Diving in the Coral Reef with Memory Thread

As I said when showing my brilliant idea with the waste canvas - it would disappear if it didn't work. At least I know WHY it didn't work, so shall do it again, (later) having learned what NOT to do.

The main mistake I made was substituting a thread I didn't think would work well anyway, as I couldn't find what I wanted in the stash drawer.

I've worked on this one yesterday and today, and it looks rather fine to me right now. However, I'm awfully tired of looking at it, so will put it away for a day or two before deciding what else to do. I'll ruin it if I continue today, and I have several others almost ready to embellish.

This looks a lot better in person, as I wasn't watching the placement for taking a picture, and the shine of the Satin Floss on the fly stitch sea weed looks much much lighter and brighter than it actually is. The Memory Thread fly stitch (isn't that clever?!!) coral is actually the focal point of this ornament.

As for the Memory Thread, this was incredibly easy, having already practiced on the other one, and I found that if I use a size 16 tapestry needle to make the little hole for poking through the wire, it is very simple The little French Knot polyps are made with DMC Satin Floss - two very tight wraps.

Next, the Star Fish!! I used the Sea Grass by The Thread Gatherer for this, and the width, softness, and matte finish of it was wonderful for creating another little sea critter.

You can see in the detail how it looks up close. I made a five point "raised spider web," but didn't go all the way to the ends of the spokes - so it looks more like a star. To make the five point base, a simple fly stitch is made, and then two spokes placed to make the star.

When weaving the web, this thread is delightful, as it is flat, and with care, it lies nicely between the spokes.
The other little raised web on the left is made on 8 spokes, as I wanted it to be solid, and hopefully resemble a Sea Urchin. BTW, the sand on this ornament is worked in my version of "T-Stitch."

The research via photographs of these things is an incredible learning experience - I had no idea that the shapes and colors are absolutely endless, and I have to guard against getting too carried away on one piece - adding too much "stuff." I'll just have to get a lot of backgrounds stitched so I can go on playing!!
The next one is showing progress on the concentric circle drawing that Anne suggested - and it's almost into the last step of the blending - ready for a fine, big Sea Fan, I hope.
The last photo is from an AHA! moment, when I realized there is a lot going on underwater, and that I could use my favorite Nobuko stitch - which is a lot faster than doing basketweave. The arrow points to the first color change, and I'm please with this choice, as there are "notches" where the next layer fits in, instead of a straight line. It's also a welcome bit of variety in the look.

Another bad mistake I made on the first ornamant was that the ripple of the stitch was too thick to be able to make neat, tidy stitches on the waste canvas. It was a battle I didn't win. Nobuko is nice and flat.

I realize that this post is very long - one could drink the whole pot of coffee while reading it - or just move on to somewhere else easier to get through. After this one, I'll try hard to do each one as I progress on it - not daily, but often.

A Little Red Lighthouse

If you haven't already been following Anne Stradal's latest lighthouse, do go take a look at it. This one has a really interesting history, and, as always, I am amazed at her very orderly use of decorative stitches - and on such small pieces that she does.

Visit The Cape Stitcher (currently under snow, I think)

Remembering Madeline

Granny's angel would have been 15 today, and I'm still, even though it's more painful today than a year ago, feeling so very grateful for having had her in my life for 13 wonderful and happy years, during which she was healthy, bright, and beautiful, and a joy to her family.

She was my first grandchild, and I decided quickly that this is what we have children for - to provide us with this kind of great, unconditional love.

She helped me set up the blog that I eventually renamed "Possibilities, Etc." as she was intensely interested in fairies at the time, so we used "Fairy Crafts."

She was my little apprentice and my bestest buddy, and so much like me, I think it worried her parents. When I was designing the pew markers for her church, Church of the Good Shepherd in Austin, I told her that one day in the far future, the white ones would be used at her wedding. She said, "Oh no, Granny. I'm going to be an archaeologist and go dig at Jackson Hole." My kind of girl - my avocation besides Marine Biology, so I would have been right there - with knitting and needlepoint in front of the camp fire.

As the first grandchild, it was her privilege to name me, so I was named "Granny," with her father's coaching. Several years later, we were watching an episode of Beverly Hillbillies - her dad's favorite as a teenager, and she was looking very intently at an exchange between Jethro and Granny. Then I told her that was where I got my name. She looked at me, and said "Whose idea was THAT?"!!! I did tell her that the Queen of England is also "Granny."

The needlepoint canvas is one I drew and intended to stitch, but as her sister, Julia, was "on the way" I waited for her - and then never got either one of them worked.

Anyway, as I stated last year, "I thank my God upon every remembrance of you." (a scripture quote that I can never remember where to find.)

ADDENDUM: After the lovely offer to stitch this piece for me, I need to explain that we lost her on Memorial Day weekend of 2008 in a freak accident on a four-wheeler. I have this piece, along with Julia's in my collection of Madeline things - her paintings and other treasures. She left me her two bags of knitting and needlepoint threads in her will, and I had written my will, leaving her the molds we made when we did pottery together, and all the glazes, etc.. She is the child of two lawyers - so of course she had a will at age 13.

Waste Canvas for Needlepoint (A Scallop Shell)

It's time to add a few more major pattern elements, and my idea from the beginning was to add one nice scallop shell.

The first step was to make a tracing of what I'd already done - the coral and the sea urchn, along with the line of the sand. Then, I sketched with a pencil, to make sure of the size, shape, and placement I wanted.

Then I traced, stitch by stitch, onto a piece of scrap canvas, the outline of the shell so it would be symmetric. The arrows are pointing to places I didn't like, so made adjustments when I put it onto the waste canvas.
This is a project that is building a little bit at a time from a pre-conceived "picture" in my head - and I have to be careful not to treat each element as a separate thing, as the "whole" has to work together or become an "eye shattering mess."

Next was to dot the shape onto the waste canvas. I used the Sharpie extra fine permanent marker in blue, as I didn't want black to show through and distract me.

About the waste canvas: This is a penelope canvas that is a double stranded even weave with no discernable warp or weft, although it does have them. With the penelope, as it was used in the late 19th century, (called "Berlin work.") and even into the 1980's, was mainly for stitching backgrounds around preworked centers and in continental stitch. The penelope holds this stitch well, as it has the double strands, but it's still unattractive with the resulting horizontal ridges. Also, the little intersections could be split, and petit point was made for finer detail in the design.

I first saw waste canvas in about 1985, as it was a thing for counted cross stitchers. They were using it to stitch little motifs from charts onto T-shirts, Sweat shirts, etc. - even little blankets and such. It's very very thin and flimsy, as it's sized only with water soluble glue, and can be easily pulled out when the work is finished, leaving the stitches in place.


Many years ago, I helped a customer put a set of Mah Jong tiles (three to each corner) onto a velveteen card table cover. On 18 mesh canvas, even, they would have been too thick to finish by sewing them on - so we pinned the canvas onto the velveteen - she stitched it, and then with pliers and some very bad words, we pulled the canvas threads out, one by one, and Voila'!!! The effect was stunning!

Remembering this is what led me to decide to raise this shell above the surface of the needlepoint background for more effect. I hope it works! If it doesn't, you won't hear about it again. We shall see.



















The last photo shows the waste basted into place and ready to stitch. At this point, I switched to a chenille needle (#22), as it requires the sharp point to go through the fabric of the needlepoint background.

Growing Coral with Memory Thread (DMC)

I have been terrified of starting this thing - but took the big plunge (not a pun, please) and started out with the Memory Thread to create branch coral. I have felt, since I first saw this thread - new for DMC - that I could do more with it than simply embellish a surface with tacked down coils. I do intend to do that soon, though, on some traditional Christmas ornaments, and looking forward especially to the effects of gold and silver.

Anyway, back to diving and watching the coral reef develop.I have studied many many photographs, and started "seeing" classic embroidery stitches in and among the growths around the reefs. Enchanting - the shapes and colors are almost endless.

My first thought with the Memory Thread (and I'll still do it) was to make the foundation of the sea fans with it - but then started seeing fern stitch and buttonhole stitch in various coral formations, so felt that was perfect for this first piece. The color is #6150 Orange.

The ladies at DMC were gracious in sending me their instructions for using Memory Thread - which involves making a bit of a hole in the work for inserting the thread. It's actually very soft thread wrapped copper wire - and will not go through the eye of a needle.

Although usually all the work with it is done on the surface, I was determined to do this Fern Stitch to make coral - so had a bit of a struggle at first. I made the holes with the large #20 tapestry needle - the eye - and then pushed the end of the thread through the hole, starting from back to front. All it takes to anchor it, is to bend a little bit on the back, and it won't go anywhere.

I had to come up from back to front, and push enough of the ravel through the hole to pull it on through with my fingernails - and then go back down by doing the same thing. I won't begin to say it was easy, but as I felt my way along, I figured it out - and do like the effect very much.

I have always used a nail clipper for cutting threads, as it's much easier and neater than scissors - and it was especially good for cutting the Memory Thread.

I had to snip off the end occassionally, when the ravel was too much, but some ravel is what enabled me to pull the wire through the stitched canvas.

The little sea critter is made with Thread Gatherer's new Sea Grass -(Peach Essence) and It's wonderful. It's so soft that I couldn't make a sea urchin or whatever much bigger - but I do like the effect and the way it handles. I have other things planned with it also in this series.

I'll work on the other pieces - the water drops - simultaneously, and add colors and elements as they occur to me. I still have the Kreinik metallics and Sharon B's beautiful hand dyed threads I bought from her Artfire Store (Pintangle is her blog).

Another T-Stitch

I thought I might share this version of T-stitch, as it's the only one I've ever seen or used - until recently. It's a great stitch where just a little bit of texture is needed, but not overwhelming. I do these in two colors when drawing, simply to illustrate the "traveling."

The green horizontal is worked first, from right to left, and then the blue back across from left to right. It's extremely easy to visualize while stitching - the blue stitch is made from lower right to upper left, into the "green" stitch, and it forms the "T"

ADDENDUM: I just had an AHA! moment - that Sea Grass will be gorgeous used in T-Stitch! - great texture, I'm sure. If you haven't already looked at Thread Gatherer's web site for the Sea Grass colors - do go there.

BACK TO T-STITCH: I've been using this version of the stitch for about 12 years, and was unaware of another one by the same name. After looking at the ANG version, I can see the "T" clearly - but it creates an "open canvas" background, which is interesting. Maybe we should call them "T-Stich Open and Closed," as mine covers the canvas. I see other possibilities with the ANG version, so have to go play with it a while.

Sea Grass: A New Thread and Coral Reefs (Choosing Colors)

I just received this Sea Grass last week - a new thread by Thread Gatherer that is absolutely "delicious." It is 100% cotton, and looks like tiny little raffia, but very soft. I'm really anxious to work with it and see what possibilities for special effects it has.

The timing is great - not only because of the name, but this new project I'm working on needs all the help it can get, and the colors and texture of this fiber are very interesting.

















I've begun to research plant life growing in the ocean, and am amazed at the diversity - and the colors!. Unbelievable life under water, and especially around the coral reefs. I"ve studied the critters, but never the plants - as I thought it was all just lumped together as "sea weed." A whole new course of study!!! Anyway, I have two of the water droplets ready to embellish, so hope to get started on that tomorrow.
I finished the round one, including the sand - I used Nobuko on the bottom part, as it really needed some texture on which to place a few shells.

A sea fan or two will grow out of the banked up sand on the left, (DMC Memory Thread) so I worked it in basketweave. You can see the difference in the way the light hits the surface of the floss - I used 712 on both areas.




The "needle shaded" blue tear drop will be next - I haven't really decided definitely the colors for the underwater scenery, as there are lots more choices - including the DMC Satin floss I intend to use - these are just kind of getting me started.

The sand under the water on the slender water drop is stitched in T-Stitch. I'm seeing a lot of this stitch worked differently from the way I learned a number of years ago - mine is over two stitches, so covers the canvas - an effect I prefer.

The last photo is the fat water droplet with the concentric circles (Anne's suggestion) drawn to mark the boundaries for the needle blending.





















My first attempt on this piece was to be clever and do a textured stitch on the water, as I see on photographs taken by divers that there is a lot going on down there - but it looked absolutely AWFUL, so I took it out. I think I was just trying to get it done in a hurry so I could move on to the fun stuff. Oh well. Patience. More in a day or two.

Liz's New Web Page: Bargello and Counted!!

Congratulating Liz Morrow on her new web page - this one is going to be very tempting! I wanted to show her off and share the great things she has and will have to offer needlepointers who want good things - tasteful and beautifully designed pieces, and easy-to-understand instructions to go with them - go take a look at LIZART Original Designs!

I chose to show three of her counted designs that I hadn't seen before - I'm not a "counted" person, but do like these!!

Of course her Bargello is unequaled - and there will lots of that for us to enjoy.

Beads and Plaid! AHA! (and coral reefs)

The big "AHA!" is because I found the piece I started long ago for an evening bag - a pretty jazzy one! ( I was looking for something else, and stumbled upon it ). The swatch with this plaid is on my Freebies blog - and only shows it worked with silk threads.

This one was begun after I discovered the joy of the "beaded solid" effect due to a happy accident. It's stitched with DMC floss - and colored, sparkly beads from Sundance in the colors of the plaid.

This is adapted from an upholstery fabric I saw in a magazine - so easy to work with one.

The warp was stitched with the cotton first, and then the weft was begun with the beads. This was several years ago, so I have no idea in which layer in the "sparkly stuff" bin they might be found. I do remember that the two gold stripes were worked with YLI Ribbon Floss in the Honey/Copper blend - one of my favorites. It has a bit of sparkle on its own.

BTW: If you click on "beads with needlepoint" - the label - I have 68 posts about using beads on this blog - enjoy and learn! I find it rather addictive.

Here, I'm showing the "tools" of starting the new project. My mentor and instructor in this thing suggested that I use a compass (had the audacity to ask if I owned one), as it would be useful in drawing a series of concentric circles to trace onto canvas to start the shaded water on the droplet. She graphed two sides and sent them to me - the graph looks like a water drop with a toothache, but it worked beautifully to make two different drawings.

Next, of course, I checked the supply of DMC floss to choose just the right colors for water in a coral reef. Have you ever really thought about the shades of blues and greens of the ocean? Beautiful!! Creating or being aware of art really opens the eyes to the beauty around us. As Emily Dikinson said, "To live is so startling, it leaves little time for anything else."

Finally, I settled on a choice of color for the fat droplet - I made two of these, and just elongated the sides of one of them to give me more room.

On the other, I made three vertical lines (dots on the weft) to insert clear beads later that will resemble bubbles. I'll use the smooth ones rather than the hexagonal, as I don't want glitter here - just bubbles.

I think at this point I may be practicing creative avoidance, as I'm terrified of beginning the surface enhancement (after stitching the backgrounds, of course) - the seaweed/branch coral /sea shells/starfish, etc. etc. - and sea fans made with Memory Thread and Satin Floss. Maybe even a tiny, colorful fish or two stitched on the surface with waste canvas. Oh My!!

Beads with Needlepoint (and a Plaid Egg)

I was working on the plaid egg last night, and was thinking that if I hadn't been stitching this to illustrate setting up and using a plaid pattern on an actual project, I would have incorporated beads into it. (my favorite thing).

A number of years ago - probably six or eight, I was fooling around with plaid again, and one day was bored with the heart I was working on, and decided to see what would happen if I used beads on the weft (as it is on the "dips" of the canvas weave) instead of thread.


















What a surprise when the result had a spectacular resemblance to a surface beaded "solid." I had previously only used beads in tiny spaces - such as little round things or "jewels" on patterns, as they clumped up and were uneven on the surface. As I like to use beads as part of the needlepoint itself, this wasn't acceptable, and wasn't really very pleasant to work.

I was so excited that I never finished the little heart - but moved on to the next thing: Another heart in "gingham" in two colors and white. (didn't finish it either, but it's a great illustration.) By working beads into the fabric of the needlepoint this way, they become part of it, and the surface is smooth and uninterrupted, as beads placed on the warp "bumps" will stand up and wobble.

Of course more fun experiments happened - and one of my favorites was the hat inset I worked for Vikki Pinson (who is a fine milliner, as well as a world class finisher) with leopard spots. I used the Sundance black hex beads for glitter, and then just used the different pattern on the background - widely spaced - with beads that gleam softly rather than sparkle.

Incidentally, one uses size 14 beads (When using Sundance) on 18 mesh canvas, and size 11 on 13 mesh.

I have since made giraffe and zebra print napkin rings and bracelets with this technique - and also, several years ago, cuff bracelets with "lace" and flowers, with matching earrings. Lots of Possibilities here!!

"The World is so full of a Number of Things, I'm sure we should all be as Happy as Kings." (Robert Louis Stevenson, "A Child's Garden of Verses.")

ADDENDUM:There are napkin ring and bracelet patterns on Freebies, and my BEAD book is now in E-Book form on my web page, Elegant Whimsies, divided into two chapters.

A Stitch by Any Other Name.........(in needlepoint)

I've been working on this one, and have now gone all the way to the bottom of the sea. I have to remind myself that it's just an experiment in developing a new idea, as I'm not totally happy with the abrupt change from medium values to dark, as I switched colors and ran out of room. I think it would have been a lovely transition if it were on a bigger space. Oh well. It will be covered up by sea fans, etc. anyway.

By running out of room, I mean that I had made two "ripples" with each change in the number of plies used - but only one when I started the last two shades, which were the teal/greenish.



















I think the reason I was determined to do this shading on a diagonal, is that I was loving the photographs I saw taken by skuba divers when I was researching sea fans. Upon further study, I discovered that sea fans grow perpendicular to the current, so as to ensnare micro organisms for food. This could account for the angle of the light to dark of the water.
Before reaching the line of the sand, I made a stopping place of tent stitch, as I do not like the appearance of textured stitches that are placed against each other without it - they look incredibly messy. The upper "slope" of sand will be in basketweave, as it's an anchor for the sea fans and coral, so doesn't need the "outlining."

In the third photo, I'm showing how this stitch - whatever it's called (I made it up for this project, but I feel sure it's somewhere in a book or two with some grand sounding and complicated name) developed into something surprising that I could utilize to keep track of the progression of the shading.


Also - it demonstrates why a good knowledge of basketweave is essential. Coming DOWN the canvas from upper left to lower right on the WARP gives this appearance - a little sawtooth edge. Then, going back up - on the WEFT - it fills it in almost solid, so give a kind of watery ripple effect. I found that I had done two "ripples" or ridges each for the two aqua threads, but when I got to the darker greenish teal ones, I was running out of room - and in a hurry anyway - so only did one each. This accounts for the abrupt shading down to dark.

In the fourth picture, at the upper left, the arrow points to the first ridge in which I changed the ply count to 3 light, and 1 of the next shade to begin the blending and shading. The next arrow points to the WEFT - the dip - where one travels back UP the row. You can see how easily it fills it in.

On the lower right, the arrow points to the tent stitch separating the texture of the water from the intended Nobuko that will be the sand at the bottom of the sea.

The last photo shows the sand begun in Nobuko stitch, which makes it look much lighter than the sloping part - due to the light striking the long stitches and making them brighter, whereas in basketweave, in the same exact thread, they look darker and duller due to the light being broken up. It's amazing what one can do with just one kind of thread! The arrow on the left shows where I began the tent stitch outline of the circle, as it's necessary here to confine the Nobuko stitches neatly.


I think the next step here is to put it away for a little while, and start making some sketches to use to remind myself not to go totally nuts when beginning the coral/sea shells/sea fans/seaweed, etc. (and maybe a little brightly colored fish or two) I am prone to get excited and want to put all of it onto one poor little 4" ornament. One must develop patience.

Shading with Thread (Needle Blending)

I have watched Anne Stradal (The Cape Stitcher) do this with rapt attention for quite some time, and finally, with her encouragement, decided to try it myself - and I will tell you, it's addictive! She does hers on skies behind the lighthouses, but mine are intended for underwater things - coral reefs, etc.

I've studied many under water photos, and decided that my water needed to shade from light down to dark, and on a diagonal instead of straight down, as on the skies. This is a background for some sea fans, branch coral, whatever it strikes me to include when I'm done.

I just pulled out a 4" circle I already had drawn - stitch counted for symmetry, of course, and started stitching basketweave at the upper right. I decided in a hurry that it would take too long, and I'm impatient at this point, as I want to do the first sea fan with Memory Thread.

So - I'm stitching over two stitches instead of making a single "tent" stitch, but in a basketweave format. This probably has a very grand name in a book somewhere, but I'm unaware of it - and I was actually rather pleased that it looks kind of ripply. Having pulled out a skein each of 597 and 598, I started - and was amazed at how the shading progresses. Awesome!.

I don't want to go in to the particulars about the needle blending (I've decided to name mine "thread shading.") as you can go to Anne's blog and look at hers - she explains it very clearly.

When I finished with the darker shade, I still had about half of the water area to fill, and decided to try adding even more - and get darker, but a little bit green. Hopefully, I have calculated (mentally) correctly, and will have room to end with the very dark greenish teal. I'll show it tomorrow if I get it finished.

The skein of 712 is for sand, which will be a background for some coral and maybe a tiny sea shell.

Incidentally, this is how an idea becomes a design sometimes. I've seen this in my head for several months, and finally decided it needs to be done. If it's a mess, I'll just throw it away, sulk for a while, and do something else.

A Lighthouse on Lake Michigan (in needlepoint)

Anne Stradal (The Cape Stitcher) has a new lighthouse on her blog, which she'll begin stitching soon - so be sure to see it. These are always enlightening as well as very entertaining, and I look forward to them, myself. This pretty one is "White River" - located on Lake Michigan, and complete with history, as always.

Also, don't miss my article in the current Needlepoint Now about her and her work, and how she started designing the painted canvas - she wrote most of it for me, as she tells the story so well.

DMC Memory Thread and Satin Floss: New Colors!!

What a wonderful treat it was on a freezing and gloomy day to find a box full of gorgeous new threads- new colors in the Memory Thread (along with some old ones) and the new Satin Floss colors, which I have eagerly awaited!!

I'm enjoying the Satin Floss, as it has such a fine "high shine" in texture, and, as it is in the same colors as the cotton floss and pearl cotton, can be used so easily with those to make interesting effects in texture. Until these new colors were produced, however, they were limited to only about 24.

The new Memory Thread colors are really nice - and I'm quite motivated and inspired now to try them out on things like eggs and ornaments - seaweed maybe on a little underwater coral reef vignette. Hmmmm later.

ADDENDUM: It has just been called to my attention that DMC now has a really fine, informative, and fun blog - see it, written by "Emma Broidery" (is that not clever?!! LOL) HERE.

The Truth about Gingham (via Needlepoint)

I saw this pretty fabric as a patch on a quilt somewhere on the internet, and thought it was interesting that it has one more element added to what we normally think of as "gingham checks," as it has yellow added to what we usually see as just one color plus white. (which makes a lighter shade of the color where it crosses the white) I decided to adapt it to needlepoint to show what an easy thing it is!

People have asked what is the difference between "gingham" and "plaid." Gingham originally came from a Malaysian/French word meaning "stripes." Later, it came to mean a cloth made of cotton that has been dyed before weaving instead of being printed with color patterns afterward or dyed after it's taken off the loom whether or not it has stripes

.

"Plaid" is derived from a Gaelic word meaning "sheep skin," which is logical, as the early fabrics in the region where the plaid was first found (Scottish Highlands) were wool. The word "tartan" is applied to numerous textile patterns consisting of stripes of varying widths and colors, crossed at right angles against a solid background - each forming a distinctive design. It is these patterns that have been adopted by individual Highland families as their own - and now, even different countries and states in the U.S.A. have their own tartans.

In this era, "plaid" is the name applied to the tartan patterns, so gingham is actually a woven plaid - a very simple form. The Rob Roy family tartan is a "giant" gingham check, as it is composed of two colors only, red and black, in large stripes of equal widths. In my mind, the term "gingham checks" means those pretty fabrics we used to wear ourselves as children - and I delighted in sewing dresses for my daughters with "baby gingham." The fabric was, again, just one color plus white, with a lighter shade of the color where it crossed white in the weave.

Anyway, on Freebies in a little while, I'll do a post on setting up this simple plaid, as it's a foundation for doing more elaborate plaids (tartans, to be correct), and you can see how very easy it is to do. Remember that there is more to creating plaids than just "setting them up." When using them for individual projects, the size and scale must be considered - one wouldn't want to make a large pillow border with tiny little checks!! Also, you can see how easy it is to just widen or make narrower a stripe, add another color or two, and create your own original pattern!!

ADDENDUM: I do have a book on this, available on my web page, Elegant Whimsies - and very soon to be an e-book you can download for yourself.

Needle Threading 101: How to Thread a Tapestry Needle

After so many years of threading tapestry needles with all kinds of threads, I take this action for granted, and it's one of those things I don't even think about - an automatic thing.

Anyway, I've had several people ask me about this lately - people who are brand new to needlepoint stitching - so I've posted a little tutorial on Freebies, Etc. - do go look if you have trouble with it. It's a simple thing.

As always, I do whatever is simple and effective - no waxing the ends, using Fray Chek or glue, nothing complicated. (and no fuzz in the mouth from licking the end of the thread as we used to do with sewing thread)

An Egg with Memory Thread! (DMC)

A fun surprise this morning - I received this picture from Liz Saylor at DMC. She found the egg, which I had discontinued for painting several years ago, on the web page at The French Knot in Fort Worth, and asked if she might use it - surprised me! I tried to talk her into using something else, but she insisted - and I am amazed at what she did with it.

It's worked with DMC Satin Floss and the Memory Thread, in a most imaginative way. Great stitching! The Satin Floss has a high shine, and is actually very easy to use, as when I use it, I double two plies for 18 mesh, (to make a 4 ply thread) and make a slip knot against the eye of the needle.

Anyway, she's taking it to market this coming weekend at Long Beach - and will show new Satin Floss colors and also the Memory Thread - which I need to try out myself. It adds some fabulous dimension to this design, I think.

Liz says for anyone who is attending this market, their fun and beautiful products (and my egg) can be seen in Booth #1754. I think she is handing out patterns for working it - charted things.

Plaid in Bittersweet!

I have had this ready for about two weeks, but had other things to do that I was very slow finishing. I have started some tutorials on the other blog (Freebies, Etc.) about creating plaid patterns, and also planning projects with it, as I'm working on putting my PLAID book into e-book form on my web page.

This is a very very simple plaid, in only orange and red - with elements of white to cool it down. My great grandmother, who lived in Missouri, used to send us a big box of bittersweet from her bushes around her house when I was a child - I loved it! Also, this might be called "pimiento."

Anyway, it's an example of how a simple plaid can be set up for a specific project. This was for a pad on a little footstool my aunt had in her house - hence the curved sides and top. I've been researching Scottish tartans, also, from a very old book I found among her things on this subject - very in depth and fascinating! I say "very old," because it was first published two years before I was born. That classifies it as OLD, but not yet antique. The copy I found was an edition published when I was in college - so it's still "old."

I stitched the Donaldson plaid several years ago for a tote bag, but now can't find it - it was in my favorite blues and greens. One interesting thing I learned is that there can be different color schemes for the individual tartans of different clans, but basically the Sett pattern, which is the area of design that is repeated to construct the Tartan, remains the same within a clan. That is, the pattern is distinctive for that family - but there are hunting plaids in different colors, etc., and now there are even plaids for U.S.A. states, and for Canada and other places.

I even found a Texas Bluebonnet tartan - which captures the kind of purplish blue and bit of magenta and white in these flowers - I want to do something with it, of course! Later.

By the way, the Emperor Marcus Aurelius (one of my favorites besides Emily Dickensen and Ogden Nash) said "the principle that keeps one in everlasting ignorance, is contempt prior to investigation." I know some of my methods are different from what people are being taught now - such as using numbers for some reason to create plaid, or starting in the center and doing horizontals first. ( not a good practice, as it distorts the canvas)

Please feel free, with anything of mine, to try both methods and see which you enjoy, and which is easiest and most effective for you. I strive for simplicity via common sense - and most of my things are just that. If it's tedious and complicated, needlework doesn't fulfill it's purpose. A creative hobby should be pleasurable and relaxing.

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!!