Posted By: Mary Corbet on Tuesday, November 03, 2009
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I've really been itching to do some goldwork lately, but I've got so many projects already going and several projects that I need to get started on, that all I can do when it comes to goldwork right now is dream. You know how that is, don't you? This one particular design has be besotted...

BibliOdyssey is one of those places I go to get inspired, and last week when I visited, I wasn't disappointed - there was no lack of inspirational stuff floating about the website. This post on The Tudor Pattern Book really caught my eye, and this one pattern in particular struck me as particularly suitable for goldwork.



When considering an picture or design that is not made specifically for embroidery, I usually try to isolate the elements within the design that would work as an embroidered image. So I took this picture from BibliOdyssey, opened it in Photoshop and got rid of the background. I didn't spand a lot of time cleaning the thing up - just a few button clicks - but I did at least isolate the part I like.

At this point, I figured I could trace the image in Inkscape or a similar program, to end up with a crisp line drawing, but instead, I started playing with a couple very basic filters in Photoshop and reduced the image to this:



For some reason, a black and white image is my preferred format for any kind of potential embroidery design. I seem to see more possibilities when I can reduce the image to outlines with a bit of shading but no color.

With this piece, I'm thinking in terms of a combination of silk shading and goldwork.

So what do you think? Should I just chuck everything else and launch into a completely senseless goldwork project?

Oh well! Since "chucking" everything else right now probably isn't prudent, I suppose I'll just stay the present course. However, if I do drift off...

... you'll know what I'm doing!

Labels: embroidery design, free embroidery patterns, goldwork, miscellaneous embroidery musings

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Posted By: Mary Corbet on Thursday, October 29, 2009
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Frequently, e-mails show up in my inbox requesting pointers on how to hand embroider text or lettering. Here are a few of the questions on this subject that have shown up in the last couple years:

What stitches should I use to embroider a name?

I'm hand embroidering a poem on a quilt. What type of lettering should I use and how do I stitch it?

How many strands of thread should I use to embroider text on a baby blanket?

I want to hand embroider a baseball cap but I don't know what stitches to use. Can you help me?

I'm using stem stitch to embroider a poem, but my stem stitch looks bad especially when I go around corners. Any ideas how I can fix it?

To answer all these questions and more, I've developed a plan...

... and I plan to work on the plan over this weekend. In the upcoming weeks here on Needle 'n Thread, I'll be presenting some short tutorials on embroidering lettering or text by hand.



Not to be confused with stitching monograms, embroidering text or lettering - especially multiple words - so that it looks good and is clear to read can be daunting. I want to address the subject so that beginners especially can get the hang of hand embroidered lettering without suffering too much grief along the way.

Do you have any questions about the subject that you would like to see particularly addressed? If so, now's your opportunity to bring them up, so I can address them in the tutorials!

If you've embroidered lettering before, I'd love to know what your favorite stitch is for lettering!

What do you think? Will this be a worth-while series of short tutorials? Any thoughts or suggestions?

Labels: beginner embroidery, hand embroidered lettering, hand embroidery information, Hand embroidery stitches, miscellaneous embroidery musings, needlework tutorials

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Posted By: Mary Corbet on Friday, October 09, 2009
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Some of the earliest articles that featured photos of my own hand embroidery here on Needle 'n Thread were two posts that examined a project worked with silk threads on silk fabric. The two articles focused on one half of an embroidered stole worked predominantly in satin stitch and stem stitch filling. The first article featurs close-up pictures of the stole, and the second article featurs a photo of the whole stole.

This past weekend, at the request of a friend, I pulled the embroidery project out again, including the second half of the stole, which has been laced up on a scroll frame, neglected for many years.

In revisiting this project, I've had the opportunity to rethink a few things about it.



This is the beginning of the second half of the stole. In my mind, I remembered being about a third of the way finished with this half of the project. I'm not sure why I thought I was so far along. It's discouraging, actually, to see that I finished so little on the second half!

What slowed me down on this project? Why did I resign it to the shelf?

The first thing that happened was that Life got in the way. I remember frantically applying myself to the first half of the stole, and, after about 3 months, finishing it, setting up the second half, and making a start on it. But it was the middle of the school year by then, and things just got busy. So the project was set aside for a time.

Then, one day, I had visitors, a lady and a little girl. And the lady wanted to see my current embroidery project. The little girl - about six years old - was playing outside when I took the piece down. I looked at the piece with the lady, and had just turned away from it, when the little girl came in. I didn't think to pay close attention to her - her dirty hands were wet and sticky and a little muddy. And she made a bee-line for the frame. Before the thought could formulate in my head (I don't think I got beyond the internal "Noooooooooooooooooooooo!"), she had applied one particularly grimey finger to the fabric and threads, leaving a big, wet, dark spot on both the embroidery and the ground fabric.

Do you know how it is, when you have a "big" obstacle to overcome in a needlework project, and the obstacle kind of takes the wind out of your enthusiastic sails? This was the case for me. At the end of that day, I wrapped the frame up in a cloth, and tucked the whole thing away on the highest shelf, in a box. And it has been there ever since.

But in taking it out again this past weekend, I discovered several things.



First, I discovered that the way in which I originally transferred the design had been a good idea, for the image has withstood the test of time magnificently. On the soft gold silk ground fabric, I had used white dressmaker's carbon. The white, once embroidered over, is not visible at all - even if a little fringe of it is left beyond the embroidery. And yet, it is clearly visible on the silk ground fabric, due to its light white-ness and its matte finish against the shiny silk.

Dressmaker's carbon can be an excellent way to transfer a design on smooth fabric. You can find transfer paper in the sewing notions section of fabric stores. Saral Transfer Paper is a good brand to use if you can find it. The variety packs come with a sheet each of red, white, yellow, blue, and graphite (greyish black). The sheets can be used many times over. If you can't find Saral, Dritz also makes a wax-free dressmaker's transfer paper in five colors. It is probably more commonly available at sewing stores, and the size is actually perfect for a project like this stole, which is long and narrow. It comes in 5.5" x 19.5" sheets.

Though the frame for the stole was wrapped in fabric that rested against the design, and then packed again in a box with other stuff, and put on a top shelf for several years, the design is still crisp and fresh and hardly smudged at all. I'm glad to see that.



The next thing I learned is that I tend to exaggerate in my mind how serious a "flaw" is on a piece of needlework. The wet, dark smudge (that I thought could never be cleaned away) was right here, between these two "petals" on the embroidery. Where is it now? Did time take it away? Or was the flaw not quite as bad as I had worked it up in my mind to be? Whatever the case, that excuse for shelving the project is now completely gone. There was only the slightest sign of a bit of dirt on the silk threads in the top petal. A little scratch with the fingernail, and it was completely gone.



I've learned a lot more about embroidery in general, ecclesiastical embroidery in particular, and individual stitching techniques since I embroidered this piece. In my mind, I recall this piece as being a "beginning" step in my pursuit of serious embroidery. As a beginning step, I somehow had adopted the impression, over the years, that I didn't do a very good job on the piece. But in looking at it (and this isn't to honk my own horn - just to make a point), my satin stitching was actually pretty darned good. Had I convinced myself that it wasn't up to par, as a further excuse not to return to this project? It is Certainly Possible!



I can't help thinking that I might be hard-pressed, now, to replicate this satin stitching!



Finally, there is the question of this frame. When I first started this project, I would've killed for a slate frame (not literally, but...). I looked high and low, here and there, and absolutely everywhere for one. I settled for a scroll frame, because it was the only thing that could accommodate the silk, keep it relatively taut, and roll up the excess fabric.

But in looking at the framed up piece now, I can confirm that I was right about my lousy lacing job. And, on top of that, using masking tape to "finish" the edge was probably just downright stupid (though there is actually about 6" of excess fabric on each side of the design).



In my mind, whenever I thought of this project (because it does still hang over my head now and then, and I think on it with regret...), this lousy lacing job and the tape fiasco were obstacles to completing the piece. But are they, in reality, obstacles? Not really. It would be nothing, now, to take this frame apart, remount the piece on a slate frame using proper fabric edges, and tighten it up to work on it.



Going back to the original first half of the stole, I took some photos of it again. Since that first post on the subject oh-so-long ago, I've had two different cameras, each progressively better, and I've learned a bit about light, and also a bit about photo editing programs.



I can't help looking at images of the original finished half of the stole and asking myself if it would be worth revisiting this project and even finishing it.

But now that some serious time has passed since I shelved the project, some serious issues have arisen that are truly obstacles. Of course, obstacles exist in order to be overcome!

The greatest obstacle is that of thread: the original piece was worked with Au Ver a Soie's Soie d'Alger. Though I had, at the time, purchased enough of the same dye lots for both sides of the stole, over the years, I have used those threads. Can I match them closely enough in order to finish the second half of the stole? Maybe. It is worth looking in to, but can't be done until I visit a shop that carries the threads.

There are several - actually, many - things that I would do differently now, if I were making this stole from the beginning. And this is another obstacle for me! It is more of a mental obstacle, though - which are the worst types of obstacles, because they require overcoming self, rather than overcoming something tangible outside of one's self.

I can't guarantee what I will do with this - whether I will finish it or not. Most of the trivial barriers that I had built up in my head regarding the whole project are gone, but a few serious ones still linger.

So, those are my musings on this project from the past. What would YOU do at this point? How would you come to a decision about whether or not to finish such a project?

Labels: ecclesiastical embroidery, Embroidery Projects, miscellaneous embroidery musings, needlework pictures, pictures, silk

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Posted By: Mary Corbet on Tuesday, September 29, 2009
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Mains & Merveilles Point de Croix is a French needlework magazine that I subscribe to. I often forget what needlework magazines I subscribe to, actually, because needlework magazines are notoriously (and understandably) far-spaced when it comes to yearly output. But the other day, I was reminded of my subscription to this particular magazine when it arrived in the mail. It is a cross stitch magazine.

I've written about this magazine company here on Needle 'n Thread in the past, when telling you about the Mains & Merveilles iron-on transfer collections that are very pretty (and used to be available at Hedgehog Handworks, but are no longer available there...)

Well, the company that put out those very nice iron-on transfer collections (Les Éditions de Saxe) also produces some Very Nice embroidery magazines: Embroidery, Creative Embroidery, and Cross Stitch (my translations of the titles). I only have a subscription right now to the Point de Croix line, having subscribed a little over a year ago because they were running a series I wanted to watch develop. Eventually, I'll pick up the other two subscriptions and probably let this one drop - when the others fit into the budget!

The needlework magazines from Les Éditions de Saxe have a distinctive European flair to them, and they are quality magazines - very pretty to look at, printed on good paper, filled with informative and interesting articles, and featuring a large paper pull out pattern section for all their featured projects. And the projects are generally beautiful. The magazines are printed entirely in French. If you don't read French, though, the content is still worthwhile - the patterns are beautiful, the instructions usually include step-by-step photos, and the pictures overall are simply worth looking at! I'd say the magazines rival Inspirations, as far as quality goes, though they don't have as much in them as each individual Inspirations magazine, and the projects differ a bit in flavor.

Getting back to the latest edition of Mains & Merveilles Point de Croix, three articles struck me in this latest issue (#74).

The first was a project article for these pretty paisley table and household linens that just look fun to embroider!



The paisleys are worked in various pinks and reds, entirely in surface embroidery stitches.



Of course, the color scheme can always be changed to match your own home! I think they're cute, and perfect for a casual, fun setting.

The next article that caught my eye was focused mostly on whitework and drawn thread techniques. As one of their regular features ("Passion Broderie"), this article shows the work of Jocelyne Dubois, who always has embroidery at her fingertips!



The whitework photos that accompany the article are gorgeous - the pieces are so impressive! What a talented embroiderer!



Her edgings are intricate and perfect. And while I don't normally pour over this particular magazine and attempt to read it, I found myself engrossed in this article (accompanied by my French-English dictionary from college days!) I was thrilled to open the magazine and find this article!

But, you know, while these two features excited me more than usual, the publishers had one more thing in store for me when I finished the whitework article. Flipping the page, I came across this layout:



There was a whole feature article on a currently running ecclesiastical embroidery exhibition that honors the work of the Visitation nuns in Europe, dating from the 17th century to the present day. And this being one of my favorite topics - historical ecclesiastical embroidery - I was really excited about this article! Better yet... I've got to go to France! NOW. The exhibition lasts until November 28, 2009, at the Museum of the Visitation (convent?) in Moulins, France. I'm ... I'm so stuck in Kansas, it isn't even funny! Anyway, I'm stuck - but if you happen to be in the area of Moulins, France, through November 28th, I bet this will be an exhibit that will knock your embroidery-loving socks off! Even if you aren't inclined towards the religious aspects of church embroidery, it cannot be denied that it is among the most beautiful embroidery work on the planet. The Visitation nuns were known for their exquisite work - the collection will certainly be worth seeing.

(If you happen to go, may I live vicariously through you?)

So I was really pleased with this last edition of Mains & Merveilles Point de Croix from Les Éditions de Saxe. While I normally just flip through the photos once and note the things that may interest me later (or my nieces or friends), this time, I spent quite a bit of time pouring over the articles and trying to get over my rusty French. It was fun - and it was the first time I really appreciated my subscription to this magazine!

Do you subscribe to any needlework magazines? If so, which ones? What's your favorite? Are you generally thrilled to get them, or do they just strike your fancy once in a while? That seems to be the case for me often, with all my magazine subscriptions (Inspirations, Pieceworks, Sampler & Antique Needlework, and M&M). Sometimes, they just don't grab me, but then suddenly - wow! They bamboozle me with magnificent content, and that's when I most appreciate the subscription. What about you? What's your experience with needlework magazine subscriptions?

Labels: ecclesiastical embroidery, embroidery resources, miscellaneous embroidery musings, needlework magazines

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Posted By: Mary Corbet on Tuesday, September 15, 2009
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Before I realized I really wouldn't have much wall space in the "studio," I started collecting images of art that was textile or needleart-related, with the intention of finding a framable print or two for the walls in my project room. While organizing some of the image files (I have over 60,000 pictures on my computer - it's time to weed some out!), I came across this folder full of collected art images. "Why not share them?" I thought. So here are just a few, grouped by artist...

Here are three artists whose paintings feature textiles or needlework in some way. I especially like faces and feet in art (yes, feet - I don't know why, but I always look at feet in art, when feet are available...)

First up is Bouguereau, 19th century French painter.



This is a portrait of Leonie Bouguereau, and I suspect that's needlework of some sort, although she could have just finished drying a lot of dishes. In any case, despite what she's been doing, she isn't getting much done at the moment.



This is probably Bouguereau's most famous little sewing girl, and I actually do have her matted and framed. I suspect she's sitting on a doorstep, working a little sampler, and people watching. I think she's sweet. And - yes, check out her feet. Barefoot and stitching - what a great combination.



This is Bouguereau's Spinner. There's nothing quite like standing outside the front door with your drop-spindle, trying to look busy. I like the color in this one.



Another Bouguereau... I don't know the proper name of this one, but I call it Mending a Sock. She probably isn't mending a sock, but considering she's barefoot and the thing on her lap looks like a sock, she might as well be darning it. And besides, I suspect her feet are cold. She's wrapped up, anyway. She's got a sweet little face, but golly, is she bored? Or wistful?



This is Bouguereau's Knitting Girl.



No, I admit she isn't doing needlework. But I'm pretty sure she's drawing her next needlework sampler. And she's being rather ornery about it, too. Actually, this is my favorite Bouguereau. Her expression cracks me up.



This is the goldworker (the Gold Embroideress) by Vasily Tropinin, a Russian artist of the late 1700-early 1800's. I would like to find this in a print and have it framed. I like it a lot! I'd like to be able to see more of her workspace!



Tropinin also has a very nice lace-maker...



... and a spinner. But I like his goldworker best.



Mary Cassatt was an American artist at the end of the 1800's - beginning of the 1900's. Mostly in her day, women studied art as something to "dabble" in, in order to be considered "accomplished." This wasn't Mary's plan - she really wanted to be an artist.



Though these are not her most famous paintings, I like them both - especially the first one, with the child at the mother's knee.

And there you have it - three well-known artists who included the needlearts in their own artwork. There are HEAPS more, though! It's really surprising, once you start looking around, how many famous artists painted subjects busy with needlework of some sort.

[Image Source Information: Unfortunately, these have been collected over quite a long period of time, and I didn't always note the sources, but I believe them all to be copyright-free images. Some are from Wikipedia, I suppose...]

Labels: miscellaneous embroidery musings

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Posted By: Mary Corbet on Sunday, August 02, 2009
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Posted By: Mary Corbet on Sunday, June 14, 2009
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A while (a looong while ago - as in almost 9 months ago!), I mentioned the possibility of working through an embroidery project focusing on long and short stitch. My plan was to work through a long and short stitch project, posting tutorials in the form of lessons. If you were with me back then, you can read the original post on my long and short stitch project idea to get the whole gist of it.

I can offer a million and twelve excuses why this particular embroidery project never quite materialized, but it all boils down to the little particulars of life in general, as well as a rather sanguine approach to needlework. I tend to bounce around a bit, and I get caught up in new plans and ideas with a bit too much enthusiasm before old ideas have come to fruition! (Surely you've noticed that about me by now!)

Still, the idea for this particular series lingers in my head, simmering a bit and now and then even reaching a low boil. At one point, I even sketched up a design for the project!

The reason I bring this up now, though, is because I've received a slew of e-mail over the last couple weeks, asking about long and short stitch. I can't help wondering if something long-and-short-stitch-ish is going on out there in the needlework world - a new book I haven't seen, or a new design out, or something? Why the sudden interest, I wonder? Not to disparage the glory of the stitch itself - for anyone interested in surface embroidery, it would be a natural thing to want to get this beautiful stitching technique down.



This is a little flower worked in long and short stitch on a silk sampler I have yet to finish. Long and short stitch is one of the few stitching techniques that can really achieve a nice, realistic shading.



In fact, it was Tanja Berlin's needlepainting kits that really got me into long and short stitch. I love her needle painting projects!



Of course, Trish Burr's various embroidery books that feature long and short stitch enchanted me as soon as they hit the market! Trish has been a very encouraging correspondent, and I really enjoy her work! I've written about Trish Burr's works and books several times here on Needle 'n Thread, and I'm excited to say that there's more good stuff coming from her in the form of kits to be released soon. I'll keep you updated on that.

After working for a couple weeks now on a counted cross stitch sampler, I'm itching to get into some needle painting again. I think the e-mails about long and short stitch have served as a bit of a prod, too.

My plan, then, is to resurrect this long and short stitch project plan. I've started taking notes and organizing short lessons, but I wanted to poll the audience to find out what people would really like to see in a series of lessons focusing on long and short stitch? The way I see it is this: I could work from the very basic, for first-timers, through more complex forms, or I could just focus on the difficulties that people experience with the technique. What's your opinion?

It's necessary at this point to mention, too, that I'm not Trish Burr or Tanja Berlin - I'm no pro! But I have learned some tricks along the way that can reduce the intimidation that newcomers might feel when facing this technique.

With the summer coming up soon, I am hoping to have more free time to really focus on some instructive projects on Needle 'n Thread. In the next couple weeks, I'll be making some extensive lists of things I hope to focus on this summer. (This is the lot of the teacher - always looking forward to summer or the next break, in order to rejuvenate!)

With this in mind, then, I'd love to hear some feedback on the following:

1. What are your thoughts and preferences on this long and short stitch idea?
2. What type of instructive articles about embroidery would you be interested in seeing on Needle 'n Thread in the upcoming months?

Thanks for your input!

Labels: miscellaneous embroidery musings, needlepainting, needlework pictures, pictures, Trish Burr

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Posted By: Mary Corbet on Tuesday, May 05, 2009
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Posted By: Mary Corbet on Saturday, May 02, 2009
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Posted By: Mary Corbet on Saturday, April 04, 2009
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If you don't work from embroidery kits or books, then you probably come up with your own designs. What inspires them? Throughout history, artists have taken their inspiration from many sources - from nature, from religion, from life and all aspects of life.

When it comes to embroidery and needlework, looking around at all the brilliant designers and stitchers out there, I often find myself somewhat dissatisfied with my comparative lack of inspiration. But there are a few things that do inspire me, and occasionally, there are those little moments when something bursts upon the eye and lights up the brain, screaming, "You want to embroidery me!" The fat robin outside my window right now... the frozen tulip in the corner of the yard, encased in late-season ice... the twiggy branch covered with pale green buds that's scratching on my window; the design in the carpet at my feet; the colorful engravings on a piece of foreign currency... these things catch my eye, and I think they would make interesting subjects for embroidery.

But, to tell you the truth, that's about as far as they go. They catch my eye, they spark my interest, they suggest a design. But they rarely materialize.

Why not, I wonder... Part of the answer lies in my lack of drawing ability. I would like to be able to draw better than I do. Stylized patterns and motifs are fine, but realistic sketching is not a skill I've remotely perfected. Another part of the answer (and probably the greater part) lies in a lack of concentration or focus on creating, due to the lack of time and the overabundance of other responsibilities. Without the "leisure" required to attend to artistic pursuits, it is difficult to hone in and take perception to fruition in a completed project - or at least to do so while the inspiration is vivid. In fact, it's often difficult just to take the time to really see things and get inspired!

But inspiration doesn't have to come from the "raw," and, in fact, as far as actually working a project goes, I take more inspiration from other pieces of art - already done, already realized in another medium - than I do from nature or other raw sources.

I'd like to show you an example of what I mean. Lately, I've been musing and stewing over stumpwork. Do you know what it's like when an idea, technique, or project begins to gnaw away at your imagination and consume all your thoughts? That's how I've been about stumpwork lately. You've actually seen some of the consequences of this stumpwork obsession in my recent posts - my re-awakened interest in the Plimoth Plantation jacket project; the kits I posted the other day; the links to Thistle Threads (with that beautiful museum-licensed box project!); Jane Nicholas's Stumpwork Embroidery book review; the book review on Embroidered Flora & Fauna - all of these posts are related to my recent stewings!

More than anything else, though, two books that are not embroidery books have occupied my mind. I'm not writing a book review here! Rather, I want to show you how one art form can directly inspire ideas for another.

This isn't a new connection, though. Illumination (painting or drawing to embellish a written work) and embroidery have developed side-by-side throughout history. But take a look at these two books on illumination, and you'll see where my thoughts are going as far as stumpwork is concerned.



The first book here is Beasts Factual and Fantastic by Elizabeth Morrison. This is a beautiful little book full of colored photographs of different illuminated works throughout history. The author concentrates on the animals (both the realistic and the fantastic) in illuminated manuscripts and books. From bunnies to bears to gargolyes and strange mixed breeds, somehow, they all found their way into illumination.



This picture in particular captures my embroidering fancy. The bear is a study for padding and French knots. The hives, for couched gold on felt padding. The monster bees, perfect for turkey work and wire wings. Further additions of flowers and grasses could cheer the scene up a bit. While there's something about the picture that borders on grotesque - the long claws of the bear, the more "human-like" form of his body, the insanely disproportioned bees - there's also something charming about it, and it could be made really charming with the addition of a little brightness. I like it! It's morphing about in my mind! Will it result in anything finished? I don't know yet!



The second book is The Medieval Flower Book by Celia Fisher. This book explores in particular flowers as embellishments of manuscripts and books.



The close association between illumination and stumpwork can certainly be seen here. I love this dragonfly and the bright red poppies.



Again, another illumination that begs for a stumpwork interpretation! The blue flowers, the thistles, the butterflies, and the little hairy petals that surround the painted pearls are all perfect for interpretation in embroidery.



It's funny how, when looking at the page on slant, the butterfly is so perfectly rendered that its wings seem to be lifted up off the page!

These two books have provided my night-time reading lately, as well as my lunch-time book browsing. When I see something I particularly like, I note it down or put a marker in the book, so I can come back to it later and consider it from the point of view of the embroiderer.

Inspiration can come from anywhere, really. Right now, mine is definitely coming from a variety of books that I've been reading. As the weather warms up, perhaps there will be more of an opportunity to get inspired outside, but in the meantime, I'm completely besotted with these two books and the ideas they're fueling in my head!

What inspires you?

Labels: book review, embroidery books, embroidery resources, historical needlework, miscellaneous embroidery musings, pictures, stumpwork

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Posted By: Mary Corbet on Monday, March 30, 2009
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Do you use embroidery kits? The answer to this question seems to divide embroiderers into different groupings: 1. The no-never types; 2. The yes-always types; 3. The yes-but-only-selectively types. Within these categories, there are different mentalities about kits. There are, for example, the no-nevers-on-principle, who believe that kits stunt the creative process. Then there are the no-nevers-on-opportunity, who don't want to pay for kits. Then there are the no-nevers-whatsakit?, who have really never considered kits, and don't care either way about them. And the list could go on....

I belong to the 3rd category - yes, but selectively.

I have a couple embroidery kits on hand that I want to work, and I'll show some of them to you here.



My favorite kits so far in my needlework life have been Tanja Berlin's needlepainting kits. Through them, I've learned a lot about needlepainting! I haven't worked a kit in ages, but I've got a few of hers in my stash, awaiting the day, specifically the squirrel and a bird or two...



Country Bumpkin needlework kits are also among my favorites. One of my Christmas gifts this year was an order from Country Bumpkin, and included in that were two kits: a little "Summer Harvest" stumpwork kit and a needlepainting kit called "True Love" that I find downright hilarious and that I'm planning to use as a future wedding gift.



The differences between Tanja Berlin's kits and Country Bumpkin's kits are notable. I thought I'd point some of the differences out to you, in case you're looking for a new project to work or a new technique to learn and are thinking about starting with a kit.

Country Bumpkin Needlework Kits:

1. Country Bumpkin relies upon your owning the magazine in which the project is featured. Kits are an off-shoot of their magazine, Inspirations. The purpose of CB kits is simply convenience: the kit includes all the supplies you need to complete a project featured in one of their magazines, but it doesn't include the design or the instructions. It is simply a materials kit. If you don't subscribe to the magazine, you have the option, when you purchase the kit, of purchasing the copy that coincides with the kit. The articles in the magazine have very detailed stitch instructions, diagrams, up-close pictures, and so forth. Each magazine has many beautiful projects in it, so when you buy one magazine, you're actually getting excellent instruction on many projects, not to mention all the other interesting stitching tidbits and stories. It's a great magazine!

2. The kits (in my experience) always have PLENTY of fibers to work the project. I've never felt as if I would run out of the required thread. Whole skeins and spools of most threads are included, rather than partial skeins or bits of threads. Also, any notions required in the project are also included (buttons and so forth), as well as supplies such as interfacing, wire, etc. In short, all materials! (Note: some blanket kits do not include the fabric backing; this is always noted in the kit contents.)

3. The design is not transferred onto the ground fabric. This is something you have to do, using the design in the magazine. I was a little surprised by this at first, because when I am working from a kit, I do like to launch right in (and forego the pre-work of transferring, which is not my favorite part of a project!). However, it makes sense. Country Bumpkin's first focus is their magazine. If they sold kits with instructions and designs, it would be somewhat of a conflict of interest! On the bright side, if you are out to really learn embroidery, then knowing the ins and outs of transferring designs is an essential part of the process, so it's good for the learning curve!

4. Country Bumpkin kits ship from Australia. For those of us in the States, anything we save in exchange rates is definitely eaten up in shipping. In this regard, the kits are somewhat expensive... and shipping tends to be a bit slow. But, if you want the kits, that's part of the package!

Tanja Berlin's kits:

1. Tanja's kits come with everything you need to complete the project: instructions, design, colored photo of finished project, all diagrams, detailed stitching instructions and troubleshooting guide, all fibers, fabric, needles. She also has the option on her website of on-going consultation for stitchers working her kits, so if you run into a trouble spot, you can contact Tanja and she'll help you through it.

2. Tanja's kits contain just the amount of fibers you will need to complete the project, with a little leftover. So you don't normally get full skeins of floss or spools of threads. She organizes the threads on a color card, with each color number marked clearly next to the thread.

3. In her surface embroidery kits, the designs are already transferred on the fabric for you.

4. Tanja is located in Canada. Depending on the exchange rate (which has fluctuated quite a bit in the last couple years), if you're in the US, the kits may be slightly more expensive or slightly less expensive than the actual listing on her site. Shipping, too, is somewhat pricey, but she has lots of shipping options, so you can choose the least expensive one (though you'll probably wait a little longer for your order). Tanja ships very quickly if she is not out of town teaching (she always leaves a notice on her website if she is out of town, and tells you exactly when she'll be back...)

So those are the two kinds of kits that I have primarily indulged in over the years.

Other Types of Embroidery Kits



I've also worked kits from Roseworks Designs. They're located in South Africa, and have some pretty kits available through retailers or ordered directly through Roseworks Designs. Their kits include fabric with the design on it, detailed stitching instructions, and a color key for Anchor and DMC colors, but they don't always include the threads. These kits were more widely available in the US, but now I can only find one online retail shop that sells them here. The other shops I knew of that sold them have since gone out of business.

Another type of kit that I've purchased but haven't worked is an Anchor Fleur de Lys teacloth. Margaret Cobleigh, however, persevered through the finish of the same kit, and graciously wrote up a whole document on how she altered the kit to make it more interesting. To see what these kits look like, you can check out her Spring Teacloth and her Strawberry Teacloth here on Needle'nThread. I have never quite gotten back to the Spring Teacloth. It has just never "grabbed" me, though I think Margaret did an absolutely stunning job on hers!

Embroidery Kits I would Like to Work

Now, there are other kits offered out there that I'm interested in, but have not had the opportunity to try.



First, Alison Cole's kits. One of these days, I may indulge in a couple of those, including her Illuminated Floral stumpwork and goldwork kit (which I've mentioned before) and some of her mini Or Nué kits (the frog, gecko, and strawberry, to be precise). Though I haven't worked her kits, I assume they come with excellent instructions - her books are certainly excellent.



Then, there's Tricia Wilson-Nguyen, the lady behind Thistle Threads, known for her expertise in historical needlework and her current work on the Plimoth Plantation 17th-century embroidered jacket. Did you know she offers kits? They're mostly of an historical nature, and some are quite elaborate. Besides her exquisite licensed museum adaptations (part of the proceeds go towards the museums that host the original studied object), Tricia offers some limited edition kits that are neat, and many "regular" kits that are also enticing. The kits that I'm really interested in of hers are a bit out of my range, but it's inspiring to look at them, nonetheless!

Trish Burr is also working on putting together some kits, and if and when that happens, those will definitely be something I'm interested in. Her books are greatly instructive, so I'm sure her kits will be, too.

My Embroidery Kit Philosophy is pretty much this: A kit can be an excellent way to learn or polish an embroidery technique. If the kit appeals to me in some way, I am not adverse to working a kit, and actually can find great pleasure and freedom in working one. I like buying kits from specific designers (as opposed to mass-produced commercial kits such as those found on the needlework aisles in chain stores). It's a lot like making the effort to shop at a local needlework shop. Embroidery designers, writers, instructors, etc., keep the art of needlework alive - and many of them rely upon their designing and teaching for their livelihood. I don't mind supporting that at all! (when I can afford to!)

That's pretty much the way I look at kits. Do you like kits? Why or why not? Do you have favorite kit designers that you would recommend? In general, what are your experiences with kits? Please share!

Now, having said all that, I bet you think I'm heading off to get started on one of those kits. Nope - I've got "real" work (school work) to do all weekend long! No needlework for me this weekend (unless I can sneak in a wee session here and there when no one's looking!)

Have a great weekend!

Labels: embroidery kits, embroidery resources, goldwork, historical needlework, miscellaneous embroidery musings, needlepainting, stumpwork

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Posted By: Mary Corbet on Saturday, March 28, 2009
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Posted By: Mary Corbet on Saturday, March 21, 2009
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Posted By: Mary Corbet on Monday, March 09, 2009
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Posted By: Mary Corbet on Wednesday, March 04, 2009
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When you have a hectic work week, how do you fit in your stitching? I often get questions like this one: "How can you work full time, make progress on your needlework projects, and still have time to blog every day? I don't even have time to get any stitching in!"

The truth is, I'm no genius when it comes to time management. I'm not nearly as organized as I'd like to be! But I do keep working on getting there! One thing that helps me make progress on anything - and especially on my needlework projects - is "chunking off" pieces of time. I mentioned before that needlework is my carrot; I use it as a kind of reward. I tell myself that, if I finish this chore or that project, I get 15 minutes (sometimes more!) with my needle and thread. I also make sure that, on most days, I do get at least 15 minutes to embroider. Of course, there are some days when this doesn't happen because life is too hectic! But on most days, if I plan right, I can get in at least 15 minutes of stitching or more, even if it's late at night.

Now, you may (and rightly) think that not a lot can be accomplished in 15 minutes. This is true! But 15 minutes here and 15 minutes there do eventually add up to real progress on a project.

To illustrate the point, here's a piece I worked on this week. It's the miniature embroidery that, early this week, I mentioned I wanted to start. I did start it, in a rather haphazard sort of way - I just plunged on in. (Plunging in has its disadvantages sometimes, but more on that later!)



With today's article in mind ("15 Minutes with Needle and Thread"), one morning before work, when I had everything ready for the day and still had 25 minutes before I had to leave for work, I set the timer for 15 minutes. Once the timer was set, I took out my embroidery basket. I got my camera and took the above photo of the piece. Then, I began stitching. When the timer went off, I stopped and took another photo.



Nope, I didn't get a LOT done, but I got something done. I finished the pink backstitching on the inside diamond and began the green, which I was pretty close to finishing.

Working under the 15-minute time constraint, I had to moderate myself in one regard: when working against the timer, I found I wanted to rush the stitching. But I controlled the urge, and stitched at a normal, comfortable pace, purposely ignoring the fact that the timer was running.

When the timer went off, I was sorely tempted to finish the last green edge on the diamond. Since I had to step out the door in ten minutes, though, to head for work, I put the work down. And this had a funny effect on me. I was super eager to get back to the piece - more eager and more enthusiastic about wanting to embroider than I usually am! This, in turn, had a positive effect throughout the day. I had something to look forward to that kept my interest vitalized in everything I was doing. It forced me to get things I needed to get done, done - and in an efficient way. No dawdling on the computer, no lingering over the mail wasting time at lunch, or anything like that. I wanted to get to my next 15 minutes, so I could finish that green line!

I often hear from other stitchers who say that needlework is a kind of "therapy" for them. I agree that needlework is indeed a balm for troubled spirits in this hectic world. I think that taking 15 minutes a day (or more, if you're blessed to have more time for it!) to climb out of ourselves and focus on being creative is a good practice. No, you won't start and finish a project in 15 minutes, but you will make progress towards the finish, and at the same time, you may find you've landed 15 minutes of relative peace and happiness!

So if you're frustrated by never having time to stitch, try to establish at least a 15-minute rule. Plan ahead and block out 15 minutes to stitch - whether it's in the morning before heading to work or in the evening before calling it a day. Maybe it's in the middle of the day on your lunch break at work, or right after you've put the kids down for a nap. Maybe it's while your dinner's in the oven. Just 15 minutes! I think you'll be surprised how much progress you can make on your stitching with just 15 minutes!

And now that I've been a good girl and written my blog post for the day, guess what? Right! I get 15 minutes with my needle 'n thread! Bye!

Labels: miniature embroidery, miscellaneous embroidery musings, needlework pictures, organization, pictures

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Posted By: Mary Corbet on Saturday, February 28, 2009
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Squizzing around the craft, embroidery, and art blogs - not to mention a few favorite cooking websites - I counted no less than 41 Valentine-related projects, ideas, patterns, or recipes. Wow. People really get into Valentine's Day.

Just so I wouldn't seem too entirely cold-hearted, I decided to get into the spirit and make up a tiny little simple heart pattern for hand embroidery that I could set up for my eight-year-old niece, who is needling me to embroider with her. So, here's the little design we're going to use (she's going to use!), and I thought I'd pass it on to you, if you want it.



And here it is in a PDF: Little Heart Design for Hand Embroidery

It's not super-complicated. For an eight year old, it will be well worked in back stitch, French knots, and daisy stitches. You could dress it up a bit - making the scallops half buttonhole wheels so they show up better, or what-have-you. Emma's going to work hers on a red cloth napkin, in white. I'll show it to you if she ever actually finishes! And, who knows, maybe I'll stitch one along with her, to keep her going.

If you do decide to go with a red towel or cloth napkin or something of that sort, make sure you pre-wash the fabric first! (Several times, even, if necessary!) I like to rinse darker colored fabrics (like the red cloth napkins we'll be using) with either vinegar, or with salt if I don't have vinegar on hand. This is something my sister does when she buys fabric to make children's clothes. She says it fixes the color, and I believe her. I've never actually tested the theory by doing any comparisons, but maybe some day I will...

I wrote a Valentine's poem, once upon a time and as a bit of a jest, for a fellow I worked with a while ago - and all this heartsy stuff just makes me feel like sharing it with you. (It actually surprises me that I do things like this, and still come back to face you the next day!)

Will You Be Mine?
(by me)

I thought I'd ask
If you'd be mine,
Could you be
My Valentine?

There's no one else,
This much is true...
So I'll have to settle,
And just take you.

I want no hearts,
I don't eat candy,
But flowers are nice,
And jewelry's dandy.

You have no money?
You can't buy flowers?
No jewelry either?
My heart sours.

On second thought,
If you don't mind,
To be your sweety,
I'm disinclined.

Yes, it's true. I'm sorry. I tend to be a bit of a cynic sometimes.

Well, I hope the pattern comes in handy, anyway!

Enjoy your weekend!

Labels: embroidery tips and tricks, free embroidery patterns, miscellaneous embroidery musings

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Posted By: Mary Corbet on Saturday, February 07, 2009
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I think I may have made a mistake. (Shock! Horror!) This is a fabric mistake, and actually, it's not very surprising. I tend to make mistakes, and I tend to especially make mistakes when I settle for one thing, knowing deep down I should just waaaaaiiiiiit. This is the problem: I received an order of fabric today!

Receiving a fabric order isn't the worst problem in the world. In fact, I was happy to see the package arrive! But it had this fabric in it - this 36 count natural Edinburgh linen, which is exackitackily the color I wanted to work my whitework sampler on.

Now do you see the problem?

Let me show you the difference...



The linen I'm presently using is a 32 count Belfast linen in flax (that's the color). The new linen I recently ordered is 36 count Edinburgh linen in natural. It's the top linen in the photo above.

The natural Edinburgh linen is definitely darker than the flax Belfast linen, and it's the color I had in mind when I set about contemplating the whitework sampler. But, see, I had the Belfast linen. And I didn't know what the difference would be in the two colors - I actually thought the natural would be lighter. But in my head, the color I wanted was the color that arrived this morning!



Now, you may be tempted to ask what the heck? What's the big difference? And, to a degree, you're right. But there are some pros and cons to switching fabrics...

The advantages of switching to the darker fabric:

1. Better photos - it'll be much easier to see the white threads and the patterns they form, etc., on the darker fabric.
2. Higher count and smoother hand - the Edinburgh linen seems to have a smoother hand, and it definitely has a higher count thread, which is good for non-counted, non-drawn-thread whitework techniques, such as regular surface embroidery. The higher the count, the easier (I think) it is to work trailing designs, satin stitching, and so forth.

The disadvantages of switching:

1. OHHHH - it's SWITCHING!!! I probably don't need to explain this one!! I've already made some progress, I'd have to rinse and iron and re-frame the fabric... you know the drill. Argh! We could almost include wasting the other fabric in here, but I don't really consider it a waste, and it isn't that much fabric. UGH! The set-up of a project is not my favorite part, needless to say!

2. The higher thread count also poses a con, when working drawn thread techniques. It's just downright easier to do drawn thread work on a lower count fabric. Also, in the Ukranian drawn thread stuff, I wonder if 36 count might be a wee bit too high? I'll have to contact Yvette on that one....

So ---- HELP!!!

Whadyareckon? What are your thoughts? What should I do?

To switch, or not to switch - that is the question!
Whether 'tis nobler to suffer with discontent of color,
Or to take scissors against this framed-up pale stuff,
And by cutting and unframing, end it?

Labels: drawn thread embroidery, fabric for embroidery, linen, miscellaneous embroidery musings, pictures, whitework

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Posted By: Mary Corbet on Thursday, February 05, 2009
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In anticipation of the CQMag online issue that is going to be available soon, I thought I'd give you another peek at my crazy quilt square embellished with goldwork...

I suppose I should be perfectly frank with you.

I didn't have anything else to write! Aaack. For the first time in a long time, I sat down at my computer this morning and .... nothing. Completely blank. I knew I should at least resort to a photo, since most people like pictures!

So here's combination of corners on the crazy quilt square:



Ever since I finished this square, I've started paying closer attention to pictures of seam treatments and so forth. And I have learned something! On the square I embellished, very few of the seams actually have the embroidery crossing the seams! My embellishment mostly floats on top of the seams. But it seems, in most of the pictures I've persued, that the majority of seam embellishments in crazy quilting actually cross over the seams.

Well, live and learn. And, of course, as a salve for my ignorance, I reminded myself of The Rule of crazy quilting: that there are no rules.

(Still, one does like to look as if one knows what one is doing....!)

If you want to see the rest of this project, you can read my article on CQMag Online, titled Goldwork and Crazy Quilting.

The P.O.M. - do you know what this stands for? It stands for "The Plan of the Month." When I was growing up, we would always hear in our household, "What's the P.O.D.?" (Plan of the Day) I suppose that must've come from my dad, who was a Navy pilot. We learned lots of stuff like that from him, but the two things I remember most clearly are "P.O.D." and the call letters Alpha, Bravo, Charlie, Delta, Echo, Foxtrot, and so forth.

Anyway, that is irrelevant. Back to the P.O.M.

One of the reasons I don't have something ready at my fingertips to write about this morning is because I do not have one project underway. Shocking, isn't it!!???!!! You cannot be more shocked than I am! I am fairly aghast at the situation! So this afternoon, I shall remedy it.

Lately, I've been doing a lot of writing on goldwork. For those of you who are not goldwork fans, please bear with me! There is a little more goldwork in the near future, but you'll be happy to know that the Next Project I'm starting (this very afternoon) is whitework. The down-side is that whitework is so difficult to photograph well!

My plan for the rest of the month is to explore some whitework techniques. I had discusssed this idea with Yvette Stanton a few weeks ago: a whitework sampler - rather random - that incorporates different techniques of whitework in it. So, Schwalm, Hardanger, Mountmellick, drawn thread, pulled thread, cutwork, needle lace, blackwork, (did I just say blackwork? on whitework? I'm so confused - but yes, I have a plan regarding that)... all kinds of techniques. And regular surface embroidery in white. Just random and exploratory and fun.

At first, I thought it might be a silly idea; then, I visited Stitchin' Fingers (where I'm a member), and I noticed they had set up a group on Pulled Thread work, which I readily joined! Within the ongoing discussion right now, someone posted a link to a blog called Pins and Needles. And there I saw that someone else was already doing something akin to what I want to do, though slightly different. You have GOT to see the work on this whitework sampler by Jocelyn! It's AMAZING. It made me realize the idea isn't so silly, after all, and I solidified my determination to do it.

I've been a little hesitant about starting the whitework, though, for a couple reasons: whitework is hard to photograph, and of course, I'd like to blog the techniques, instructions, tips, etc.; "random" can sometimes be troublesome... and "too random" can be downright frustrating, once you get into it - it seems to me that working with some kind of plan is better; I was a bit stitched out, and really bogged under with real work (school work!) the last week or so. But today, I'm ACHING to start something again; and finally, I'm waiting for a fabric order from Nordic Needle (grrrr - it's taking ten forevers!), in which I have some natural-colored (oatmeal-ish) linen in a higher count - I thought the natural linen might solve the photography probs. But I'm not waiting anymore!

Therefore, the P.O.M. begins with setting up this project this afternoon.

Further ahead, in the details of the P.O.M., you will find exciting things like editing stitch videos, filming more videos, setting up a Very Big and Exciting Project that I'll tell you about as it progresses (it's one of those "this is going to take a long time - like, months" sort of projects), and the development of other little ideas that are brewing. You might wonder how all this is to come about, given the fact that January is half way over and I work full time! Well, the fact is, I have a five day weekend coming up, and I'm determined to plan it thoroughly, so I can make the most of it!

So that's what I'm up to. What are YOU up to? Anyone have a project going on that they're blogging about? Leave a link below! If you don't have a blog, drop me a line so you can send me some photos!

Labels: crazy quilt, goldwork, miscellaneous embroidery musings, needlework pictures, pictures, website news

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Posted By: Mary Corbet on Sunday, January 18, 2009
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Posted By: Mary Corbet on Saturday, January 03, 2009
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Posted By: Mary Corbet on Monday, December 29, 2008
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Posted By: Mary Corbet on Sunday, December 28, 2008
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Orts are those little pieces of left-over thread snippets that collect when you're working on an embroidery project. If you don't have a place to put them as you work, a resulting stringy mass that spreads itself over your work area could result. In fact, rarely do those little strings restrict themselves to the work area. They stick on clothes, they trail across carpets, they bear witness to the fact that this is the home of a needleworker.

My mind turns to orts - to all trailing, clinging embroidery threads - especially in winter. In winter, orts show their power of perseverence, their determination to adhere to all things, in any place, at every opportunity. And they don't always show themselves right away, once they've found a host. No, often they wait, secluded, then rear their little heads at the workplace, or in company...

You always know when The Ort has materialized upon the scene: your co-worker, in earnest conversation with you, suddenly loses eye contact. The eye flits from you, to your shoulder. Then back to you. Then back to your shoulder. Suddenly, the focus of the conversation is gone. You try to revive it and redirect it; finally, the cause is revealed: "Uh.... you have a thread...." as your co-worker gingerly removes the offensive Ort from its transient throne.

In winter, The Ort has two accomplices in its parasitical work: warm and fuzzy clothes, and that energetic little wonder called Static Cling. The latter is perhaps the more irritating. I am not a great fan of Static Cling, yet I live in a dry, cold climate in winter, I'm prone to wearing skirts and sweaters to work, I use a dryer, and so Static Cling is, at least to some degree, inevitable. To best express my feelings about Static Cling, I wrote a poem about it a while ago, which I'll share with you here so that you have no doubt where I stand on the subject:

On Static Cling
by Mary Corbet

I dislike, despise, truly disdain
Abhor, detest, find quite inhumane
That horrid, despicable, bothersome thing...
That great irritation we call Static Cling.

In my sheets, my skirt, my socks, my shirt
On rugs, on wood, on vinyl, on dirt --
No matter how calm, no matter how hectic,
I hate to encounter this cling that's electric.

That about sums it up!

So, in winter, we have at least one more big reason to be wary of orts and to make an extra effort to tame them.

Yesterday, I tamed mine, and we're all a lot happier for it.

I was dealing with a bit of static in my sweater, and I noticed that, after sitting in my favorite spot to stitch, a small army of Orts were attempting a foray on my arm. Odd, since I have a handy Ort Bin hanging from the arm of the chair, into which all Orts are unceremoniously stuffed once used to their potential.

I made this little bin from two placemats I picked up for very little on clearance at Target. If you haven't seen my little article on constructing a thread catcher, you can check that out, if you wish. It's nothing fancy-schmancy, and there are no extras to it, but it works. This is what it looks like:



Well, it wasn't working yesterday! And I discovered why. The Orts were full up! So I emptied the pouch, and this is what I had:



The whole heap was about the size of a volleyball, when taken out of its compressed state in the Ort Bin. No wonder they were venturing forth to habitate my arm! There was no breathing space!



Oh. Do you see what that is?



Now, do you see? It's a length of pearl purl - 2% pearl purl - with some silk wrapped around it.

I suppose those dear Orts could tell us a lot about ourselves! But though I'm in the mood to wax poetic, I am not up to waxing philosophical or psychological right now. I'll leave that for you to think about!

This is the thing: I started picking over that little pile of offensive, instrusive Orts, and I could connect almost all the threads, or clumps of threads, to a particular project I've worked on that I enjoyed. And some pieces I rescued altogether, because I knew I could use them for something. Like the pearl purl - what a waste, to resign it to the Ort Bin.

By the time I was finished, I realized that The Orts are not quite so offensive, after all. Intrusive, maybe... but not offensive!

So the ort bin is empty, back in its place, awaiting new threads.

And while I was at it, I decided to remove all the pins and needles from one of those really expensive pin cushions, also known as "the couch":



Yes, this is the home of a needleworker. But it's time to be a bit less obvious about it!

Labels: miscellaneous embroidery musings, organization, pictures, threads

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Posted By: Mary Corbet on Saturday, December 06, 2008
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Posted By: Mary Corbet on Monday, November 10, 2008
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This month's needlework stash give-away was really fun! I thought the question was tough (notice I didn't answer it!) and it was fun to read everyone's responses. It really makes you think, when you have to narrow something down to a "Favorite" of something you already like a lot, doesn't it?

I know you're just dying to find out who the winner is, but before I venture into telling you who the lucky person is who gets the abundance of embroidery threads (12 skeins altogether - that's pretty good!), I feel like waxing loquacious for a moment!

Needlework Teaches You... about Yourself!

First of all, there's this whole question of "favorites" among the many things we already love... I tried to narrow down the piece that gave me the most pleasure to stitch, and it was HARD! I was thinking I was a real meany for asking that question.

Then I realized I was looking at it the wrong way! The question wasn't "What was your favorite embroidered work that you created..." It was "which one gave you the most pleasure to do and why?" There's a difference, you know. The first question can be based solely on the outcome (whether you liked the journey of getting there or not); the second concentrates on the journey - the actual stitching itself, regardless of outcome.

Once I realized that, I thought it would be easier to decide, but it wasn't! It seemed the problem of making that decision increased a hundred fold. I found out that, for me, the pleasure found in working a piece of embroidery is a combination of the journey and the outcome. It's funny when you learn something about yourself that way.

It's like this: I can intensely enjoy working a piece of embroidery, but if I finish it and find that I don't like the overall finish, the journey ends up rather soured in retrospect. On the other hand, I can dodgedly plod through a piece that I am finding less than captivating, gritting my teeth in determination just to finish... the journey, you see, is not so pleasant under those circumstances... but if the finish is splendid, the journey, in retrospect, can seem a whole lot sweeter than it actually was.

So journeys and outcomes are pretty intimately connected for me. I think needlework teaches us a lot about ourselves, especially when we reflect on likes, dislikes, whys and wherefores, as we did with this question.

Anyway, if I had to pick just one, I suppose it would be the Agnus Dei project I did a couple springs ago. This is my favorite picture of it, though I do like seeing it head-on as well:



Why did I like it so much? Well, there are a couple reasons. I noticed these reasons among many of the answers you gave, too: 1. The purpose - who did I stitch it for? 2. The project itself - the challenge, the captivating qualities of it; 3. the outcome.

So there you have my reflections on that question. I hope you don't mind being subjected to that!

By the way, along the same lines of tough questions, one of my students asked me the other day, "So far in your life, what was your happiest moment ever?" Try that one on for size!

Ok - enough about tough questions!

Embroidery Stash Winner

I did the name scramble, pulled a random number, and the winner ended up being Susan who stitched the Hobbit in the 70's.

Susan, please contact me with your mailing address, and I'll be happy to get all that stuff in the mail to you this week!

Thank you, everyone, for your participation in the give-away! It was a lot of fun reading your answers. Next month, I'll try to come up with something equally enticing as far as the give-away is concerned (and maybe equally as daunting as far as the question is concerned!) Thanks, Su J, for the question.

Labels: miscellaneous embroidery musings, stash contest

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Posted By: Mary Corbet on Tuesday, October 14, 2008
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Posted By: Mary Corbet on Monday, September 15, 2008
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Posted By: Mary Corbet on Saturday, August 23, 2008
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Posted By: Mary Corbet on Thursday, July 31, 2008
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Have you ever had a hankering to make your own Bayeux Tapestry? Yes, this is rather a light post - it fits well with the animated Bayeux Tapestry post of last year, although you might have a little more creative fun with this one!

Here's your chance to take your place in needlework history by making your own Bayeux Tapestry!



The Historic Tale Construction Cit is a drag-and-drop, make-your-own virtual tapestry website. It's hilarious, and really clever!



You can choose from a variety of folc, brave (people, horses), beasts, buildings, and miscellaneous items, drop them on your tapestry, re-arrange them, and add text as you go, until you have a whole historical tapestry account of whatever Important Event you want to record!



The characters and images are diverse - from a kid with a sheep, to the fallen and slain, to the cook, the dogs, the donkey, birds, kings, buildings, ships, and trees - and you can add scenes as you go (because of course you've got to use every possible image on your tapestry!)



Your masterpiece can be as clever as you want it to be, or as mindless...

When you're finished with your masterpiece (it won't take nearly as long as the original took, I'm pretty sure!) you can save it to the gallery or e-mail to a friend.



If you're a fan of historic needlework (with a sense of humor), check out the Historic Tale Construction Cit!

And have fun with it!

Thanks, Margaret, for the fun link! (...where I've whiled away how much time now??!)

Labels: embroidery resources, historical needlework, miscellaneous embroidery musings

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Posted By: Mary Corbet on Tuesday, July 29, 2008
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Posted By: Mary Corbet on Wednesday, July 23, 2008
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So do you LOVE them, or do you HATE them? Vintage Vogart embroidery transfers have made a big come-back in popularity, and a lot of younger generation embroiderers are not only stitching them, but are also collecting them.

There are many resources online about vintage Vogart embroidery transfers, but the nicest resources are the ones that provide cleaned up versions of the patterns, with a good index. By far the best one I've seen online is Floresita's "Hoop Love" page. The index includes mostly Vogart patterns, and some Walker's as well. Not all the patterns are cute little animals - floral motifs for bedroom linens can be found in there as well.



Here, you'll find vintage Vogart transfers cataloged by number and name, with a link to the website that hosts the design.

I've discussed these kinds of embroidery patterns with many embroiderers over the years - and what it boils down to, it seems to me, is that there are two schools of thought on them. They're either loved, or they're hated!

Perhaps I should say there are three schools of thought, because I fall somewhere in between. While I don't normally use the designs myself for my own projects, I do like them. I like their simplicity. I like the fact that they make embroidery accessible to beginners and that they give beginners and beyond a fun way to embroider something light.

I like the fact that kids LOVE these designs. They do! My little students in the summer really go for these, and it's so fun to see them get excited over them!

I like the fact that you can go a little further with them - you can embellish them beyond their original design. For example, I took a similar old Sunbonnet Sue pattern (not necessarily Vogart, but the concept's the same) and embellished her to the gills for a baby quilt, adding a garden and a bee and decorating her dress and bonnet. It was fun.

So I think it's a great thing that the patterns are collected and made available to you and me through the generous efforts of people like Floresita!

Think of all the people over the past decades who have really enjoyed stitching those patterns! Think of all the embroiderers who have developed a life-long love of stitching because they started on these patterns when their fingers were just learning to hold a needle! Think of all the grandmas who have stitched quilts for their grandchildren using the Vogart patterns, or the expectant moms, making their first Embroidered Something for their Little On-coming Offspring!

Yep. I belong to the third camp. And I like them.

Now, talk about controversy... what do YOU think? Are you first camp (love them), second camp (hate them), third camp (like me - you see something valuable in them, but don't necessarily stitch them for your own pleasure or purposes), or... are you completely and entirely indifferent to them???

I'd love to hear your opinion, your thoughts, your feelings, your observations, your experiences, and your reasons....!

And remember, you can always comment anonymously! ;-)

Labels: embroidery for children, embroidery for fun, embroidery resources, free embroidery patterns, miscellaneous embroidery musings, vintage embroidery

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Posted By: Mary Corbet on Sunday, June 29, 2008
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Well, it isn't embroidery, but it IS needlework! There are a lot of sites out there on knitting and crochet - but I came across this one that looks as if it's just starting out, and it promises some interesting stuff...

Hooked on Needles is a site dedicated to knitting and crochet. The name - which may conjure up images that aren't quite related to homey arts - implies that there's more to it than just crochet and knitting, though, as needles are used in --- well, seems obvious to say --- other kinds of needlework, too. And in scrolling through the site, I did see some samples of embroidery (on an Irish dancing dress) and a crocheted lace collar.

But what really hooked me (SORRY! I couldn't help it!) are the photo tutorials on the baby's crocheted hat (looks very simple - like I might even accomplish it!) and changing color in crochet.



Back in the day, for a needleworker to be considered "trained" (and I think the same holds true, actually, today in some professional courses!), they had to know the basics of more than just the kind of needlework they were passionate about. To be a well-rounded textile artist, being familiar with other elements of the textile world is a good thing.

I don't claim to be a "textile artist" - embroidery is my hobby - but I do like the idea of a well-rounded education. I bet that even the best painters who work in oil have at least an understanding of how water-colors work, don't you think?

So I started looking into polishing up my crocheting, with the end in mind of doing some tiny crocheted trim for an embroidered piece. And then I landed at this particular website and liked, especially, the hat tutorial and the one on changing colors. I started thinking that you could put the two tutorials together, and make a Really Cute and Colorful baby hat!

Don't get me wrong, though! I'm not going to yarn! My needle 'n thread will continue to be occupied (obsessed, even) with embroidery! But what do YOU think? Do you think it's useful for the embroiderer to be at least somewhat aware of other needlework techniques, such as knitting and crochet? Or do you think that, for embroiderers to become Really Good at what they do, they should focus solely on embroidery and not get distracted by other possible needlework interests? I'd love to hear your thoughts on that!

Labels: knitting and crochet, miscellaneous embroidery musings, needlework tutorials, yarn

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Posted By: Mary Corbet on Monday, June 16, 2008
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Today, I suppose I shall go a little off-topic, as this item is not really related to hand embroidery. In fact, there's not an embroidery stitch on it! But fabric and embellishment with fabric fall into the same realm as hand embroidery - somehow - so I thought I'd stretch the niche a bit and show you some photos of a little treasure I came across as I was going through my mom's things this weekend. It's a menu. Really, it's a food menu.

Umpteen years ago, my Mom went to Hong Kong to see my Dad, and while they were there, they went to Gaddi's Restaurant in the Peninsula Hotel, where the menus were embellished with a fabric applique of a Chinese lady. I thought I'd show it to you for two reasons: 1. it's fabric applique; and 2. I think it's pretty!



The cover of the menu is very simple, in fact. The lady stands in the middle, adorned in her silk native-looking costume, and holding a menu. A really large turquoise tassel dangles down the left side, and a little bit of script indicates the name of the restaurant and its location.



I suppose the face is probably silk screened, but I don't know for sure, so I stand to be corrected by anyone who might know! The silver embellishment on the lapel and the gold in the hair look like some kind of foil.



The fabric of the costume is shot through with silver in a floral design, and a red cord hangs down the lady's side, arranged carefully and pinned neatly with another gold foil ornament.



Simple red script names the restaurant and location.



The inside is not quite as pretty as the outside!

I think this lovely little figure would be fun to copy, either as an embroidery pattern or as an applique. It'd probably be neat to fix it in another setting, too, combined with stitches and other embellishment.

But I don't really have the heart to take the menu apart!

Labels: embellishments, miscellaneous embroidery musings, personal, pictures, silk

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Posted By: Mary Corbet on Sunday, June 08, 2008
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Posted By: Mary Corbet on Saturday, January 26, 2008
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If you take embroidery (or any hobby) seriously - if you are as passionate about it as I am - chances are, you've noticed that embroidery can be an expensive undertaking.

Whether you're buying linen or threads, frames, needles, hoops, or scissors, you know that the costs can add up! Even if you are a casual embroiderer who takes up a project now and then, chances are, you've spent money on your hobby.

This is a somewhat "personal" rant (I don't normally get too personal on here!), but since the question has come up numerous times from readers, I thought I'd address it. I hope you don't mind!

I receive a lot of e-mail from people who are looking for less expensive linen, cheaper silk, the place to get goldwork supplies "cheap," and what it all boils down to is that we look for ways to save money on supplies because living is expensive. I'm all for saving a buck (many bucks, if possible!), but I realize that some things just do cost money. I just received an e-mail from a reader who told me, "I can't afford to get into embroidery like you do, but I'd like to. Do you get a discount on your supplies from the shops you promote? If not, how do you afford doing everything you do? It has to cost money!"

No, I don't get anything from the needlework shops I promote. I promote them because they've provided me with a good service. She's right, it does cost money!

Here's a very real example: For the last several months, I've been looking for an ideal embroidery stand. I started hunting around, even driving two hours one way just to try an embroidery stand. I finally found the embroidery stand I want, but the price tag was out of my reach - almost $300 for the two components that would make it usable for me!

And yet, the stand will arrive this week! I'm very excited about that. How did I manage it? Did I just "charge it" and plan to "pay for it later," so I could have it now? If I had done so, I would have had it months ago! But, given human nature and the credit card mentality, it probably still wouldn't be paid off, and I'd be paying interest on it, to boot. And that would make an already too-expensive product ridiculously pricey.

So what's the key to being able to afford your hobby so that you can enjoy it with a free and easy mind, knowing that the supplies, books, needlework stands, lights, little splurges on your needlework stash - whatever niceties you purchase - haven't become just one more debt to pay off, sometime in the future, when you realize that your credit card has ballooned to extraordinary proportions? I know I can't enjoy things wholly when I have a cloud of debt hanging over my head.

The key is budgeting. If you spend money on your hobby, but it sets you back and puts you in debt, then you're doing something wrong, and it will eventually catch up with you! I know, because I've been there! Now, I have a budget, and in that budget is figured my "fun" money - the money I spend on my hobby. When I want to make a major purchase, such as a $300 needlework stand, I don't buy it right now because I want it now. I plan it into my budget and I save towards it, until I can buy it. If something comes up that's an absolute need, I adjust my budget accordingly.

Budgeting isn't hard - it's not rigid or restricting if done the right way! On the contrary, on a budget, you're much freer to do things, because you know exactly where you money is and what you're doing with it.

If you don't know how to budget correctly so that it is easy, you should take a look at Personal Budget Training, where you can find out how to set yourself up to enjoy your hobby and be able to spend money on it, without feeling remorse or having the Dark Cloud of Debt hanging over your head! Jim's my brother. He's a Dave Ramsey certified financial counselor. Of course, being my brother, he nagged me until I "saw the light" when it came to budgeting and spending on my hobby, and, thanks to him, in relatively no time, I paid off my college loan which was still lingering around, and I set myself up to be able to afford and enjoy my hobby. (Thanks, Jim!)

So, to answer the inquiries I've received on affording needlework supplies, now you know how I do it - I'm not wealthy, but I don't subscribe to credit card spending, either. I just... budget!

Budget your money and budget your time - and you'll enjoy your embroidery a whole heck of a lot more!

Labels: miscellaneous embroidery musings

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Posted By: Mary Corbet on Wednesday, December 12, 2007
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Stash, glorious stash! If you dabble in needlework as a hobby or even as a "serious" pursuit, chances are, you've built a stash. That's a great part of the fun of needlework - setting in your supplies! It's also a part of the creative process - exploring new items, seeing how you can integrate them into your techniques, or just plain playing around with "stuff" because it looks fun! I love stash! But it has its downsides...

An obvious downside of stashing a lot of stuff is organization. Organization of supplies is a huge topic, and since most people have their own approach, it's kind of hard to go into it thoroughly. Suffice it to say, if you're going to invest in "stash," you should develop a system to keep it organized, so that you know what you have and can access it when you want it.

Another downside is that you can end up spending a lot of money, often unnecessarily, simply because something catches your eye. Oh golly. I've done that a lot. You can regulate this by setting up a "budget" for your hobbies. In your regular budget, make a little concession for your hobbies, and add to it a little at a time as you can. Then, when you have the opportunity for one of those "fun days out," when you go visit a favorite store (or even a website!), or you go explore a new store, you know how much you can spend and you are cautious about what you buy. Set your limits and don't go beyond them. Think of things you know you want or that you'll really use, and try not to get distracted by Peripheral Stuff. Avoid impulse buying, just for the sake of buying! You'll feel better later about your superior sense of self-control, and you'll avoid "buyer's remorse"!

All that having been said, I thought I'd share some photos of goods I added to my stash this past summer when I had the opportunity to visit a few needlework shops I had never been to. I'll also share with you a couple of observations and one big mistake!



Here's the general colorful pile. You can note the things in the pile that are typical of me, if you've read my website: silk floss (soie d'alger) in a couple colors I like and will use and some Caron Collections waterlilies (silk) and watercolors (cotton). There's also, in the far background, barely visible, some little white cotton lace trim, perfect for linens. Ribbons, ric-rac, and a big blob of Sari Silk yarn.... some of these were definitely impulse items, and one was just plain a big mistake!



The Sari Silk yarn was actually not a mistake - when I came across it at one shop, I was delighted, because I've wanted to play around with it for a while, but the one time I had tried to place an order for it, the place was out of it. So here it was in person, I could touch it, examine it up close, and consider seriously whether or not the $14.00 was worth it. I thought, in the long-run, it would be - if not for me, for one of my nieces who crochets or one who knits, or even for my mom. Is it suitable for embroidery? Well, I want to see how it couches, just out of curiosity. So I will do that someday!



These are Rajmahal Art Silks. I've never actually worked with this thread, but I've always wanted to. It's from Australia, in fact, and it isn't silk! When I came across it that fateful day, I was already familiar with what it is, and in fact, I had one skein on hand, and I figured this was a good opportunity to expand to a few, so that I could give them a good test.

This particular shop experience was one of "those" experiences. You can always tell what store clerks know or don't know about embroidery by certain things they say. In this particularly fine store, which focuses more on "unique" supplies, antique ribbons, and various antique needlework items - a beautiful and rather ritzy store - the clerk greeted us at the door with the "warm" enthusiasm of someone who would not mind taking the time showing us around, if she had to! She was dressed sleekly, in a skilled imitation of "haute couture" fashion. I was duly impressed and let her show me around, although I pretty much knew where my interests lay once I walked in. I asked if she were the owner - no, no. But she and the owner, she told me, are both artists - textile artists, actually. She pointed out several of the focal points of the shop, including antique buttons and beads, antique ribbons, "modern" ribbons, some fun trims, and whatnot. I wanted to take a closer look at the real antiques they had on display - a beautiful shawl all worked over in goldwork, and a fantastic Victorian crazy quilt behind glass, covered in gorgeous stitchery - and many other items of delectable interest! I asked if I could take pictures of the shop, and it was the first retail place where I'd ever been told "no." (Next time, I'll contact them in advance and speak to the owner instead of the clerk!)

Then, as she warmed up a bit and realized that I wasn't there to pilfer the shop or to ask "stupid questions," she asked me if I was a textile artist. Textile artist is a strange phrase - I wouldn't use it to describe me at all, because it's far to professional and polished, (especially when you're in a store like that!), and none of my degrees are in the study of textiles by a long stretch!
"No, I just dabble in embroidery," said I. "I'm particularly interested in goldwork."
"Oh," was her rather non-committal reply.
"That's why I wanted to take a photo of that shawl."
"What shawl?"
"The goldwork shawl?"
"I'm not exactly sure what you mean by goldwork."
So I explained. "I've never really heard of goldwork. I'm sure Gretchen has." (Apparently, the shop owner...)
Then I mentioned I like working with silk. "OOOHHH - we have some marvelous silk thread here." And she showed me .... the Rajmahal. "It's so nice. We use it for all our needlework. We love silk. And Gretchen swears by this brand because of the sheen." [I was chuckling internally by this time]... "Natural silk," she continued to explain, "has the highest sheen."
I was in awe of her knowledge. I showed my approval by selecting the three colors above, and by agreeing with her that the thread had an extraordinary sheen. Considering there were a few other folks in the shop, I didn't want to... you know, put her on the spot!

Then I went on to look at the various ribbons, and this is where I made My Big Mistake! And this is what I get for feeling so SMUG about the "natural" silk!



I explored the various typical but darling tiny ric-racs and trims, and bought a few of those, and I picked up a couple yards of the above trim, only because it was different and rather neat. I could see it used to trim out a little something at some point.

And then I saw this stuff:



Isn't it pretty? It really is pretty! I could see it trimming out a collar on a little girl's dress or blouse. And I fell in love with it. I'm not super "up" on ribbon, types of ribbon, and whatnot. I saw it, saw that it was beautiful, and wanted some. I glanced (key word - glanced) at the casing, on which I saw marked $1.10. I had just bought some $.80/yard ric-rac, some $1.00 / yard other stuff, and even, yes, some $2.50 / yard other stuff. So I saw that, and I thought, "Wow, it's so pretty - and so inexpensive!"



The whole ribbon is actually a composite of little ribbon pieces, put together very attractively so that they look like flowers and bows.



You can buy all the separate types of ribbon, actually, and make up your own composite ribbon, if you're game for it!

This specialty ribbon, I've since learned, is Mokuba ribbon. Mokuba is a company name synonymous with high quality trims in the fashion world. I might know my silk, but I don't know my ribbon!

I decided on a yard, of course - why not? And it also came in violet - so a yard of that, too. While the clerk cut the first yard (working behind the sign that clearly read, "All cuts final"), I continued to explore. She asked how much of the violet flowered trim I wanted. "Oh, a yard is fine." She hesitated. I wondered. She measured it out. And then she said (God bless her!) "Are you sure?" I suddenly figured it out. "How much is it?" I asked. "It's $1.10 an inch."

Oh well. I swallowed my pride. I declined the violet, but in all fairness, paid for the coral flowered trim, because, after all, all cuts were final. She was just doing her job - and she did save me from a SECOND $40 mistake. She explained that most "clients" didn't purchase even a yard at a time. Well, heck -- if you're not buying a yard of ribbon, what could you possibly be using it for??? I know, I know - little things.

As I checked out, trying not to visibly wince, I did manage to mention that Rajmahal is actually viscose - as it says on the tag - and not silk. But I did concede that it does indeed have an exceptional sheen!

Labels: miscellaneous embroidery musings, pictures, supplies, threads

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Posted By: Mary Corbet on Thursday, September 13, 2007
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Posted By: Mary Corbet on Sunday, September 02, 2007
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I've been thinking about random embroidery designs and wondering if the following "doodles" would somehow be adaptable to embroidery... So I thought I'd stick them on here to see what everyone else thinks.

I will admit I'm a doodler - on the phone, in meetings, wherever - I find myself doodling. Can such doodling be adapted to embroidery designs? Textiles are often the "inspiration" of my random doodling. Tassles, lacy edges, fishbone stitch, basket weaves, stippling dots, lazy daisy stitch - all have their places on these little scraps. But how are these things necessarily adapted into real embroidery? I'll have to think about this question, but if anyone has any ideas, I'm all ears!







I'll have to think about if such scraps can be turned into embroidery patterns or anything useful like that! In the meantime, if anyone has any ideas, I'm all ears!

Labels: free embroidery patterns, miscellaneous embroidery musings, pictures

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Posted By: Mary Corbet on Wednesday, May 23, 2007
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Posted By: Mary Corbet on Saturday, February 24, 2007
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Posted By: Mary Corbet on Thursday, June 15, 2006
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