Did I mention that Embroidered Flowers for Elizabeth by Susan O'Connor is out? And that I want it?

I'm not a book-comings-out watcher, normally. There are very few embroidery books on the market whose arrival I anticipated before the fact - a couple Jane Nicholas books, perhaps, (Medieval Flora being one), but that's about it. Oh, yes. I'm glad to hear certain books are coming out, but I don't write them down on my calendar and wait and watch. And wait. And watch.

Susan O'Connor's Embroidered Flowers for Elizabeth is one of the exceptions, and I'm happy to say that......

IT'S OOOOUTTTT!!!!!!



The book is published by Country Bumpkin - the folks behind Inspirations Magazine (the newest issue #65 is wonderful!) - and right now, the only way to get your paws on it is to order it from Australia. I'm sure it will eventually be released worldwide, but for now, it's hovering Down Under.

Lo! A strange feeling creeps over me! It is one of determination. I must order the book, and I must order it from the Antipodes. (Actually, it's not "determination." Wrong word. It is sheer covetousness, and you'd think I'd drum up some virtue and get over it, but....)

It's true - I haven't ordered mine yet, and the book has been out for a couple weeks. You see, there are two drawbacks to the CB website: 1. They don't take Paypal for international customers, and some debit cards don't work for overseas orders, so unless you're a credit-card person, you have to devise another way to order; 2. The shipping is - whoa - high, but they can't help that. And I suppose every time I order from CB, I don't have to go browsing through their website finding all kinds of other things I want to order, which only increases the cost of shipping, not to mention the cost of the order.

Ok, enough about the mundane details behind this maniacal need for hobby-related goods.



The fact is, without having even seen it, I know this book is completely up my alley. It is ... it is Me. I realize it wasn't written with Me in mind, but it is really my kind of book, my kind of stitching, my kind of inspiration, the type of embroidery I really love to do and love to look at and love to plan to do and .... just.... love.



And hence, I have waited. I have anticipated its arrival. I have planned. I have saved. And I will purchase!

If you haven't seen the preview for this book yet, do visit the Country Bumpkin website and flip through the Flash preview of Embroidered Flowers for Elizabeth. Try not to become twitterpated, or you'll be in the same boat I am.

I'll review the book more thoroughly once it's in hand! In the meantime, if you've had the opportunity to see it or buy it, what's your take? Will we like it??

Labels: book review, embroidery resources, Inspirations Magazine, long and short stitch

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Posted By: Mary Corbet on Tuesday, February 09, 2010
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Last August, I showed you a wonderful collection of Society Silk (aka Silk Art Embroidery or Needlepainting) pieces that I received from a reader, along with a bunch of threads that belong to this historical embroidery movement that spanned the end of the 1800's through the beginning of the 1900's. This morning, I found an informative comment from Donna Cardwell, author of the book Silk Art Embroidery and the website The Society Silk Embroidery Collectors Club.

The comment that Donna left on the original post about Society Silk Embroidery is well worth reading, so I wanted to highlight it here, since last year's August article is probably pretty obscure right now.



Society Silk (or Silk Art Embroidery) was an embroidery style popular from the mid 1880's into the second decade of the 1900's. On her website, Donna narrows the dates down to 1877-1912. The style featured typical Victorian designs, especially of flowers and vines and so forth, stitched with silk on linen in long and short stitch. The technique was taught to women in America in order to give them a source of income. You can read all about the history of the technique at the Society Silk Embroidery Collectors Club website. While you're there, do make sure you visit her picture gallery of Society Silk pieces - it is well worth a lingering browse!



In my original article on the Society Silk pieces I received, I wondered about a few things: the difference in types of linens, the types of threads, whether or not the linens would wash up. Donna was kind enough to supply the following extensive answer to my musings:

Hi Mary, what lovely pieces. I was just wondering what you decided to do with them as far as washing the spots out. My experience has been that the pre-printed designs were made to wash out in the first wash ~ I don't think they will still be there if you try to immerse them in anything resembling soap and water (or even just plain water).

In my research for my book (Silk Art Embroidery, A Woman's History of Ornament & Empowerment), I purchased many, many pieces just like this that had been worked but never washed, and you could still see the design under the floss. When soaked, the design comes right out.

As far as the patterns themselves, the ladies could purchase the linens to be worked with the design already stamped; buy a Stamping kit and either copy the patterns from the many embroidery books; or they could design their own pattern and stamp them on whatever type of linen they wished. Some of the companies also offered them for sale at a higher price with the embroidery already started, which could explain the partly done embroidery on some of your pieces.

You are correct that the pieces could be purchased with the drawnwork and/or hemstitching already done. This was especially true of the smaller fine white linen teacloths that were so popular for teatime. I have several catalogs from which dealers actually purchased their stock of items to sell, and there are many different types of pieces such as this.

Also, the difference in the fabric and the designs is because in the beginning of the silk art embroidery movement in America (in 1877), fine white linen was the norm for most of the table linens. Closer to the end of the approximately 33-year period (1877 to 1910-1912 or so), they began to use the coarser, heavier fabric. They called the different fabrics "ticking," "brown burlap,"� "grey crash," "Tan Art Cloth,"� to name a few. The designs also turned away from the pure realism of the beginning time period to include more abstract "Arts & Crafts" and "William Morris" type motifs. In many cases, these linens were also shaded so that the volume of embroidery necessary to finish the piece was much less then from years past. Often they only worked the edges of these designs.

Also, they offered MANY different types of floss and the motifs look totally different when worked with differnt types ~ Richardson's sold "Filo," "Sicilian," "Grecian," "Rope Silk," "Wash Embroidery Twist," "Honiton Silk" (especially for use in Honiton Lace work), or "Mountmellick Silk." There are also different sizes of silk floss for different types of items ~ something that was used on the table had to be more sturdy, while a piece made to frame (which came into popularity in 1901) could be a little less sturdy and therefore more delicate floss could be used.

Ecclesiastical embroidery was very popular as mentioned, and though I've seen many patterns in the embroidery books, I've only seen one piece in real life (which I found after my book was published, so it's not in the book). I'll post a picture of it on my website if you would be interested in seeing it. [It's on the home page and also in the photo gallery - a gorgeous piece! MC]

By the way, many of your pieces have the very popular motif of maidenhair ferns stamped on them. Also, all of these are table linens. It was very common to purchase them in sets for the whole table. They consisted of a centerpiece and matching doilies.

Hope some of this helps. If I can answer any more questions, please feel free to contact me. You can do so through my website, www.societysilkembroidery.com.

You'll find Donna's website, Society Silk Embroidery, an informative and beautiful resource for those interested in this period and type of embroidery. Do stop by there and visit! And thank you, Donna, for the informative comment!

Labels: embroidery resources, historical needlework, needlework pictures, silk

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Posted By: Mary Corbet on Monday, February 08, 2010
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Why not embroider boxes? This is a good question! And it also happens to be the title of a book on embroidered boxes. When I started contemplating making an embroidered box, I knew I'd have to do some research first, and then I'd have to figure out techniques. Little did I know that two books existed that are particular suitable to the topic. The first I've already reviewed - Making Hand-Sewn Boxes, by Jackie Woolsey. This second book is called Why not Embroider Boxes? by Daphne Ashby and Jackie Woolsey.

Why not Embroider Boxes? was somewhat hard to find here in the States, but it is available through used book sources online, so I tracked a copy down. The book is the collaborative effort of embroiderer Daphne Ashby and box-maker Jackie Woolsey. I heard from Jackie after reviewing her book Making Hand-Sewn Boxes, and she told me about this book which she thought would be more tailored towards fulfilling my quest for embroidered-box instructions. She was right! It's a great a little book, and perfect for the ideas that are gurgling about in my head.



The book is small - 6" x 8" - but packed with good content, including instruction not just in box assembly but also in embellishment.



And hey, look! It's spiral bound! I love instructional books that are spiral bound. The book begins with instruction on basic box making. If you happen to have Making Hand-Sewn Boxes, this section is a bit repetitive, but it's still essential for the book, and it's always good to re-read initial instructions before launching into projects, anyway!

Keep in mind, though, that the projects and the types of boxes within this book are not the same as those featured in Making Hand-Sewn Boxes. Each box in Why not Embroider Boxes? is different from those already covered in the previous book.



For each project in the book, we're given instructions on making the particular type of box, and then instructions on making embroidered embellishment for the box.



The embroidery design is given in the book, as well as instruction on the completion of the embroidery. Some of the embroidery is perfectly suited to beginners, while some of it is directed more for those seeking a challenging project. This stumpwork lily pad and dragonfly design is gorgeous and would be terrific for anyone who is keen on stumpwork.



Notice the coordination between the fabric on the box and the design on the embroidery. Most of the box projects in the book are created this way - the fabric is chosen first, and then coordinating embroidery motifs are designed for the embellishment of the box.



I love the variety of the boxes in the book. Details are given on how to make stays (that keep the hinged lids from flopping all the way open), dividers and hinges, all necessary components of this more complex box, which would be ideal for stationary and writing supplies.



Note the coordination between the two flower motifs and the fabric on the box carcass.



For many projects, the embellishment is something added separate from the actual covering of the box. In this case above, two little medallions are embroidered to match the fabric covering the lid and the rest of the box; then the medallions are sewn onto the lid fabric. While I'm more inclined to want the whole cover embroidered (or the whole box, for that matter!), I do like this treatment a lot. I love the way the little medallions pick up the fabric.



Honey, anyone? The bee box features honeycombed panels on the sides (canvas work) and stumpwork bees populating the surface of the box. I like the hexagon shape of the whole piece.



And I just had to let you know that there's a rooster in the book.

There is.

I can't get away from them!

If you're considering making an embroidered box, this is probably a book that you'll want to have on hand! Look it up through used book sources to see if you can grab a copy! You'll be glad you did!

Labels: book review, embroidered boxes

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Posted By: Mary Corbet on Sunday, February 07, 2010
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Last weekend, I was thrilled to be within finishing distance of my current crewel embroidery project, The Crewel Rooster. Between me and the Finish were many, many French knots. But the Finish was in sight! And, oh, that delectable anticipation of Finally Reaching the End! But... you know. Things don't always work out the way we plan. Here's my week-later update on The Crewel Rooster, which isn't finished at all, and which still requires lots and lots of yucky knots. (See how my attitude has changed towards the French knot?!)

French knots are not really yucky, I suppose. I just under-estimated the time it takes to work that many French knots, and, as it turns out, I haven't had a lot of time for embroidery this week.

I have, however, moved on to the second flower and adjusted the color layout somewhat. I'm still using Renaissance Dyeing wools - wools dyed with pure vegetable dyes - and I'm really enjoying working with these threads. They're quite nice. The colors are the same used in the first crewel flower, but I've re-arranged the location of the colors on the various parts of the flower.



The stitching is the same - the buttonhole scallop around the outline of each petal, the petal filled with French knots, and then a detached buttonhole stitch worked around the very edge of the petals.

For the colors, though, I went with the mid to lighter tones on the scallops and the filling, and then the darkest tone as the "ruffle" around the outside of the scallops. The dark red will also be used for the stamens and the round things at the very top of the flower. I like this color layout better, personally. The dark on the very edges blends better with the buttonhole scallops, so the individual buttonhole stitches don't stand out as much, making the stitching look neater over all.

But, hey. That's just my opinion! What's yours?

I am determined to finish the rooster project this weekend, come hell or high water or even something more exciting, like a place to go or people to see. No, no! I shall be a hermit and git 'er done. It's time to move on to a new project. Multiple projects all at the same time, actually - but more about that later!

Enjoy your weekend! And keep your fingers crosses for me!

Labels: crewel work, Embroidery Projects, needlework pictures, pictures, wool

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Posted By: Mary Corbet on Saturday, February 06, 2010
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Speaking to a friend and fellow stitcher a couple weeks ago, the subject of crewel embroidery books came up. I'm always befuddled when the titles of embroidery books and the names of needlework authors pop into the conversation. Truth is, they always sound familiar. But I suppose that's because there are only so many titles for books about embroidery, and when you get specific (for example, a book about crewel embroidery), there's a good chance the same words are going to be used in the title somehow. So, whether you're looking for Crewel Embroidery in England or The A-Z of Crewel Embroidery, or even The New Crewel - it's a safe bet that the word "crewel" is going to occupy part of the title!

So, given the proclivity for needlework book titles to all sound similar, and given my completely disorganized needlework library, it's sometimes difficult to know for sure if I have indeed seen a specific book, or worse, if I own it. When the book Crewel Embroidery in England by Joan Edwards sauntered into the conversation, I couldn't say for sure whether I was familiar with the book, whether I had actually seen the book, or whether I owned it.

As it turns out, it sounded familiar. A quick Google search revealed a photo of the cover, and my memory kicked in. Familiar? yes! I'd definitely seen it! Who could forget that big monster lion growling on the front of it? But did I own it? Hmmm.... that took a little more work. Foraging through shelves packed two deep and two high with needlework books, I discovered that I did own this gem of a book. But I hadn't yet discovered it was a gem.



Crewel Embroidery in England by Joan Edwards was published in 1975, so if you want to read it, your best bet is to look online through used book sources or to go check your library to see if they have it available.



My copy is, sadly, a library reject. While I love getting books for a great price (I paid $1.50 for this one), it's kind of sad to know that the book isn't available in that particular library for anyone who might want to use it. The fact that it was at a library book sale demonstrates that it had lost popularity with patrons. *Sigh* If they only knew what they were missing!



The author begins with the history of crewel embroidery in England, starting with the famous Bayeux Tapestry. Crewel embroidery, you see, was around a lot earlier than that style of embroidery which we call "Jacobean," which came into fashion under James I of England, in the 17th century. "Jacobean" comes from the Latin name Jacobus, which is James in English. Jacobean refers to a style of embroidery design, and crewel embroidery is not synonymous with Jacobean embroidery, though Jacobean designs were often worked in wool. Crewel embroidery is simply embroidery worked with wool, or predominantly with wool. The Bayeux Tapestry, worked in the 11th century, was embroidered in wool, so it fits comfortably into the category or wool embroidery.



Spattered throughout the section on the early history of crewel embroidery, the author includes black and white drawings of sections of the Bayeux Tapestry. For historical embroidery buffs, these drawings would easily transfer into terrific designs.



Moving into the Jacobean look, the author presents pictorial samples of different historical embroideries, and accompanies these with line drawings of the different elements within the samples. Next to the line drawings, she includes a magnified section that shows the stitches used is the particular element.



These line drawings of the different motifs found in the historical samples of crewel work abound throughout the book, and some of them are quite humorous. Imagine the embroiderer sitting at the frame, concocting different creatures to depict in wool - a great opportunity for creativity and a little fun. These little creatures remind me of the odd little elements that the illuminator included in the manuscript, or the sculptor incorporated into the creatures adorning cathedrals. A bit funny, a bit macabre, a bit bizarre - but always creative.



They layout of the historical samples juxtaposed with the line drawings are a terrific catalyst for embroidery inspiration. There's the line drawing - there's the original color scheme. Now, what can YOU do with the design?



Some of the designs are easily imagined in other types of embroidery. For example, with this particular design, a goldwork motif comes to mind. Wouldn't it be grand?



In the back of the book, the author gets down to the nitty-gritty of instruction, demonstrating, for example, how to enlarge or reduce a design by hand, using a grid. This is a good technique for drawing out a design in a suitable size, even though nowadays, computer graphics programs such as Photoshop, or simply a photocopy machine, can take care of this with a bit less time and effort. Still, to work it out with one's own hands does give a clearer sense of the elements in the pattern, and the slowness of the process gives the embroiderer time to really concentrate on stitch, color, and thread choices. Think of it as the difference between hand-writing a letter, which gives you time to really think about what you're saying and how it will come across to the reader, as opposed to whipping off an e-mail faster than you can really consider the impact of what you're saying! It never hurts to try your hand at drawing out your own design, using the grid method.



The quality of the book revolves around the historical information - which is written in a style that is interesting and easy to read and digest - and the design and technique discussions within the text of the book. For actual stitching instructions, the book falls a bit short. There are a couple pages that show the types of stitches commonly used in crewel work (as pictured above), but they don't go much into real instruction on stitching.



Still, the book is a wonderful source of inspiration for those interested in crewel embroidery. Though published in the 1970's, when crewel work enjoyed a notable revival, the book itself is timeless - an excellent study of the history of a technique and the designs and stitches associated with that technique throughout history.

If you're a fan of crewel embroidery or interested in general about the history of embroidery (especially in England), you will certainly find this book worthwhile to add to your collection! Look it up at your favorite used book sources - it can be had right now for a song!

Labels: book review, crewel work, pictures

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Posted By: Mary Corbet on Friday, February 05, 2010
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I was doodling a bit with Inkscape, playing with the new spiro path option, when I decided a hand embroidery pattern for a heart was appropriate for this time of year, St. Valentine's Day coming up and all. (Well, this is what happens when your spiro path ends up looking like half a mangled heart!) This little design, though, would be suitable for any time of year, really. Kids especially might like the design for embroidery on ... well, anything, even clothes.

I titled the hand embroidery pattern "Heart o' Flowers" for various and sundry reasons, one more striking reason being the fact that it is a heart ... full of flowers. The other reason is kind of obscure. When I was growing up, my best friend and I would always say, "In my heart o' hearts...." whenever we expressed a wish for something or whatever. I don't know why we said that, but we did. It wasn't "in my heart OF hearts" - no, that would not be nearly dramatic enough. It was definitely "in my heart o' hearts." This design reminded me of that.

(I was just a kid. Don't hold it against me...)

But in my heart o' hearts, I'm sure you'll find a use for this pattern if you like it. If it's not quite your style, feel free to skip it!



And here's a handy-dandy PDF of the same pattern. It prints about 4.5" x 4.5"

Heart o' Flowers Hand Embroidery Pattern - PDF

Enjoy!

Labels: embroidery design, free embroidery patterns, Hand embroidery stitches

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Posted By: Mary Corbet on Thursday, February 04, 2010
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There are few of us - even the most avid needleworkers among us - who would undertake hand embroidering lengths of fabrics to use for household decor. That's ok. There are companies that make beautiful (and quality) embroidered fabric, and sometimes, it's just downright fun to browse through fabric and textile websites to enjoy a bit of inspiration without actually having to make the commitment to purchase yardage. I mean, we can dream, right? I bumped into just such a website yesterday. A beautiful place with beautiful embroidered fabric that I would love to get my beautiful paws on.

Lengths of embroidered fabric covered with vines, flowers, plants, animals, insects - browse through Chelsea Textiles and take a gander at the delectable offerings!



There are heaps of beautiful fabrics featured on this website, and with most of them, you can click on a link to see an up-close detail.



From simple motifs that scatter over the fabric ground...



... to gorgeous floral bunches - ah! They are all really beautiful!



How would you use this tiled design in household decor? I'm not sure how I would - but oh! Would I use it? You bet! (Ok, maybe not in my tiny house...)



A sofa upholstered in blackwork would be awfully chic. (I'd settle for a little chair...)



Besides hand embroidered fabrics, Chelsea Textiles also carries a line of nice printed fabrics. William Morris, anyone?



And this is a sweet printed design - it would make an excellent embroidery pattern. Check out the knots in the flower center.



Finally, the shop carries pre-made cushions and accessories that are pretty stunning, too.

If you live in London or the vicinity, Chelsea Textiles is having a sale (40 - 80% off) through February. I don't know what that means. Browsing through the website is a lot like looking at a menu without prices. You kinda get that funny feeling that things might be a bit beyond ye olde budget. But golly. Wouldn't it be fun just to see them in person? To touch them?

But even if you can't do that, you can still glean a lot of inspiration from the fabric details on the website! So go browse and enjoy yourself!

Labels: embroidery resources, fabric for embroidery, needlework websites

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Posted By: Mary Corbet on Wednesday, February 03, 2010
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