Creating a Color Scheme

I didn't take time to ask Sharon Boggon (a great fiber artist in Canberra, Australia, if you're not familiar with her) if I could use her photograph of colorful trash bins in New Zealand, so will just let it suffice to tell about a great aid for making a color scheme.

You can see this on her blog PINTANGLE, and also go directly to the site here: KULER Go take a look! I have plans, myself to play with it a bit - fascinating, it is.

I"m showing these zinnias, as this is the kind of thing I look for when planning color shemes of my own - I'll try it on the Kuler thing, I think. What fun!!

Halloween Napkin Rings

Pat Miller at Needleartnut has finished stitching my little Halloween napkin rings - and they look wonderful the way she did them. I asked her to do this, as I hadn't a clue how they should be worked - I'm really really pleased with them, so do go take a look, and then see how she finishes them! WOW!

UPDATE: Pat has finished the napkin rings - they look great, as she did an amazing job on them. They now look like napkin rings!! Just click on the link above, and you can click to enlarge the pictures.

A reminder - these are on my Freebies, Etc. blog, so you can print them out and do your own.

BEADS! The Many Faces for Needlepoint

I love beads incorporated into needlepoint - which is obvious, I think, as I just looked and have about 63 posts on this blog (three years old last September - time flies)

Also have a book on this subject in my "Coloring Book" series, which is available both as a book and as E-Books in two chapters on my web page.(Elegant Whimsies)

In the first photo, (an old one), I used beads on the background by placing one at each intersection of the open work done in ribbon floss - very effective! The second photo is a bracelet and earring I made about two years ago - there are two different patterns, and as I remember, they are shown at Fireside Stitchery already made up (cuff bracelets) On this one, I used beads in my "solid" technique that really isn't solid, but looks that way.


The blue Petite Very Velvett patch has the clear Sundance beads applied with floss the color of the background - gives the effect, I think, of rain drops on a cold winter night in December - or is it ice? (We don't have much ice here.) I love this effect of using the clear beads with colored floss, as it gives a different dimension to the surface texture.
Seed beads also make great cactus spines on a tiny little cactus! The leaves are PVV, and the beads have a finish that doesn't sparkle and glitter - so have a great look for this.

All of these projects are showing on this blog in numerous previous posts - as I started using beads and experimenting with them about ten years ago. A GREAT accessory to jazz up the work when textured stitches won't do - or just for the beauty of the beads.

There seems to be a bit of confusion about the term "seed bead." Seed beads are uniformly shaped, spheroidal (round) beads ranging in size from very very tiny to several MM. These are termed "seed beads" as opposed to "bugle beads" and other types and shapes. I did check this info with the dictionary to make sure of my facts.

I use exclusively the Sundance Beads, as they have an enormous variety of colors and finishes - not just the shiny or sparkly! Also, in the packaging, they are so totally uniform in size that I very rarely have to discard one, as opposed to other brands. I use, for incorporating them into the body of the work, the size #14 on 18 mesh, and #11 on 13 mesh. Other sizes could be used, of course, for different decorative effects.

Incidentally, using beads on needlepoint is the subject of my next article in Needlepoint Now - stitching the Mindy Canvases! ( I need to go finish those beautiful things.)

Bargello by Liz (Her 4-Way FourWay)

If you haven't followed Liz Morrow's new Bargello design - do go see it now finished! I continue to be amazed at her gorgeous and innovative work in this area - The best I've seen in many years!

I believe she intends to sell her patterns, and also maybe teach a cyber-class or two. I'm begging for this one!

Talavera and the Calla Lilies

Having noticed a lot of the Mexican ceramics showing calla lilies lately - especially the Talavera style, I decided to investigate, as this is not a motif used on the traditional Spanish Uriarte, which has been produced in Puebla, since the 16th century.

I had always associated this flower with condolences on greeting cards designed to send to the bereaved, and therefore a bit depressing - but when I moved to Mexico City in the 60's, I was surprised to find that it's a most beloved flower, and used primarily at Easter.

This makes sense, as it's a symbol of re-birth and resurrection. The white version of it is also used at weddings, as it's a symbol of marriage and purity. Here, we use a true lily for this time of year, and call it the "Easter lily." Not a true lily, the Calla lily is indigenous to Africa (I don't remember which part) but traveled to Mexico at some point.

Digging a little further, I discovered some things I didn't know. The Aztecs were a "flowery" civilization, having many of their religious and spiritual activities centered around the use of many many of them. A vast number of their deities also had flowers as their symbols.

Archaeological discoveries have shown the Mayan civilization to have also been a flower culture. The valley of Mexico is, indeed, a most beautiful place with a vast wealth of gorgeous flowering plant life.

I've also always loved the paintings by Diego Rivera in which he used many many calla lilies, painted very simply, flat, and always in white (at least I've never seen anything but white in his work.) I think this is what prompted me to do a little bit of research as to why it's so prominent also in the modern version of Mexican tiles and other ceramic items.

I had held back from adapting these ceramics to needlepoint, as I still had that bit of stigma in my mind about the Calla lily being used at funerals, but now I've done two pieces, and understand the "why" of it, so will continue to do a few more! This one is now on my ebay auction, which is kind of my testing ground to see what others think.

Using Blending Filament: A Pumpkin and a Cross

I first saw blending filament in a shop that was mostly counted X-Stitch in about 1986. At that time, it was known as "Balger Blending Filament" and was used by the cross stitchers to add a bit of sparkle to their work.

I had refused, in the past, to design Christmas ornaments, as Persian wool and cotton floss were all we had for needlepoint, and tree ornaments need glitter and sparkle and shine - or at least one of the above.

Anyway, I had an "aha!" moment, and decided it might do as well for needlepoint with cotton floss - so I used a X-stitch chart of a peach, and since needlepoint on 18 mesh canvas requires 4 plies, and X-stitch this size only 2, it seemed only reasonable to go ahead and double the strand of blending filament along with the floss - and it worked! I had a peach in needlepoint with sparkles!!!

For anyone who hasn't seen my little method of using cotton floss so that the plies stay put and don't go anywhere, I simply open out the entire skein, then put the two ends together and fold it over three times, cutting the loops on the ends. This leaves a rather long thread - even doubled, it seems long, (19") but it doesn't fray, and is sooooo easy to use this way. I simply take off two plies and double them, and thread the loop through the eye of the needle - and then make a slip knot against the eye. Very easy stitching, as everything stays put.

The illustrations are showing the floss including the blending filament, which I cut to the 38" length before doubling the entire strand for threading. Stitching with the needle threaded this way, the plies all stay put and give me no trouble at all!!

I use exclusively the Kreinik filament, as I really like the color range and the look of it, and also the fact that it comes, like the braid, in several different "finishes" - including the Vintage and High Luster. I've never had a problem with it breaking or fraying when I use it this way.

I think some are misunderstanding the purpose of "blending filament," as I hear complaints that it gets lost in the thread plies - but this could possibly be the result of only using the one ply. Also, this filament is not intended to look like a solid metallic, or to show with every stitch, but to BLEND with a fiber, and give the lovely effect of random, occassional sparkle. You can see it here, I think, on the features of the pumpkin.

Pat Miller (Needleartnut) suggested, when I couldn't decide whether to make the features yellow or black, to do a yellow metallic - which made sense, as I wanted to do a black background, and there is supposed to be a candle inside the pumpkin anyway. However, I felt that a solid metallic yellow might be too much, so I dug out a yellow blending filament, and am very pleased with the result. Glowing, subtly sparkly features against the matte Petite Very Velvet of the pumpkin is a great contrast!

On the Talavera cross, the filament also solved the problem of my not wanting a lot of glitter - as I am using the Kreinik navy HL braid for the outlines (and the 032 on the blue at the top), and didn't want a lot more on it. However, it did need something, so the blending filament is on the yellow-green leaves, and will be used also on the flowers at the bottom. It's also in the yellow center of the red flower - so by just using this little bit, the eye travels downward from the top, drawn by the subtle bit of sparkle, and doesn't get distracted by too much in the body of the design.

The pumpkin is a Freebie design on my other blog - so I'll deal with stitching it there.

Silk Ribbon Flowers for October (Marigolds)

I believe "Calendulas" is the correct name for these flowers, but I've always called them "marigolds." By any name - they're awfully pretty.

This is one of the "Crazy for Birthdays" series, stitched for October last year - with the opals included! That one was fun, and I think I have a description of how it was achieved under the label on the side for Birthday Crazy Quilts or something.

Anyway, I studied not only the real thing growing in the flower bed, but looked at a lot of pictures, as that seems to be the most efficient way of replicating the "look" of flowers in silk ribbon.

I used 4mm ribbon for these, as the petals aren't quite as fine as the asters for September - on which I used 2mm ribbon. The little centers are made with French knots and Soy Luster.

Creating with silk ribbon for surface enhancement is almost instant gratification, and one only needs to learn to handle the ribbon - it's qualities and limitations. Just a few basic stitches are all I've found necessary to make flowers that at least resemble what I wanted - and it's great fun to study leaves and flowers, vines, etc. outside, and figure out how to do them in silk ribbon. I even did a series of Texas Wildflowers several years ago! (can't find them now)

Beautiful Bargello: Four "4-way"

Many times it is a matter of colors, thread choices, and arrangement that makes a project come to life as a beautiful decorative home accessory!

Liz Morrow's blog, LIZART, is one of the very very few needlepoint blogs I look at regularly, and this morning, as I was admiring the beauty of the colors and effect of the outlines on this new piece, I realized that it's an extremely simple mitered bargello pattern - quite elementary, and a great one for anyone to begin.

However, the arrangement of the four, in addition to the lovely choices of overdyed threads, etc., makes it one that anybody would enjoy doing.

I was surprised at the simplicity of the design, as Liz is, in my opinion, the best of the Bargello artist/designers these days, having surpassed the Elsa Williams style many of us started with in the 70's - as well as Dorothy Kaestner's Four-Way Bargello, which I found to be fascinating.

Anyway - whether you have or haven't worked Bargello, do go take a look and watch the process as she proceeds. She says she has other color combinations working as well - and I hope this one will be available as a pattern I might try for myself!!

Running Behind

Sorry there have been no posts for a while - I am not able to admit it when I'm ill, and let this one go too far - and then the treatment made me sicker. For the first time in a long time, I've been "laid too low" to function properly, so have done not much of anything but lie around and whine and feel sorry for myself.

This is very difficult for someone with OCD (obssessive/compulsive disorder) for needlepoint design and stitching! Feeling a little bit better today, so have the paints and brushes out, and have taken a few stitches on a small piece. It was my apathy toward stitching that had my children worried.

A New Lighthouse

Just calling attention this morning to a wonderful new lighthouse canvas, complete with fascinating history - from Anne Stradal, The Cape Stitcher.

As always, I look forward to watching her select threads and, of course, the stitching process.

More Outlining (and Mitered Background)

This is a picture I wanted to show as an example of the benefit of outlining a shape against a textured background. It's on this blog under the label stitching, but I couldn't find it's companion, which was a blue flower - beginner pieces I stitched from Happy Heart Designs a long time ago.

I used these to illustrate an article I did in NN on beginner pieces about two years ago or so - and this one shows the benefit of outlining even the shaped elements in the rose, as they now have neat, non-raggedy, defined edges.

Also, against the textured background, it just looks better and was easier to work. The border is made with Long-armed Cross Stitch, which is my favorite for this sort of thing.

The background is mitered, to demonstrate that texture can be used as well as on the flower, if it's kept simple. I like this stitch, but it is very directional, which I didn't want because of the distraction it would be - so it's mitered. Easy to do by just marking the grooves at horizontal and vertical centers to show where to end one section, turn the canvas, and do another. It kind of makes the central pattern motif a definite focus on the canvas!

Notice the beads on the background are orange, which further enhances the directions of the four areas. (I hadn't finished inserting the beads yet when this picture was taken)

These are small, simple things one can do with ease, and not requiring a lot of skill - I really enjoy them, myself, as a break from the tedious, more serious things.

Silk Ribbon Embroidery: Flowers on a New Site

Just cruising around this morning, I found this wonderful/beautiful site via Sharon B's Pintangle! Tutorials in detail on making gorgeous silk ribbon flowers. Do go take a look at Carol Daisy on SILK RIBBON EMBROIDERY.

Outlining the Cross and Choosing Threads

I decided to go ahead and start stitching on the first of the new Talavera mini-crosses - I might even finish one or two, as they're small and bright, so I'm not likely to get bored or distracted.

Anyway, my dilemma with these things has been that they are so lively in color and pattern, they can't take a lot of glitz, sparkle, and beads, but definitely need something to jazz them up for use as ornaments. I very rarely paint anything of mine that I'm going to stitch, as it not only takes time, but I enjoy the process of seeing the piece come alive by adding color. (painting with a needle and thread).

Incidentally, I have some tutorials going on at Freebies, Etc. (the other blog) on the canvas preparation process - beginning with the pens, so don't miss it if you want to try it on your own.

On one of them I am explaining why I used a light blue drawing pen for the fret at the top, which I have now covered with Kreinik 032 metallic white - so nothing of the line shows through. You can see it coming alive with the blue background started around it.

On the Talavera ceramics, as on the Japanese Imari porcelains, most of the design motifs are outlined in dark navy - so I used the Kreinik navy #018HL, as it has just the right amount of sparkle. Speaking of outlining, a friend wrote me this morning to say she had seen someone on a blog advise against outlining, "as it is continental stitch." I'm afraid I was ROTFLOL at this, as my first and immediate thought was those gorgeous designs of Mindy's I was working on - all three of them have lots and lots of outlining on them. The beautiful flowers, especially, as well as the leaves on the Asian design.

Outlining is not continental stitch, as that stitch travels horizontally in a straight line. Outlining is simply tent stitch, and there is no reason not to outline on a canvas where the design requires it. As I said, the majority of the antique Oriental porcelains I have designed from for almost 40 years, have the pattern motifs outlined. (Another reason for outlining is to confine an area of pattern that's to be worked in a textured stitch, as this prevents ragged, unsightly edges against the background.)

Now back to the subject: My intent on this little canvas is to use Kreinik metallics, blending filament included for a very subtle sparkle, and cotton and Satin floss. I used a red drawing pen to mark where the flower petals will be stitched in red so I won't have to figure it out as I go. Looks much nicer than black ink would have, and is less likely to show through the thread, as I'm not painting it.


I also started, a few days ago, when I was a bit bored, one of my "jeweled" napkin rings. This is an example of how a painted canvas really comes to life with threads. I'm using one of my favorite combinations here - the Petite Very Velvet with Kreinik 002V metallic braid and the addition of glittering beads. (haven't gotten to those yet.)



The edge stitch (so it'll roll over neatly in the finishing) is long-armed cross stitch. Very easy to do, and sooooo effective here. This thing, once the beads are placed on the diamonds and emeralds, looks like an elegant bracelet - but this one is only the length of a napkin ring (5 1/2") Notice that the jewels are also outlined - had to do it here!

Silk Ribbon Flowers

The art quilters love silk ribbon flowers too, and Allison Aller is showing this gorgeous new book on her blog as of yesterday. I've already tracked it down and ordered it, as it's easier for me to have the instructions rather than working it out myself -

Those nasturtiums are sooo beautiful!! Anyway, if you aren't a regular visitor at her blog, do go there and take a look. I visit there regularly, as I get a lot of good inspiration for needlepoint design by storing the images in my head (and in my picture file, with her permission, of course). Allie's in Stitches

Jan's Rug is Finished

If you haven't seen this beautiful thing yet, do go see it now, as Jan Fitzpatrick has finished what so far is my favorite of her Moroccan rug adpatations. In this new post, she describes her original concept from the first, as she chose the rug, and then the process of designing her own in needlepoint stitches. It's amazing!!

Outline Dilemma and a New Talavera Cross

This little cross gave me problems in painting, due to the fact that the background is a very dark navy, and typically, on the ceramics, the outline of the pattern elements is also navy. On this one, it is actually grey, which I don't like, so it took me a while to figure out what to do, as the leaf veins, etc. are dark navy on the actual ceramic piece.

I solved the problem by just painting the outline in kind of medium blue, which shows up well - not really too pretty on the canvas, but my thought, when the light came on finally, is to stitch the outlines in what I love using on these - the Kreinik 018HL dark, bright navy metallic braid. Then the background can be worked in basketweave with simply silk or cotton floss.


I used a green Sharpie ultra fine point pen on the leaf to make sure I didn't paint out the light green outline that's on the real ceramic piece, just inside the dark veins. This makes it so much easier - an option I didn't have many years ago, when all we had to draw with was black.
This pen isn't suitable for trying to paint a canvas, as it's a drawing pen, the point is tiny, and the ink stays right on top of the canvas, and looks like a child with crayons playing. Easier to just paint with acrylics if you want the color solid - or, as I do, don't paint it at all if you're doing it just for yourself.

I would leave just the outlines, as I don't need to spend the time. The arrow pointing to the little square at the bottom is just to demonstrate that it is on the center, so the diaper pattern will be nicely centered when completed.

I took pictures of the design adaptation process for this one as I went along, and will do it maybe on Freebies, etc. in a few days when I can get to it. These things you can do for yourself if you know how!!

Blending Filament and Talavera

Sometimes it takes so little to make me happy - and this time it was a package in the mail, full of the Kreinik blending filament I had ordered last week. - Exciting!!

I haven't used BF in a while, so had forgotten how gorgeous the Kreinik is, as it has not only an enormous number of colors, but also (like the Sundance beads I prefer), several different "finishes" or types within one color - such as the Vintage, high luster, cord, etc. It also gives me the best performance of any of them.

Originally, I had chosen the colors especially for a planned project involving coral reefs and sea fans - but meanwhile had taken a day or two off from the regular painting, to design some new pieces - little Talavera crosses that are tree ornament size.

I didn't design Christmas ornaments for many years, as back in the 70's and early to mid 80's, there was nothing that sparkled to enhance them, and I didn't like anything drab and lifeless on the tree. These crosses don't require a lot of sparkle and shine either - but certainly need something, and the colors of BF I have are great for them!! A happy accident, indeed.

My thought with these is that crosses on a Christmas tree need to be joyful and colorful, in keeping with the gaiety of the season, and these certainly are - and will be great worked in cotton floss with Kreinik braid on the outlines and some blending filament in the flat areas of pattern.I've heard a few rumbles lately about problems with the filament breaking, fraying, etc., but I have never experienced this.

I do have a way of using it that might be a little different, involving the way the needle is threaded. I do believe that threads should be used according to their limitations, and as this is a tiny filament, that must be considered.

I've also heard complaints about it's slipping into the plies of the thread and not showing up with every stitch - but this is what it's supposed to do, and is what I like about it! I don't want sparkle on every stitch, as it's absolutely subtle this way. I use it when I don't want a fiber that is total sparkle and glitz on every stitch. We need a bit of variety!

Anyway, I plan a stitching tutorial with cotton floss and Kreinik blending filament and it's wonderful possibilities over on Freebies Etc. soon, so stay tuned!!

Swimming in Seaweed (needlepoint, that is.)

It's time to watch Anne make seaweed in her watery habitat for the fishes. Go see her selection of threads, and then stay tuned to watch the process. I'm looking forward to this one!! You can find her at The Cape Stitcher.

UPDATE!! This is now finished, and complete with seaweed, coral, and bubbles - delightful!

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.