A New Angel and More Satin Floss!

These are two unrelated topics, but I wanted to show both - and then retire to stitch for the rest of the evening. Enough of painting for a few days!! (being busy is good).

I was finishing an order of my Talavera crosses, and decided while the paint was out to go ahead and put the same motif on the skirt of an angel. This was from my favorite of them.

She's 9" high, so I was able to use the pattern exactly the same size as it is on the cross - just moved the elements around a bit. The wings are outlined in light metallic gold, and I can see using beads on the sunflower center as I did on the cross.

Next, the DMC Satin Floss. Last January there were 24 colors. Now there are 60!! I remember last fall when I first heard of Satin Floss, I called all over Austin and couldn't find any. Only one counted cross stitch shop had a little box of six colors.

I decided to go directly to the DMC site and buy some there, as I really wanted to try it. I had liked the shiny look of what they had before (can't remember the name of it - rayon floss) but it was not pleasant to use, and was crinkly. The Satin Floss is rayon - and is shiny and slilppery, but gorgeous, and when knotted up against the eye of the needle, it's easy to use.

What you see in the first photo is the entire collection as it is now - lots of fun to dump out of a bag and play!
Next, I separated it into shades, which is a wonderful development - there are actually FOUR shades of yellow and four of blue! The colors are rich and vibrant. I was doing this with a huge window behind me, so had the benefit of natural daylight, so I could see the true colors. It's amazing what effect one color has on another when placed side by side.

I remember a 5th grade teacher I had who gave us basic enlightenment into color theory - and what the retina of the eye does with color. One exercise I loved was when he had us stare for about 45 seconds at a red shape (we cut these shapes out of construction paper) - and then look immediately up to a white board he had in front of the room. There, an image formed of the same shape, but in the complementary color - which in this case was green. Budding artist that I was, I was so enraptured with this, I didn't want to be bothered with anything else - like history, etc.
In the last picture, I have separated out the low intensity colors in the collection - gorgeous, they are! I really enjoyed my activity here, as color schemes automatically fell into place - I separated out these skeins and put them into little ziploc bags for future reference.

I remember in Maggie Lane's NEEDLEPOINT BY DESIGN, she said her favorite way of choosing a scheme, was to just dump out her trunkful of yarn and see what fell into place - it works!!

Angels in Talavera

This isn't what I intended to do today, but after having to trash my earlier efforts on the "birthday" angels - which were supposed to lead up, after much practice, to the version with Texas wildflowers, I went ahead and spent the day painting these much simpler ones - with Talavera patterns on them.

The first one was easy. As I said before, I simply used the pattern I did a long time ago with the Tlaquepaque ceramic design - it seemed to suit this as well, as they are both Mexican ceramics.
The design on the skirt is the same one I used for the fish.

The second photo shows the calla lilies - beloved in Mexico and also by Diego Rivera.

Next - the sunflowers, also used frequently, as they are also symbolic for many different religions through the centuries in Mexico. A beautiful flower, native of the Americas, it turns it's face toward the sun as it travels across the sky.
I forgot to put the white diaper pattern on this one, but have since added it - tired this evening, and didn't take a picture of the updated version.

The last pattern is taken from a more exuberant ceramic piece - This would be great for lots of glitz and sparkle and shine. There are some things I don't like on this one, and intend to re-do it. There are two more I'll have to leave waiting, as I have other things that have to be done first - but it's good to loaf on Sunday, and actually do something productive.

Calla Lilies in Talavera for Needlepoint

I have just now finished painting this, as it's destined for San Antonio for Fiesta later this month (The Yarn Barn), and realized it's an appropriate picture for a post today!!

As my family is off somewhere munching on Cadbury Creme eggs, jelly beans, etc.,(after doing Church things, of course), I'm painting crosses for the celebration commemorating Texas Independance with the victory at San Jacinto.

Anyway, the calla lily, although a native of South Africa - and the Isand of Madagascar, has been a beloved and symbolic flower of many cultures for many centuries, starting with the ancient Greeks. It's considered to represent "magnificent beauty," purity and chastity, so is appropriate for use at many festive occassions..

In Mexico, it has been grown and loved for several centuries - and was a favorite subject for the painter Diego Rivera. Lately I've seen it on many different ceramic objects in Talavera, so have enjoyed adapting this flower in this style to needlepoint!

Finished!! The Sunflower in Talavera

The Sunflower cross is finished, and although stitching against a deadline ceases to be entertaining, I thoroughly enjoyed this one - an example of the effects one can achieve with simple materials. Only DMC cotton floss, Kreinik metallic braid #12 in 018HL (navy), and several different Kreinik blending filaments were used.

I also used shiny brown Sundance beads in the center of the flower - the only Talavera piece I've used beads on except for one ornament a while back. (Usually not the best thing for this sort of pattern.) In this case, as the beads are shiny rather than sparkly, it's a great look to add interest to the big brown area. It's a subtle effect, whereas textured stitches here would have been too distracting.

The next photo shows three green areas (two different crosses) which include blending filament. I couldn't get a good shot of this, showing the nice, random sparkle, but I used the chartreuse BF #015 on both the lime green (DMC #3348) and the medium green areas. On the darker green, I used the same floss - the DMC #988, but with BF #009, which is dark green. It really makes a difference!
Also finished, as I alternated among four different pieces in this session, is the first of the little "mini-crosses" in the Talavera series. I've already explained most of this one in a previous post. The turqoise flowers really made it come to life!! Note how shiny the centers are, worked with DMC Satin Floss!

The response to these Talavera pieces has been wonderful - so for right now a few of them are up on my ebay store for auction. Later today, Inge will pick them up and take them to Dallas for finishing in preparation for their trip to the TNNA market, as Creative Needle will be producing them. What a great collaberation, after all these years - since 1972. Our minds work alike!!

Beads on the Un-Painted Canvas

First, I want to share the Holiday card I received from the staff of Needlepoint Now - I'm sure all subscribers have one by now.

I was ROFL at the message, as I know there are very few who don't know exactly what the sentiment is saying - without having to consult color cards. Clever girl, our Elizabeth, (new owner and editor-in-chief of the magazine), whose name is signed in what looks more like 002HL than 202HL.

So now to the business at hand. I haven't been diligent about posting lately, as I was busy with other things, and working on three canvases simultaneously. The Sunflower Cross in Talavera is the first of these on which I have been able to use beads.

These designs are so suitable for my enjoyment of using simple stitches (almost entirely basketweave) with simple materials - mainly DMC floss and Kreinik metallics. However, I felt that the sunflower center definitely needed something extra, so I placed ink dots on the weft threads in a lattice pattern based on a count of 3. Then, DMC floss in brown is worked around the dots in basketweave, and then beads placed. (Sundance, of course, in brown - not sparkling, but simply shiny.)

The next photo shows how the cross looks now, with some color added. I have been watching a most delightful BBC mini-series on DVD's, (The Duchess of Duke Street) and decided to just do outlining, which doesn't require much concentration - just relaxing.

You can see how the simple color markings with the Sharpie permanent pen are guides to shading the flat flower petals. There was no need to paint them, but I did need guidelines.

The burgundy colored diagonal band is worked with DMC cotton floss and Kreinik metallic blending filament in a Vintage color almost the same.

I really like this Vintage, as it doesn't sparkle, but emits a subtle gleam in the orange and the burgundy on this piece.

The last two pictures are of one of the "mini-crosses," first with just some color added, and the last one with background - this shows so well how the pattern really pops out against the matte floss in navy 018.

Now - back to an evening with the Duchess and more stitching. Tomorrow I paint!! At this time, I am planning great entertainment with old Tyrone Power swashbuckling movies from the 50's - which I loved when I was an impressionable child.

If I had had the chuzpah of the Duchess of Duke Street, my children wouldn't be running my life now.

The Joy of the Unpainted Canvas

I could call this "The Coloring Book," as I'm filling in color with thread instead of crayons or paint, and the outlines are dark (navy in this case, Kreinik 018HL #12 braid)

As I have said many times, I prefer not painting my own canvases when I intend to stitch them - and am especially grateful these days for the colored Sanford pens - the "permanent marker" kind - not the paint pens. I don't use them to "paint" areas, but rather to delineate irregular shapes, as in a flower petal which includes two colors - or for placing color on the diaper pattern area so as not to be confusing in the stitching..

I'm working simultaneously on several of these - which is easy because the DMC floss colors as well as the Kreinik braid and blending filament are the same for all of them.

The second photo is one of the original series I painted over a period of about two months - all about 6" high, so they work quickly. Very cheerful, they are!! (Most of these show now on my web page, Elegant Whimsies)

On this one, I used the orange Vintage Kreinik blending filament on the upper flower, and really am pleased with the way it works, as it doesn't sparkle, but there is a definite random "gleam" going on. The yellow area has yellow DMC floss and dark yellow blending filament. This is when it starts to get interesting, as I enjoy watching the white areas fill up with color.

The next one is another of the original nine designs. I chose to use Kreinik blending filament for the pattern only, designating the orange, white, and navy floss as "background" - so it stays in the back where it belongs.

However, at the bottom of the flowers on the shaft, I inserted the orange Vintage blending filament to make it part of the design - and I am very pleased with the effect. The last close-up shows how different the yellow floss looks on the scroll in basketweave with blending filament - and then on the diaper pattern in Scotch stitch - long, smooth, and flat without the metallic. A great effect with only one kind of thread!

I used perle cotton on the red flower, as the ropy twist gives it some extra texture to make it stand out above the rest of the pattern - and the bump stitches on the diaper pattern are the same red, but in floss with blending filament added - great effects with simple materials!!

Sunflowers and Talavera in Needlepoint

Sunflowers, beloved in Mexico both as fresh flowers and in art of all kinds - even paper flowers - are actually atypical of Talavera-style ceramics. I'm seeing more and more of them, as well as the calla lilies, so having taken them for granted my entire life, I decided to investigate the symbolism.

I already knew they have the characteristic of heliotropism - they turn toward the sun as it travels across the sky - and the Spanish word for this flower is "tornasol," which means "turns toward the sun."

The sunflower is native to the Americas, and evidence has been found that they were cultivated in Mexico as long ago as 2600 B.C. Sometime, probably in the early 14th century, they became important to the Aztecs in their worship of the Sun God.


Artifacts depicting this flower have also been found among Toltec and Mayan archeaological treasures, and in Peru among Inca artifacts.

Lately, in my current binge of painting crosses adapted from the Talavera style, I've really enjoyed the sunflower designs, and intend to do at least one for myself. They are so joyful looking!


Also, it gives me a good excuse to use the wonderful new supply of Kreinik blending filament I've acquired! (no stash control here). The fact that these blending filaments are available in the Vintage finish makes them more useful, as it gives a variety of looks that don't include the sparkle. I feel the pattern on these needs a bit of zing, and this helps, but too much sparkle would not be good.

I use only the DMC cotton floss for the basketweave, and add the BF to that. ONLY on the pattern, though, as the background needs to stay in the back and not compete with the design.

I'm showing mine, as it's ready to begin - I don't like painting the canvases I intend to stitch, as:
1. I'm too lazy. 2. It's more entertaining to work this way, as it's a bit like "paint by numbers" in that it's fun to see the color filling up the white spaces. The outlines are all stitched with Kreinik metallic braid #12 in navy 018HL. Perfect for Talavera - and there is also the same color in blending filament for the navy dots in the diaper pattern!

Oh - I forgot to mention that I've actually found a place to use beads on this one! The center of the flower with that cross hatching is perfect for enhancement with a few beads - so I marked it with a brown Sharpie on the weft stitches to accomodate beads in the little dips. I'll work on the stitching tomorrow, hopefully.

Blending Filament for Special Effects

Blending filament again, and what a great find for a former dilemma! These Talavera pieces couldn't take decorative stitches, but definitely needed something to jazz them up a bit for use as tree ornaments - especially with the bright and lively colors.

This little cross is a smaller version of one I'm showing on Freebies, as an example of how to make the change in size for a simpler project. The description of how I use blending filament for the most effect is on this blog in an earlier post.

Anyway, I have really liked this one, but didn't want to undertake the big one right now, so had to "small it down" to stitch for myself.
I enjoy working on a bare canvas with only the outlines drawn - both because it's like painting with needle and thread, and because I'm too lazy to paint one for myself. It keeps me going to watch the pattern emerge in color!


I've started the outline on this one in Kreinik navy 018HL, size 12 braid (for 18 mesh canvas). It gives a bit of sparkle and shine along with the DMC cotton floss I've chosen.

The floss colors are exactly the colors on the cross, and the blending filament fits right in. I'm calling the navy, white, and orange the "background" on this piece, so won't use any sparkle with it - but the pattern elements definitely need the zing of some random sparkle and shine - hence the blending filament that won't overwhelm it as a shinier thread would.


By not making the background sparklle, the design will show up better. I'm off now to stitch a bit, as the weather turned cooler, and I can enjoy some fine, hot tea. (a new package has arrived from Tea Embassy - one I've gotten rather addicted to is the Rooibos, and my favorite has just a hint of chocolate and mint. It's yummy, and has no caffeine.)

Footnote: These Talavera crosses are available for sale at my Web Store, ELEGANT WHIMSIES - the link is on the side bar.

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.

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!

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!!

Mexican Tiles in Needlepoint

Returning to one of my favorite sources for needlepoint design - the Tiles of Mexico, including the beautiful Spanish Talavera, which are manufactured in Puebla. (Uriarte)

Going through my rolls of painted canvases hidden away in boxes and on closet shelves (painting models for a number of years), I found this one that I had actually intended to stitch. I usually do just one square, as they are pretty enough alone - quick to do, and make great little pillow insets or purse patches. (at 5" square) This one I could see as a long, rectangular inset, and rather interesting.

I have loved Mexican pottery since I was a child - but oddly, when I was living in Mexico City long ago, I was apparently interested in other things, and didn't even realize that gorgeous Spanish Uriarte Talavera was in Puebla close by - just over the mountains. I went there often, and never even saw the ceramics.

These tiles I'm showing were in a book on old tiles from San Miguel de Allende (another of my haunts, but I was doing papier mache' back then, and the Jeanne Valentine factory was there)

Anyway, these lovely works of art can stand on their own as a single piece for needlepoint, or in arrangements of multiples. Four is great for a pillow, and the look; as with Patchwork patterns, is different according to how they are put together.




















I had to make copies of color scans of the original canvases, as those are long gone, and then cut them up - soooo they don't quite fit, as you can see. You get the idea.

The second design is one of my very favorites, and I have stitched the single square for myself - but have no idea where it is. May have to do this one again for myself, but as the full four-square pillow that is 10 1/2" square. I have made the tiles all 5" square, but like the effect of leaving two threads between them to give the effect of grout.

I prefer the arrangment of the dark elements in the center, but changing them is certainly an interesting effect.












The last photo (the paper squares don't fit) is really pretty as just a single tile - but also interesting in this format. I tried putting the bright flowers in the center, but somehow it didn't look quite right.

I'm preparing a "tutorial" right now (Drawing on Canvas 202) that I hope to have finished by this evening on drawing a tile on canvas - I've chosen to use the first illustration, as it's simple to do, and will lay the foundation for your doing your own. Also remember that the same technique applies to putting together patchwork squares to form different effects!

If it isn't up tonight, do see it tomorrow (Friday) on Freebies, etc.

ADDENDUM: Due to an internet problem, I only finished putting the "how to draw your own" instructions for the Mexican tile (illustrated at the top) on Freebies, etc. It's ready now!!