and was the cloisonne' enamel that I enjoy designing from. This one is on 18 mesh canvas, but if put onto 13 mesh, as it is stitch counted for symmetry, it would be a lovely center for a personal prayer kneeler.

You never know where you will find inspiration for designs! This was from one of my favorite books on the subject - "Faberge and the Russian Master Goldsmiths."

I also made Christmas stocking cuffs adapted from an Art Nouveau tea service in the same book. The tulips were red, so I also got a fine ornament or two from the same pieces. I think the one that's a ball is shown in a previous post quite some time ago, and under the label "ornaments."

More Pretty Things: Beads with Mindy (Working Again)

Working on the Mindy canvases again, this time the "#3" as I call it. After a lot of relaxing and mindless outlining in preparation for adding color, I decided it was time to do beads on the flowers, and started with the purple one.

It had to be outlined first, of course, and then the skipped basketweave worked in the three lighter shades. As always, the basketweave stitches were placed on the warp threads (the bumps), leaving the dips of the weft threads for the beads to nestle down and not wobble on top of the work.

Again, I'm using totally DMC cotton floss for this, so stitched the background of the flower with the same floss I used to attach the beads. It's absolutely amazing how well the clear beads work on a project of this sort. You can see the shading, due to using the colored floss of each area. As I worked, my mind was racing ahead to how well this effect would look on an evening bag - or even a tree ornament in brighter colors on a different shape!


I went ahead and worked a little bit of the pink diaper pattern at the top of the flower, as I wanted to see what it would look like filled in. This is what keeps a project of this sort from ever being boring. Always a new area to explore and develop.

Now I'm wanting to move back to something a bit simpler, and being tired of the beads for right now, I'm looking at the lower left corner with the delightful shaded greens. I'm thinking it might be nice in plain upright stitches. This is another great thing about working with the floss - it's so versatile that I have these options, and can stay in the same family of surface texture. This is important in a painted canvas this "busy" already in pattern and color.


After working on the green area for a little while, I think it's time go get back to "Mindy II," which is the soft colored Art Nouveau canvas - delightful and relaxing with pleasant colors and plenty of simple basketweave. A change is always nice!

Very Pretty Things!

This is one of my favorite stops every morning while indulging in coffee and blogs and other forms of delightful "creative avoidance." I wanted to share this one, as it's pure and total eye candy and a delight to behold if you like this sort of thing - I do, although I had to LOL this morning, as she refers to things from my high school and college days as "Vintage."

Do go take a look at the Pretty Things. The photography itself is as gorgeous as the things she photographs.

Back to the Beads (and Mindy)

I'm back working on the three canvases by Mindy, and enjoying every minute of it, as the colors and patterns are beautiful, and they are perfectly stitch painted - never boring.

I have only just now started working on this one, and was in the mood for something pleasant but mindless - so began by putting in the white fretwork (in Kreinik #12 braid, 032) This geometric white line effect is all over the canvas, and is a unifying element in the busy design with so many colors.

Speaking of colors, the entire canvas will be done in DMC cotton floss except for the Kreinik braid. (Also will use clear Sundance beads on the flower design.) When I chose the thread colors, I decided to use just a very slightly lower intensity than the canvas is painted. The bright pastels are lovely, but I like them a bit more subdued - not much, but a little.

This canvas is, as are the other two, a process of being able to work on separate areas as I tire of one and move on to another. This is why they never lose my interest! Wanting to see what the next area will look like stitched is what keeps me going and entertained.

The next picture is showing part of the metallic gold fret on the upper left side. I have already started filling in the purple as it travels over from the solid area. This is intriguing, as I want to see what the shaded colors look like beneath all that fretwork!

You can also see the beads and how fine they look - the clear beads applied with the background color makes them blend well. Incidentally, this canvas is worked mainly with silk, as that's what I had in my stash to begin with - some of my very favorite colors. The other two will be done in DMC cotton floss.



















Next is a shot of the leaves with the gold begun. This too is a kind of mindless exercise, and then exciting to see what they look like with the threads filling in.
This is barely begun in the lower section.

The black fret is also interesting, but I have to fill that in during broad daylight - maybe even outside if I'm up to hauling my magnifier outside. Working on black on 18 mesh canvas is no longer the easy thing it used to be. Hmmmm. Anyway - more in a day or two.

I posted pictures of all three of these canvases previously, so anyone who missed it can just click on "Beads" on the side bar labels and find those.

DMC Floss 100%! (the Purple Ornament Finished)

I didn't like the way the Frosty Rays and Flair were looking on the flowers, as they were not the right texture to stand out against the background, so I eliminated that.

What DID work was the DMC Satin Floss (4ply), as it really shines, and stands out beautifully against the matte finish of the cotton floss.

Also, against the texture of the background being done in T-stitch.

Actually, the leaves are made with Perle Cotton, but could as well be done with floss. I like the subtle shine of this because of the "ropy" twist of the thread. It does make a bit of difference.

The larger flowers on the "lace trim" across the center were made with the same white Satin Floss, but in long, slanted stitches (4-ply), and slanted in different directions to give a bit of dimension to the petals of each flower. You can see this detail if you click to enlarge the picture.

For anyone who missed my little method of stitching with floss, I have used this for about 30 years, and found it extremely helpful in preventing the little individual plies from going astray during stitching. ESPECIALLY with the Satin Floss, which is rayon, and quite slippery. (but well worth the effort) Just take the labels off the skein, open it totally out (first removing all cats from the room) and then put the two ends together. Fold the long thread over three times and cut the looped ends. This produces a long thread, about 38" long or so, but cotton and rayon are both sturdy, and I haven't found it difficult as it doesn't fray. (This long thread doubled after you take off the plies you need, will be a working thread of about 19". It seems long, but is quite easily managed.)

Then take off two plies (for 18 mesh canvas, 3 plies for 13 mesh), double it, and thread the loop through the eye of the needle. Then put the ends of the thread through the loop, and pull a slip knot up next to the eye.



















This holds the plies securely, and once the stitching has begun, they will lie flat and not separate. If you make a mistake and have to undo a stitch - then you will have to cut off the slip knot. Oh well. It happens, but not often.

This ornament is extremely simple in design, but I thoroughly enjoyed working it, and didn't get bored - probably because of the four different color areas. It was fascinating to stitch just a little bit further and see how the color looked around the next band of flowers - which is one of the reasons I enjoy just drawing a design on white canvas and not painting it.

The Purple Ornament Progresses!

This ornament has been very entertaining to stitch, as by doing it on bare white canvas, I can see color marching along like a child with a coloring book - my preference when working on my own designs.

Anyway, it's coming to life and taking shape. The arrow is pointing to where I filled in the gap between the leaves with T-stitch, which is a simple matter, but does require a bit of thought and attention. I don't usually like textured stitches on backgrounds, as they do get a little messy around design, but in this case, the stitch is so small scaled, it didn't interfere visually.

The second picture is a detail, showing (where the arrows point) the fact that the outlining of the flowers is accomplished by stitching across the tops, and then separately, across the bottoms - much easier and more efficient.

More flowers are outlined in the third image, and the arrows are showing the direction of the tent stitch outline. This is one place I "break the rule" and turn the canvas so as to make the tent stitches stay smoothly oriented instead of letting them "sawtooth" (which is typically the look of needlepoint). It simply makes a smoother, neater edge for finishing, and keeps the textured background stitches confined and not ragged looking. This is simply a matter of switching direction about halfway across the straight edges at the top, bottom, and sides. Very simple.

The arrow pointing to the bottom of the flower on the left shows the progression of stitching across the bottoms of the flowers for the outlines.

With the fourth color begun and more color on the flowers with the centers and leaves, it's really looking fine!!

This is what makes me keep going rather than abandoning the whole project! Now for filling in the flowers, where I'll use Petite Frosty Rays and Flair - the rest is in DMC cotton for the matte look I wanted, and the Satin Floss for the centers for some shine. More tomorrow (maybe, if I don't get sidetracked) There is still the red one with the PVV and beads! Also, I hear the Mindy With Beads project calling.

Ornament Progress: Before and After Beads!

It's rather incredible how different these two ornaments are when stitched with different threads and in different colors. Starting with exactly the same drawing on canvas!

The red one is coming to life with the addition of the beads, which glitter and sparkle in person. A close-up of this (click on it to enlarge) shows the basketweave on the flower petals done on every other row to accomodate the beads.

I could have used red beads, but am very fond of the way the clear, hexagonal ones look, as it 's more like ice crystals on the velvet of the background. The flower centers are DMC Satin Floss.

I drew another one for stitching with the pink and purple threads, as I don't like working on my own painted canvas - it's easier to see this way. The background stitch is T-Stitch, which has a nice but not overwhelming texture, and it's done with DMC cotton floss. I ordinarily use 4 plies, but in this case, I used 5, as it's on a white background, and the canvas is prone to show through with this stitch. Anne Stradal calls it the "dandruff effect," and neither of us is fond ot it. If I had worked on the painted version, I would have used 4.


As mentioned before in the previous post, the outline should always be stitched first, as it makes a clean, smooth edge - particularly when using a textured stitch like this. It gives one a definite place to start and stop - much easier and no ragged edges.

I wanted this version to contrast totally to the tree ornament red one, and I think it does. The cotton floss is matte, and the pearl cotton used for the leaves makes a nice, contrasting bit of shine, as does the Satin Floss on the flower centers. The petals are made with Rainbow Gallery Flair, and the large flowers will be made with Petite Frosty Rays, for a bit of difference against the background.

Again, if you missed it, the pattern for this ornament is on Freebies, etc., and is available for anyone to print out and use.

P.S. on this one: If I were stitching the "red" one with a white PVV background and red flowers, I would definitely use red beads on the flowers.

Choosing Colors, Thread, Textures - the Difference it Makes!

This ornament is one I presented on Freebies, Etc. a while back, and also is to be used in my e-book on "Laces and Trims." It's such a simple thing, and I thought it would be a good one to illustrate how a change of color and using different threads, etc. can entirely change the look of a piece.


I don't paint things I'm going to stitch myself, as I'm too lazy to take the time, and also, I love the way it develops on the blank white canvas - kind of like painting. The dots I added are for the later placement of beads, which will be the clear Sundance #250 hexagonal ones for the glitter they produce - will also use them on the white flowers.

I'm using Petite Very Velvet, and also the Kreinik 002V braid that's so pretty with it. As always on shaped ornaments, I outline the shape first so it will have a smooth edge for finishing.

This ornament is to be used either as a tree decoration, or as a kissing ball mounted over a styrofoam ball to hang for a party decoration, or maybe just to sit on a table and look sparkly and cheerful at holiday time. Actually, the ball could be two sided, as this project is quick to do, being only 4 1/2" diameter. Also, by drawing it yourself on canvas, it's quite inexpensive.

Incidentally, my first thought was to do it in white PVV with red flowers - other color combinations are certainly feasible.

The second picture is of one I painted to show what color choices can do. I haven't had time to even think about stitching it, but when I do, I'll draw it on blank canvas rather than using this painted one.


I'm using cotton floss here, probably in "T-Stitch," as I want no sparkle, and will use petite Frosty Rays for the flowers in either bump stitches or long, slanted ones. The leaves and centers will be stitched with DMC Satin Floss, as I like the idea of having the shine as opposed to the matte finish of the cotton floss - interesting effect. Also, using pearl cotton for the flowers would be great visually! Due to the "ropy" spin, it has a sheen of its own.

If you haven't visited my Freebies, Etc. blog, this ornament is under the label "ornaments" (of course) and you can print it out and draw it for yourself. Also, I posted some Halloween napkin rings today, along with four with "jewels" on them. These too, can have major character changes due to a change of threads and colors - Try it!!