Monday, March 31, 2008

Playtime! Embroidering with Gilt Sylke Twist

One of my goals this weekend was to sit down with the new Gilt Sylke Twist and try it out with different embroidery stitches. I didn't get very far, but at least I started!

First, I mused about what to embroider. I didn't want to work random stitches. The thread is a bit dear to use on random stitching. But then, I didn't want to spend a lot of time thinking up or sketching out a design, either. I just wanted to get to the stitching!

I had a piece of good linen already framed up that I was "trying" a different failed experiment on (more on that later), so I salvaged a corner of that, took a pencil, and drew whatever came to mind straight on the linen.

Strawberry and vine embroidered with Gilt Sylke Twist and other threads


There's nothing too naturally accurate here - stylized leaves, an attempt at some sort of blossom, and a strawberry. Spring must be coming - I've had strawberries on my mind lately!

My plan was to embroider the strawberry in red GST, in satin stitch, with a lattice over it in pink GST. That's still my plan. I just didn't do the strawberry first, but I'm thinking I should have.

Strawberry and vine embroidered with Gilt Sylke Twist and other threads


To get familiar with the GST, I thought I'd stitch a line of stem stitch. I began with a #7 hand-made Japanese needle, but I think it was too small. I switched to a #10, which seems a little big, especially when working the stitches in the picture below. But it was ok for the stem stitch.

You can see that the stem stitch is a bit on the wobbly looking side. It took me a bit to get used to the thread. It's quite stiff. I should have been a little more careful and a little more patient.

One you get used to the thread, though, it's great to work with. I don't suggest a "sewing method" with stem stitch. Take your thread all the way to the front, all the way to the back ("stab" method). I like the noise the thread makes passing through the fabric, actually. It's a barely there kind of zipper sound!

Strawberry and vine embroidered with Gilt Sylke Twist and other threads


I'm pretty sure I'm working this out of proper order. But I wanted to lift the strawberry leaves above the strawberry itself, and to do that, I figured I'd have to stitch the leaves, leaving part of them detached, lift them up, and stitch the strawberry underneath. I now wonder if I've left enough room to manage that, but we'll see.

The middle leaf may be abandoned altogether. We'll see on that, too!

Strawberry and vine embroidered with Gilt Sylke Twist and other threads


Here's a close-up, so you can see the sparkle. The Japanese #10 is not ideal for the detached buttonhole in a tiny space - it's too fat, in my opinion! I outlined the leaves in backstitch in a matching dark green, and couched the area of the outline of the leaf where I wanted to lift it up from the ground fabric. You can see the red couching stitches in the leaf outline on the right. After filling the leaves with the GST, I took a barely lighter green - one strand - and stem-stitched around the leaves to give them a finished edge. I whip-stitched the part of the outline that was couched, so that I could still lift the leaf off the ground fabric.

Strawberry and vine embroidered with Gilt Sylke Twist and other threads


And that's a little bit of an angled close-up so you can see the dimension.

My plan from this point: finish the leaves, then do the strawberry (in padded satin stitch with a lattice over it). Some of the leaves will be long-and-short stitch with regular stranded silk, but I will probably edge them and add veins with the GST.

I haven't quite decided what to do with that ridiculous-looking "blossom" yet. I'm open to suggestions!

And the stems and vines will be worked in different line and chain-type stitches. The main stem, I think, will either be worked in chain stitch or in heavy chain stitch - or perhaps just a wider band of stem stitch worked as a filling, so that I can add some shading. We'll see!

More updates later - back to my needle and thread!

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Saturday, March 29, 2008

Reader's Embroidery: Japanese Embroidery - Pansies!

Here's another photo of beautiful embroidery work from a reader... Thank you, Anne, for sending along this photo!

Anne has been working through the phases of Japanese Embroidery. These pansies are her Phase VII project, and now she's moving on to Phase VIII.

I think you'll agree with me that this is another stunning example of what's going on out there in the needlework world! The pansies are gorgeous, and the silk - wow, it shines!

Pansies - Japanese Embroidery


It would be really, really hard to pick a favorite flower out of that bunch. I love the blue and white one!

Check out the edges on the flowers - although the photo isn't a close-up, you can see how perfectly smooth the edges are.

Nice job, Anne, and I'm so glad you sent the photo. Pansies are cheery flowers - perfect for this greyish day that needs a bit of sunshine!

I love seeing reader's work. It's great for inspiration, and it's also just plain nice to know that embroidery and the needle arts are still very much alive today. If you have a photo of your work, do send it along! Contact me to let me know if you have something you'd like to show the rest of us!

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Friday, March 28, 2008

Reader's Embroidery: Crewel Work Enchanted April

I love being able to share readers' needlework projects, and this one is really stunning. It's a piece of crewel work - embroidery done in wool, with a lot of shading and so forth - called "Enchanged April" and stitched by Margaret.

Margaret works with an embroidery group that focuses primarily on counted work, but she likes surface embroidery best. This particular piece was voted to represent her embroidery guild at the EGA national headquarters display this year. She was also asked to send a photo for possible inclusion in NeedleArts, the publication put out by the Embroiderers' Guild of America.

Reader's Embroidery: Crewel Work Bird in Whites and Purples


It's a lovely piece, with many hours of work put into it! Margaret said she got a little tired of working on it (it's quite large), which makes the finished piece even more impressive! To persevere to the finish line on a piece of embroidery when you're weary of it is reason enough for congratulations! But really - look at this close up! What a beautiful job!

Reader's Embroidery: Crewel Work Bird in Whites and Purples


The bird looks so wispy and white and stately, and the shading is incredible. I love it!

Thanks, Margaret, for sending it along! And really, you should feel pretty darned good about it! I hope to see it in an issue of NeedleArts this year!

I'm always happy to receive pictures of readers' embroidery. If you have a piece you'd like to share, do send it! Contact me, and I'll send you an address for sending along photos.

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Thursday, March 27, 2008

On Threading a Needle

 
I'm pretty sure Shakespeare's soliloquy could be re-written for the embroiderer: To lick, or not lick, that is the question... but I won't bother! Whether you thread your needle by licking your thread or not, at least you ARE threading a needle! But in case you didn't know that there are (easy) options to licking your embroidery floss, I thought I'd present a couple tips on how to thread an embroidery needle without wetting your thread.

The first thing to consider when getting ready to thread your needle is the size of your thread and your choice of needle. They should correspond. You don't want to use a needle that's too BIG for your thread, as it will leave visible holes in your ground fabric. On the other hand, you don't want to use a needle that's too SMALL for your thread, either - you'll cause yourself undue difficulty in stitching, having to tug with effort to get the needle and thread through the fabric.

Catherine Bracken, on Discount Needlework, has written a nice, comprehensive article on choosing the right needle for your embroidery. If you get a chance, read it. It's informative and covers all the right considerations.

After doing a bit of needlework, you'll probably get the hang of what's right and what's not for your needle and thread. An easy rule of thumb is that the thickness of your needle should match the thickness of the thread.

Now, about threading.

If you lick your thread, I'm not one to say "Oh shame on you, you thread-licker, you!" I sometimes lick (as in barely moisten) my thread, too. But generally, I don't. There are four ways I thread my needle, and here they are, in order of common-to-least usage:

1. The Fold-and-Pinch Method: Margaret mentioned this in the comment on one of my needle reviews this week. (I reviewed Pony brand needles and hand-made Japanese needles earlier.) You take your thread and fold it around the shaft of your needle. Slide it off, pinch the fold, and stick it in the eye. Pull it through so that the folded over part is all the way through, then situate the length of the tail however you like it. You might have to hold the pinched fold close between your finger and thumb and lay the eye on the folded thread and gently "saw" the needle down onto the thread. This method works great with size 10 and larger needles. It also works with size 11, depending on the thread you're using. It's a bit tough with #11 with one strand of DMC, but it works fine with one strand of YLI stranded silk.

2. The Pinch-and-Saw-the-Tip Method: For needles smaller than #10, snip the very end of your embroidery floss or thread so that it isn't puffy and frayed. A clean cut is necessary for this method. Pull the thread between your thumb and forefinger, so that the tip of the thread is barely visible between the two. Lay the eye of your needle up on the tip of the thread, and, using a gently sawing motion, move the needle down between the skin of your thumb and forefinger. You will "saw" the thread into the eye of your needle. If this doesn't work, consider this: On regular, machine made needles, one side of the eye is bigger than the other. Turn your needle over and try the other side.

3. The Gotta-Have-Help Method: Get a fine needlethreader and use it. There are many brands available - you can find them in the needlework section of most hobby, craft, and sewing places. But if you can, invest in a fairly good one. They aren't expensive. Clover makes one that has a longer wire, and has two sizes, one on each end. The little tin ones you commonly see in multipacks don't seem to last long for me. I've got a Clover one, and I've also got two extra-fine threaders that I found at a little shop. They have larger plastic tabs on the end, and one has a thread cutter set into the tab. They also have tiny magnets on the back. They both work great.

4. The If-All-Else-Fails Method: (Well... what can I say?) Lick the tip of your thread. But barely. You don't have to saturate it! I'm pretty sure the children I teach in the summer work their saliva glands into Mass Production Mode just for the joy of soaking the ends of their threads. No, no! This isn't necessary. If you must do this, then the tiniest bit of barely moist contact will do the job. Major water run-off is not at all necessary or desirable!

My reasons for not licking thread are mentioned in my review of Pony brand needles. But... if you have to, you have to. I think if you practice with the first two methods, you'll find that you don't have to rely on the last two that much!

So, grab a needle and thread and practice dry threading! You'll be the envy of thread-lickers world wide!

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Wednesday, March 26, 2008

Embroidery Inspiration!

 
WOW. If you have not checked out this website, it's a must, for a lot of reasons, but most especially for one of the most enchanting examples of an embroidered face that you may ever see!

Maria del Valle's websites focus on needlework and her other creative interests, which include drawing and painting. Her main site, AlarTTex, is in Spanish, but she runs a parallel site in English and French, AlarTTis, and she also has the option to translate on her main site.

Her embroidery and needlework are really inspirational - but what caught my eye, and has been floating around in my head ever since I saw it, is her Da Vinci angel, in blackwork.

Blackwork Angel by Maria del Valle


It's not uncommon to see embroidered faces, but usually we see them worked in long and short stitch, split stitch, and so forth. But when you see one like this in shades of crimson, done in blackwork, with such detail, you can't help being mesmerized by it!

If you view the picture at AlarTTex, you can click on the image for a larger version. The eyes are amazing!

The angel is taken from DaVinci's painting, the Madonna of the Rocks.

Angel from DaVinci's Madonna of the Rocks


The Madonna of the Rocks is a beautiful paiting! If you want to click the link to see it at ARC (Art Renewal Center), please be aware it's a large file and takes a while to load. I have never looked very closely at the angel, but Maria's needlework prompted me to do so. It is really a lovely face!

Visit Maria's websites to enjoy other beautiful works of art! She is amazingly talented, and I think you'll really enjoy your visit.

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Tuesday, March 25, 2008

Hand Made Japanese Embroidery Needles

 
Why would anyone want a hand-made needle? Surely, a hand-made needle must be some roughly hewn large thing unbefitting to fine embroidery work!! Well, you might think that, but the fact is, whether you pursue Japense embroidery or not, having a few hand-made needles among your embroidery tools is a good idea!

Although I have several books on Japanese embroidery, I have never formally studied the techniques, so my hand-made needles aren't actually used in Japanese embroidery. These unique needles come in handy for working with real metal threads, with any smaller cord-like threads, and even just with your regular embroidery floss.

The advantage of hand-made needles is all in the eye. Because they are hand bored and not punched out by a machine, there is no "crimp" or ridge on the inside of the needle. The holes are nice and smooth.

This smooth round hole helps reduce the wear and tear on threads from the eyes of regular needles. With goldwork, this is important. You see, if you use a regular needle in goldwork (especially with gold-wrapped threads that you are planning to pass through the ground fabric), the ridge inside the edge of a regular needle can cut through the outside wrapping of gold on the core thread. When you pull the needle through the ground fabric, if your gold has split from the core, you risk the gold bunching up as you pull the thread through. Hand bored needles help you avoid this dilemma.

As for hand made needles being bulky or large, it depends on the size. The tiny #3 hand-made Japanese needle is so small that you can't stitch one strand of DMC with it. If you split your strand of DMC in half (single strands of DMC are made up of a two-ply twisted thread), you can manage one ply (half the strand) in the eye, if you can see it to thread it! In other words, the #3 is a pretty small needle. So the hand made needles can be very tiny, but they can also be pretty large - able to accommodate gold passing thread easily.

Hand Made Japanese Embroidery Needles


Here, you can see the sizes of the hand-made needles I own. They are laid out on 8-square-per-inch graph paper. The #13 is large and has a bulky look to it. (It's the one on the far right, with the number cut off.) The #3 on the left is pretty darned tiny!

Hand Made Japanese Embroidery Needles


This is the #7 needle, threaded with Gilt Sylke Twist. A #5 is too small for this thread, and I don't have a #6 to try. I haven't tried the thread yet with this needle, so I can't say exactly how well it works! Once I get caught up with my regular work, I'm going to be testing different techniques with the GST. I figure the #7 needle will work fine for it. The #10 seems too big - as if there would be too large a whole left in the fabric after the needle and thread passed through. We shall see!!

Hand Made Japanese Embroidery Needles


Good things come in small packages! This is the dark green GST here - the "dusty" look on it is actually the sparke from the gold. Very nice color! And amazingly fine stuff!

You can find hand-made Japanese needles through the Japanese Embroidery Center in Atlanta. They are a valuable and reliable resource, and, if you do order from them, I think you'll be pleased both with the products and the service.

I'm looking forward to playing with these needles and thread soon and posting the results for you! If you have any questions or any suggestions about any testing you'd like to see with the GST ("What kind of embroidery can you do with this thread?") just let me know! I'll be happy to see if I can accommodate any specific requests for trials.

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Monday, March 24, 2008

Embroidery Needles

 
Once you have an embroidery project set up and ready to go - fabric selected, design transferred, threads lined up - perhaps the most important thing to consider is what embroidery needle to use. There are all kinds of different types of embroidery needles - which one to use depends on your fabric and thread. The thing is, within the "types" of needles, you also have the consideration of quality. Here, I'm looking at embroidery needles from a company called Pony.

Normally, I use "fine English needles" for my embroidery projects. Richard Hemming, John James, Mary Arden, and S. Thomas & Sons are pretty much the brands I've stuck with over the years. They're reliable and fairly easy to come by. You sometimes can find them in hobby and craft stores (in a very limited range), but you will find a better range at your local needlework shop. You can also find them online through almost any needlework or fabric shop, or through one of my favorite needle sources, Colonial Needle. I also have a marvelous selection of very fine needles from Wendy Schoen Designs, but I don't use them as often because they're wrapped up and my supply is limited. (But I do love those needles!) So that's my plug for the needles I typically use.

Recently, though, Michael Cook of Wormspit.com e-mailed me about some needles that he had come upon and finally tracked down. The manufacturer is Pony, from India, and the needles are used by the Chinese in their fine and detailed hand embroidery. After some contact with the company, he received a shipment of the needles to try. He kindly sent me a selection of #10, #11, and #12 - three each with gold eyes, plus one fully gilded needle in each size.

It was a while before I could work with the needles, but finally, yesterday I took out a small project and used the needles on it. It's a thread painting project, worked in one strand of DMC in a high count cotton muslin.

I generally use a #10 needle on these projects, but mostly because I'm too lazy to go through my supplies and get other needles out. I always have #10 on hand!

Instead, I decided to try the #11 Pony, and they were perfect. They made those meticulously placed little stitches easy, and they are slightly finer than #10, which seemed to make a difference on the split stitching in the long and short stitch in tiny, detailed areas. In short, I liked the #11! I had all four threaded and working on the project at once. There is a slightly different feel to the fully guilded needle, but I can't really place or describe what's different about it. It passes through the threads and the fabric easily, but it "feels" as if there's a coating on it, because there is. It's not a bad feeling, and in fact, I like working with the needle. But there is a slightly different "something" about it.

Embroidery Needles


Here are the needles, two of each, one of which is the gilded one. I've laid them on 8-square-per-inch graph paper so you can get an idea of the size.

Embroidery Needles


Here they are again, with a #10 Richard Hemming needle (left). The #10 Pony and the #10 Richard Hemming are the same length, as far as I can tell, even though the Pony looks longer (it's the placement on the paper).

I threaded both #10s (R.H. and Pony) with one strand of DCM and stitched with them, one needle right after the other, to see if I could tell a difference in size or feel. The Pony needle feels slightly finer than the Richard Hemming, which is what Michael found as well.

Embroidery Needles


One strand of DMC also fits well in the #12 Pony - BUT... it doesn't work well on tightly woven or high count fabric, as it takes a pit of a tug to get it through. It works fine on something a little looser, though.

Michael has some photos of the Pony needles really close up, so you can get a good look at the eyes.

The long and short of it:

I like the Pony needles. I'm going to keep using them on my present project to see how they stand up. They bend slightly - I don't know how they will wear over a little more use - but I don't mind a needle that bends. In fact, I like it! It gets "comfortable."

The #10 Pony seems slightly finer than the #10 Richard Hemming.

The #11 Pony works well with 1 strand of DMC on a high count quality muslin.

Most people will probably need a needle threader for the #12 with a strand of DMC.

To find Pony needles, contact Hedgehog Handworks. Michael spoke to Joady about carrying them, and they will be apparently getting in the gold-eye variety.

One Final Note: On Threading Needles!!

Don't lick your thread or wet your needle eye to thread your needles! Ok, if you have an endless supply of needles and you don't mind switching out, fine - lick away. I've heard lots of reasons why "you shouldn't lick your embroidery thread" - the ones are important and cause for concern are:

1. The Main Reason: Wet thread through the eye of a needle can cause the needle to "rust" (in a very tiny way) right inside the eye of the needle, which can cause little burrs that are hard on your threads, cause waste of thread, and can even cause damage to your project without your really realizing what is happening.

2. The habit of wetting thread can work against you the one time you're playing with a thread that has been unfortunate enough not to hold on to its dye. In these days of hand over-dyed thread, risking a mark on clean fabric is not really worth it.

3. If you work with silk embroidery threads, I'm pretty sure that licking silk is something akin to sacreligious. Silk also weakens when it's wet.

Tomorrow, I'll show you some photos of hand-made Japanese needles. And to top off the whole needle discussion, I'd love to hear how all you non-lickers out there thread your needles! I'll cover how I do it, too.

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Saturday, March 22, 2008

Ecclesiastical Embroidery: Pelican Altar Frontal (Superfrontal)

 
And yet another example of ecclesiastical embroidery - this time, a superfrontal, which hangs on the top front edge of the altar, but does not extend to the ground. It usually kind of "caps" the frontal, which would be a cloth that covers the entire front of the altar. In older churches with very ornate altars, frontals aren't necessarily used, but sometimes a superfrontal still is, for decorative purposes. If it's custom made for a particular altar, it would not cover any of the carvings or paintings on the front of the altar, but would hang just above them.

This particular piece is quite long. It has the Pelican embroidered in the center, motifs with text evenly spaced on each side, as well as medallions depicting the four evangelists. Because it was in a display case, I was only able to photograph the visible parts.

Ecclesiastical Embroidery: Pelican on an Altar Frontal


This is the whole piece, folded in the display case. I love the red and gold on white.

Ecclesiastical Embroidery: Pelican on an Altar Frontal


Here's the central image. If I recall correctly, the pelican and nest were embroidered, then appliqued onto the red background, and then the whole piece is appliqued to the white fabric.

Ecclesiastical Embroidery: Pelican on an Altar Frontal


One of the embroidered medallions of the Evangelists - St. Matthew, I believe.

Ecclesiastical Embroidery: Pelican on an Altar Frontal


Another symbol for one of the Evangelists - St. John, I think. Well, if that's an eagle, anyway! It's not an ox or a lion...

Ecclesiastical Embroidery: Pelican on an Altar Frontal


Getting a little closer on the pelicans, you can see the long lines of split stitch.

Ecclesiastical Embroidery: Pelican on an Altar Frontal


And yet a little closer...

Ecclesiastical Embroidery: Pelican on an Altar Frontal


And closer, still...

Ecclesiastical Embroidery: Pelican on an Altar Frontal


A close up on the couched gold in the halo - it looks like imitation Japanese gold again.

Ecclesiastical Embroidery: Pelican on an Altar Frontal


This is from some of the lettering on the rectangular motifs you can see in the first picture. The text is from the hymn "Tantum Ergo."

Ecclesiastical Embroidery: Pelican on an Altar Frontal


A close up on some of the cording used as edging around the appliqued areas.

Ecclesiastical Embroidery: Pelican on an Altar Frontal


This is a close up on the rectangular motifs, over which the text banners kind of float. Beautiful padded satin stitch.

Ecclesiastical Embroidery: Pelican on an Altar Frontal


And here is the corner of one of those rectangles, from a little farther away so you can see how the design works.

Ecclesiastical Embroidery: Pelican on an Altar Frontal


And a close up on what I think must be gilded leather in the center of those little designs around the rectangles.

And I think that about does it for ecclesiastical embroidery for a bit! I don't know if you enjoy looking at these photos, but I sure do find the work amazing. The techniques are certainly transferrable to secular embroidery as well, so maybe you'll be able to glean some ideas or find some inspiration in the photos!

I hope you enjoyed them!

I wish you all a very happy Easter, and I'll be back on Monday with a needle comparison and a great find in (really nice) embroidery needles.

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Friday, March 21, 2008

Ecclesiastical Embroidery: Cope Hood

 
Continuing through my collection of liturgical and church-related embroidery photos, here's a glorious embroidered piece - the hood of a cope, with figure embroidery. Like the Last Supper chasuble I posted yesterday and the Crucifixion chasuble I posted photos of last year, this is relatively "modern" work - first half of the 1900's sometime.

The embroidered image on the cope hood is God the Father, holding Christ in His arms, with the Holy Ghost over the right shoulder. Around the figures are the choirs of angels. The cope hood would be approximately two feet long, and a little less wide.

Ecclesiastical Embroidery: Cope Hood with God the Father and the Crucified Christ


The majority of the work is done in long and short stitch or split stitch shading techniques.

Ecclesiastical Embroidery: Cope Hood with God the Father and the Crucified Christ


The individual angels representing the choirs of angels are probably about 3 or 4 inches high. I regret that I didn't take accurate measurements when I photographed these! The detail and the color are quite nice.

Ecclesiastical Embroidery: Cope Hood with God the Father and the Crucified Christ


There are nine choirs of angels depicted, each one represented by the wings or by what is held in their hands. I don't know the precise symbolism.

Ecclesiastical Embroidery: Cope Hood with God the Father and the Crucified Christ


The dove that represents the Holy Ghost caught my eye on this piece, as the outlines are embroidered in red, rather than the typical black or dark grey.

Ecclesiastical Embroidery: Cope Hood with God the Father and the Crucified Christ


Because the piece was in a glass-covered drawer, I couldn't get a direct shot of the crown or face details here. You can see gemstones (probably glass) and pearls worked on the crown.

Ecclesiastical Embroidery: Cope Hood with God the Father and the Crucified Christ


The shading on the face of Christ is really very nicely done. It looks better from far away than it does close up, in my opinion (as does the whole piece). This is often the case in ecclesiastical work - the pieces are embroidered and shaded according to how they will look from a distance, since one of the reasons they are made is for the edification of the faithful, who would be viewing them from the distance in the congregation, rather than close up in the sanctuary of a larger church.

The clasp on the cloak of God the Father is set with gemstones and pearls as well. You can see drill marks in the glass stones when the image is enlarged.

Ecclesiastical Embroidery: Cope Hood with God the Father and the Crucified Christ


The goldwork on the embroidered part is done in imitation Japanese gold. You can see the wide wraps around the core thread. The gold on the fringe, though, is undoubtedly real gold which has tarnished over the years. The fringe was more than likely purchased complete rather than prepared by those who worked the embroidery.

Again, another quick meditation on the type of work that must have gone into such pieces! Ecclesiastical embroidery for vestments was usually done either by convents with many hands involved in the embroidery, or by guilds, who also had several ladies who would take part in creating a piece. A work like this would be a major long-term project for one individual!

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Thursday, March 20, 2008

Ecclesiastical Embroidery: Last Supper Chasuble (with many photos!)

 
I was scrolling through my files of photos I've taken of different pieces of ecclesiastical embroidery and came across these photos of a chasuble embroidered with the Last Supper and other images. So I thought I'd share them with you.

The chasuble itself is not embroidered - the motifs (as is often the case) were originally embroidered on separate pieces then appliqued together and fitted onto a chasuble. This whole piece looks to me like a bit of a salvage job: I think the embroidered cross and bands were probably on a different vestment originally. The vestment itself was probably too worn for church use, so the embroidery was salvaged and put onto a different chasuble.

The embroidered part is probably not old, though. I would say it's no older than the early - mid 1900's. The gold is certainly worked in imitation Japanese gold.

Apology in advance: these are not my clearest photos! I didn't have my new camera when I took them.



The image of the Last Supper is on the back of the chasuble, centered in the cross section of the cross.



Below the Last Supper is an embroidered image of Melchisedech, the high priest in the Old Testement. The allusion is to Christ, the High Priest, "after the order of Melchisedech."



Here you can see both images positioned on the chasuble. I guess I couldn't get in the whole cross. There is a motif below Melchisedech as well:



The Pelican is used as well as an image of Christ, as it was thought that the pelican would feed its young from its own flesh.

And some close ups (as best as I could get them) from a few of the scenes on the back of the chasuble:



The shading on these is nice. They're about 2" square.



A close-up of one of the apostles - note the detail in the eye. Even though the photo's a bit blurry, the eye really is amazingly detailed.



Two other apostles. I always find it funny, when you look at these pieces up close, how strange the eyebrows look!



On the front of the chasuble is the sacrifice of Isaac, another image from the Old Testament.



Above the sacrifice of Isaac is this little embroidered angel. I like it. I like the way the lifted wing fits in the arch!



And below the sacrifice of Isaac is the image of a ram, also an allusion to sacrifice.



And here's a close up of another one of the decorative medallions. Nice satin stitch!



And here's a relative close up of one of the acanthus-type designs that set off the arches around the figures. Really, the padded satin stitching is exquisite.

Imagine - just imagine! - the work that went into these pieces. I'd love to re-create something similar to this... maybe not the same theme, but on the same scale! How many years do you suppose it would take one person to manange that? !!!

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Monday, March 17, 2008

Organizing a Project Room for Needlework (and everything else!)

 
I had a very busy weekend working to get the garage-gone-project-room somewhat organized. Yes, the space is finished, and I'm really excited about it. I'm sure there are plenty of needleworkers out there who have their own space for pursuing their needlework, sewing, or art ventures, but I bet there are even MORE who use the various regular corners of their living space. The idea of a real project room is kind of a dream! Keep in mind, though, that this relatively small space is not merely for needlework!

I live in a tiny house with very little storage space, so this room is not merely for my needlework supplies, books, and so forth. It is designated space for all household storage, from off-season clothes, to paper goods, to beer and wine for company, to games and puzzles, to Christmas decor, to wrapping paper, blankets, linens - you name it, if it's not in immediate use in the house, it will be out here.

And all that being said, the room doesn't seem nearly so big and luxurious!

Storage and Project Room for Crafts and Everything Else!


It's not a super-wide room. That space where the window and door are now used to be the garage door. The cabinets that line each side of the room are 24" deep, with 18" adjustable shelves.

Storage and Project Room for Crafts and Everything Else!


And that's the other end, looking out into the (dead and winter-looking) backyard.

Storage and Project Room for Crafts and Everything Else!


The cabinets are pretty roomy. The shelves are adjustable (I already said that) - they're not continuous down the line, though. They are split, so that in each cabinet, if more space is needed on one shelf, the whole wall of shelves doesn't have to be adjusted.

Storage and Project Room for Crafts and Everything Else!


Saturday was a day of toting, toting, toting. Except for the bag and the storage containers at the end of the table, it's filled with solely needlework books. My ten-year-old nephew helped me tote books and stuff most of the morning! (I paid him at the end - two handfuls of change! It worked out well for him - and even better for me!)

Storage and Project Room for Crafts and Everything Else!


Oh. I forgot to mention those books, too.

Storage and Project Room for Crafts and Everything Else!


And things going onto the shelves! Ah. Yes. That does make me happy!

I'm cataloging my books before I put them on the shelves - that will be a fun project, and then I can post my library here. Then, if you are looking for a book and want to know what it's like before you buy it, if I have it, you can ask!

Once all is packed neatly and happily into the cabinets (that may take a while, because there's still a whole storage unit downtown to go through - can you say BIG GARAGE SALE???!), I will put a drafting table under the larger window, a large table in the middle, and sewing machine cabinet. Those, and some chairs, will be the only furniture. And then it's done.

Wow. I discovered a few muscles this weekend that I had forgotten about!

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Sunday, March 16, 2008

Gilt Sylke Twist Available to the Public!

 
For those of you eager to try some embroidery with the new Gilt Sylke Twist thread that will be distributed by Access Commodities in the near (hopefully) future, you'll be happy to know that you can order some limited colors right now. I've been pursuing the thread around the country, but now the definitive word is out!

Tricia Wilson-Nguyen announced on The Embroiderers' Story of Plimoth Plantation that she will be selling some surplus GST. The colors available are red, pink, cream, light blue, and green (Redde, Carnacion, Bisse, Graie Blewe, and Grene). If you want some of this thread now, then it would be a good idea to order it through Tricia. It's $25 for 35 meters, and $5 of each is donated to the Plimoth Plantation jacket project.

However, if you can hold on to your hat a bit, Access Commodities will be distributing as soon as they have a quantity in to distribute (they're saying six-ish weeks or more, from what I have heard, and which is also explained on the announcement).

Well, I heard the thread hit the "open market" about a week and a half ago. Access Commodities sent "sample" packages of it to different needlework shops around the country that would be carrying it. From what I understand, six shops got a little bit. One shop owner told me that she received two spools each of four colors, and that they could now take orders from customers. She also explained that the threads would be somewhat slow in coming, as the process is time-consuming, and the thread is made by one person (well, assembled - the gold is placed on the silk core). If you've been following the Plimoth Plantation story, then you already know a bit about how the thread is made.

Another shop owner explained that Access Commodities has it in, but that the shops are taking orders for it and ordering what they "pre-sell." This, I don't think, is entirely accurate. I'm under the impression that AC only has some colors in, and very few spools of those colors (from two other shopkeepers).

As far as prices go, it looks as if some shops will be selling the GST for $20 / spool while others are selling it for $22 / spool.

I don't know if the thread will only be sold by "certain" needlework shops - I don't know much about the way needlework shops work, but I would guess that if a shop carries products distributed by Access Commodities (the Au Ver a Soie line, certain embroidery hoops, Trebizond, and so forth), then the shop can probably special order the thread for you, even if they don't carry it in their regular retail stock.

Do check out the post on The Embroiderers' Story if you're interested in ordering some now. I'd actually be really interested to know (just out of sheer curiosity about the way these things work!) how many people are planning to, or have already, ordered!

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Friday, March 14, 2008

Free Hand Embroidery Pattern: Scroll Design

 
If you like elaborate hand embroidery in a "classic" sort of style, you may very well like the latest embroidery patterns I'm playing with. I like repeat designs for embroidery, but I've noticed that, in general, repeatable embroidery patterns usually only consist of one section of the repeat, so I've been duplicating the sections and flipping them on some of my favorite repeatable patterns.

This particular embroidery pattern is from Therese Dillmont's books from the DMC collection - it's in French, and the title is La Broderie au Passe. You can find the same book on the Antique Pattern Library, in four parts in PDF format. (Section 2 & 3 are the sections with patterns. Section 1 has black and white plates of finished embroidery from which the patterns were taken.)

The book focuses on regular surface embroidery in shaded techniques - so, lots of long and short stitch, stem stitch filling, and so forth. Even though it isn't packed with patterns, there are some very nice ones in there, some of which are elaborate, but small motifs could certainly be separated from the overall pattern. When there's a repeat, generally you only get one section - the duplication is up to you and your tracing paper (or, in this case, scanner, tablet, and Photoshop).

Here's the pattern. You can click on it for a slightly larger image. To resize, you can play with it in a photocopy machine, or in your favorite graphics program.

Free Hand Embroidery Pattern: Repeatable Scroll Design from Therese Dillmont


I'd love to work this pattern in silks on linen, but I'd have to find a use for it. I can't imagine using such a pattern on a tablecloth - not after all the work! Any ideas how it could be used?

For more hand embroidery patterns, you can visit my list of free hand embroidery patterns here on Needle'nThread, a short list of church embroidery patterns, or my list of free hand embroidery patterns around the web.


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Thursday, March 13, 2008

March Embroidery Stash Give-Away: The Winner Is...

 
Well, here it is, Thursday evening, and I just drew for the March Embroidery Stash Give-Away. Whenever I'm getting these things ready, I always worry about repeat names, so next to the names (if I think there could be confusion or a repeat), I put a little key word from their posts. I really didn't have to worry about it this time, as it is a unique name!

I hope that KerGiz from Hungary enjoys the little package of linen, wools, cotton, beads, and silk threads!! Please contact me with your contact information, and I will get this in the post!

Stay tuned for next month's contest - I have my fingers crossed that I'll be able to offer something pretty special. If I can't... well, I'll come up with SOMETHING!

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Wednesday, March 12, 2008

Reader's Embroidery: Embellished Skirt!

 
Maria likes beads and sparkly stuff! And she sews well! Combining these two interests, she made a really nice A-line skirt which she embroidered and then embellished with sequins and beads. Read on to see the results - she did a really fantastic job, I think!

Bead embroidery, which often includes pailettes or sequins or spangles (I'm never absolutely sure what the difference is - they are all defined the same way in some sources and differently in others), is a great way to embellish anything, but when you embellish clothes with beads and so forth, you can really make a statement!

Maria put together a somewhat simple A-line skirt in what appears to be a kind of light wool, in a warm brown color. She picked out a motif that is somewhat paisley-ish, turned it into a repeat design, transferred it with dressmaker's carbon (I think that's what she said), and stitched on the shape in a lighter goldish-brown embroidery floss. Once the shape was embroidered on, it was a matter of embellishing the shape with sequins and bugle beads, then doing the finish work on the skirt!

So here's the skirt:

Skirt embroidered with beads and sequins


Nice, isn't it? She alternated between gold colored spangles and silver colored ones. These are the round, flat "sequins" - no bumps or ridges in them (spangles?). They look like the spangles I use for goldwork, only they aren't gold.

Skirt embroidered with beads and sequins


Here's a bit of a close-up on the repeat.

Skirt embroidered with beads and sequins


And here it is, even closer up, so you can see the difference in colors on the spangles and on the bugle beads.

Skirt embroidered with beads and sequins


And there's the corner flower.

Fun skirt!! I think she did a great job! It was time-consuming, but I think it was worth the effort, don't you??

Thanks, Maria!

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Tuesday, March 11, 2008

Reader's Embroidery: Embroidered Bookmark

 
After posting a bit ago about hand embroidery on paper - making embroidered greeting cards and so forth - my sister decided to try it out, too.

Using a free embroidery pattern from Stitching Cards, she improvised some tools: for the paper piercing mat, she used a mat she has for bobbin lace, and for the paper piercing tool, she used a crewel needle with the eye stuck in a cork. (Hey, it works!)

For embroidery thread, she used regular stranded cottons, and I like the way it looks!

Hand embroidered bookmark on paper


I like the idea of making these bookmarks - I've been planning for my summer embroidery classes for kids, and I think I'll venture in this direction for one of the projects. Quick and satisfying (kids like that!).

If you wanted to fill up the whole bookmark, you could flip over the design and pierce the blue flower out again below the pink.

Speaking of bookmarks, Nordic Needle has recently introduced this year's Bookmark Challenge. Each year, together with other stitchery stores throughout the country, they encourage stitchers to stitch a bookmark (or two, or three...), coordinating the turn-in time for the challenge with Children's Book Week. The bookmarks are donated to local libraries as rewards to encourage children to read. As an incentive to participate in the Bookmark Challenge, Nordic Needle will draw from the participants' names, and the lucky winner will receive a $100 gift certificate to Nordic Needle.

If you're interested, take a look at the details of the Bookmark Challenge in their most recent newsletter.

Thanks for sending a picture of the bookmark, Susie!

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Monday, March 10, 2008

Embroidery Thread Trails?

 
Do you leave embroidery thread trails all around your house? I do! I usually sit on the sofa in the living room for "casual" embroidery projects, and when I snip threads, those orts (the thread scraps) end up on the arm of the sofa. I bet you know what I'm talking about!

Building into a good-sized, loose ball by the end of an evening, my embroidery thread left-overs will inevitably cling to the arms of my clothes. From there, they trickle off onto the floor... the living room floor, the kitchen floor, the bathroom floor. I'm forever leaving little trails.

When I think about it, I put a zip-lock bag in my sewing basket, but it's too much bother to dig for it when I'm engrossed in stitchery! Besides, once it's full, I toss it - and then I forget to add another to the basket... until I've got another thread ball building on the sofa.

Well, I finally decided it was time to do something about this! And so this is what I did:

About a month ago, I mentioned that I bought a couple placemats on clearance. I had this particular project in mind at the time, but just now had the chance to see my plan fulfilled:

A Couch Caddy!!!

I'm so excited about it. It isn't pristinely done, but I like it! I'm the first to admit I'm not an expert on the sewing machine! Patterns just aren't my thing, so this project was really perfect. It took me a whole 30 minutes. I had no plan - I just cut some rectangles from one placemat and its liner, and I sewed the stuff together.

Here 'tis:

Couch Caddy for Loose Embroidery Threads!


[Oh dear. Pictures never lie.]

The first thing I did was take one placemat (less than $2 at Target on clearance) and separate the top fabric from the liner using a seam ripper.

Then, with the top fabric on the table just like you'd place a placemat, I cut it in half straight up from bottom to top. I took one half, folded from bottom to top, right sides together, and sewed up the sides. Then I measured 1.5 inches from the corner at the fold, and sewed a little triangle, so that the bag rounded out a bit, instead of laying flat like an envelope. Then I did the same thing with the liner, only backwards, and stuck the liner inside, and top stitched around the edge.

Couch Caddy for Loose Embroidery Threads!


I still had half a placemat, so I cut out another rectangle and made a longer, narrower tube to put scissors and pencils in.

Couch Caddy for Loose Embroidery Threads!


I still had a quarter of the placemat left, so I cut out tabs to attach the two pockets to the base, which was an in-tact placemat.

I didn't line the narrower tube, except by leaving the interfacing that was inside the placemat. In fact, that one came out rather sloppy - functional, but sloppy!

Couch Caddy for Loose Embroidery Threads!


I made sure I sewed the tabs well into the outside half of the base so that I would have plenty of placemat on the inside arm of the couch to weight the thing properly and keep it from sliding.

I still have a little bit of the placemat left - I'm thinking about looking for a heavy-duty magnet I can cover with fabric and put on the top for needles and my embroidery scissors.

The whole thing worked rather well, took me about 30 minutes, cost me less than $4.00, and now I have somewhere to put those stray threads!

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Sunday, March 09, 2008

Embroidery Stash Give-Away for March!

 
Hand embroidery is one hobby that tends towards stash build-up. To help reduce my stash, each month I've been giving away little packets of fun embroidery supplies that you might find handy. Mostly, it's mix-and-match. This month, since Spring is starting to make an appearance, I thought I'd go with a spring-ish theme of threads, beads, and a little bit of fabric.

To be eligible to receive this little collection of embroidery goods, just leave a comment on this post. Generally, I ask a question, hoping for some input that readers will find useful. This month, you can answer the question, or you can just leave a comment, whichever is easier!

The question: what's your favorite thread for hand embroidery (or any needlework technique) and why?

If you can't muster up an answer, no worries! Just leave a comment! On Thursday, March 13th, I'll draw a name from the list. Please make sure you leave your name with your comment!

Here's this month's ebmroidery stash give-away:

Embroidery stash give-away for March, 2008


There's a piece of Belfast Linen, 32 ct, in lilac. It's a little over 12" x 12" - give or take on one side (it isn't square... it's rectangular).

Embroidery stash give-away for March, 2008


Beads are always fun to have! This package is a mix-up of bugle beads and seed beads, all glass, in springy colors: pink, greens, golds, light blue.

Embroidery stash give-away for March, 2008


A card of Encore! by Rainbow Gallery. This is a variegated stranded cotton in pastel colors. I've never actually used this thread, so I'm not sure how it stitches. But it's pretty...

Embroidery stash give-away for March, 2008


Aaahhhh. No stash is complete without silk. Here's a skein of a beautiful pink Needlepoint Inc. silk, and a skein of Eterna stranded (nearly flat) in a pretty light blue. I like both threads - the Eterna can be tricky to stitch with if you haven't used a flat silk before, but it's worth the effort of trying.

Embroidery stash give-away for March, 2008


And here are some Appleton wools in brighter spring colors. I didn't have a paler yellow...! Appleton is great for crewel work or long and short stitch shading techniques. If you like working with wool, it's a good wool to work with.

So that's it. They're all bagged up and ready to go to the lucky winner! And just in time, perhaps, for a little Easter sampler or something.

I'm happy for overseas participants to participate as well - I'll mail anywhere, via the least expensive air-mail option.

Please, comment away!

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Saturday, March 08, 2008

Plaited Braid Stitch Revisited, from the Experts

 
A while ago, I was exploring the Plaited Braid Stitch, a rather intricate looking embroidery stitch found on historical pieces, usually as vines and scrolls and so forth. Dissatisfied with the basic instructions found for this stitch in regular stitch dictionaries, I wanted to figure it out so that I could work it with ease...

Thanks to a friend, I was able to get my hands on a copy of an article from Fine Lines magazine by Leon Conrad. Then I went in search of the gold thread - Mr. Conrad suggests the #371 imitation gold. I found the gold first at a shop called Criss Cross Row, the service was bad and I never received my order!

Tanja Berlin, however, was able to order it from her supplier, and now she carries it: Standard Lurex Thread No. 371.

But what I'm really getting at is this: Plimoth Plantation! If you want to check out the plaited braid and their exploration of it, there's a great post on plaited braid stitch with photos of the stitch worked in different metal threads.

The Gilt-on-Silk and the Gilt-on-Synthetic both look G-R-E-A-T. And the 2% gold passing doesn't look bad, either. In fact, I'm not that impressed with the 371, but I'm still going to try that thread! Click on the pictures for close-ups.

While you're there, read their post on goldwork needles as well. Hand-made needles work best for gold threads. If you're looking for a source, I got mine through the JEC.

Anyway, I was really excited to see that post on the plaited braid stitch!

Coming up this week: March Embroidery Stash giveaway! and a stitch video... and some pictures of my latest projects. And.... a reader's embroidery! Yes, busy week! Time to get the camera out!

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Wednesday, March 05, 2008

Embroidered Cap with Gilt Sylke Twist

 
Tricia Wilson Nguyen disclosed a beautiful project incorporating the Gilt Sylke Twist being used on the jacket at Plimoth Plantation. If you haven't seen this embroidered cap, do check it out! It's stunning! Be sure to click on the first photo for a really nice close-up. Enjoy!

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Monday, March 03, 2008

Embroidery Patterns: Online Resource with Free Patterns

 
Free hand embroidery patters - can you ever get enough of them? I have an ever-growing collection of websites that offer free patterns, and I have to admit, I've got a folder on my computer that's filled to the brim, and then some, with patterns that someday... someday... I know I'll use! Well, here's another online resource for you - from Jennie Baer of Homeberries.

Homeberries is a neat little website devoted to hand embroidery, and the patterns available are a cross between primitive, cute, fun, and even sorta funky. If nothing else, check out the website's look - the use of ric-rac is really well done!

Free Hand Embroidery Pattern Resource - Homeberries.com


But while you're there, be sure to check out Jennie's free embroidery pattern page. You're bound to find something on there that will be perfect for embellising that little "something" - whether a baby gift, a housewarming gift, kitchen towels - you name it. When I saw her patterns, I immediately started thinking in terms of the hand embroidered greeting cards I've been playing around with lately. I'm working up my kids' summer workshops, and planning to do some embroidery on paper. A lot of these patterns would be great for that!

Jennie also has a page of my embroidery videos on her site... which made me realize that I was not consistent in using the same color for the background of the introduction! Darn. I would have never realized how bad they look if I hadn't seen them lined up on one page! (Noted for future revisions!)

So, when you get the chance, check out Homeberries - it's sure to be a fun visit!

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Sunday, March 02, 2008

Embroidered Initials and Monograms - a Must Have Resource

 
If you like the idea of monogramming or initialing items that you embroider, then here's a fantastic book available that's an invaluable resource for the embroiderer or the general crafter (or sewer... or card maker ... or... you get the point!)...

The book is called Compendium of Ancien Artistic Initials for Vintage Style Monograms - a hefty title for an equally hefty book. It's a collection of 3,400 letters ready to use on your craft projects or your finest embroidered gifts. The collectors are J.F. and F.A. Shepard, and they've put together a book that spans initial monogramming styles from 1840 through 1930 (with some attention given to any interesting styles as late as 1950).

It's not a how-to book. There's no text (except a lot of letters!). But the variety and the clarity of all the initials is a real sight to behold!

I purchased the book because of a love for vintage linens that are embroidered or monogrammed. The level of artistry that went into household linens and personal linens in days of yore fascinates me! And I like initialing personal gifts.

Book of Monograms and Initials for embroidery and all kinds of crafts


The nice thing about this book is that it isn't limited to embroidery (not that I consider embroidery a "limitation"!!). If you make your own greeting cards, if you are into wood burning, if you paint boxes or whatever - this book would come in handy.

Book of Monograms and Initials for embroidery and all kinds of crafts - sample


There are pages and pages for each letter of the alphabet. Some of the letters are surrounded by decoration, and some aren't.

So, if you're looking for a source for initials and monograms, this is it!

You can purchase the book through Amazon. It's just under $30, and well worth it. You will never have to look further for another initial pattern, that's for sure!



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Saturday, March 01, 2008

I'm Not a Crazy Quilter, The Sequel

 
I am fascinated by the beauty, ingenuity, and creativity reflected in the works of the great Crazy Quilters of our day! Allison Aller, Sharon Boggan, Jo in New Zealand -- all these ladies have fantastic websites full of gorgeous photos that attest to their skill and artistry in embellishing crazy quilts. And there are more - heaps more - people out there who do fantastic things with Crazy Quilts! And it is all most inspiring!... But....

I reiterate that I am not a crazy quilter.

I had one of those moments this morning. One of those life-shaping moments. After attacking (oh, I do mean that literally!) my first crazy quilt square last night, I achieved nothing short of non-success. I used beautiful silk ribbon - periwinkle, white, gold, and green Gloriana silk ribbon - some very nice stranded silks in greens, and some gold and green and blue beads, and I achieved... nothing. It was so ugly.

Now, you would think that I would post a picture of it. But let me tell you what I did first. I stitched from about 7:30 pm - 11:00 pm. I'm not "dumb" when it comes to stitching, but last night, I felt dumb. Nothing looked right - I didn't like any of it. And I make a pretty darned good ribbon rose, if I do say myself. But oh GOLLY. It was not grabbing me.

I figured it was the hour, and the fact that it was a long week. So I quit and went to bed. This morning, I looked at it and thought "It's not sooo bad. It's actually kind of good." And Jo in NZ had left a comment on my original post about this square which encouraged me to try it again. And so, with housework done, and all quiet on the homefront .... I did.

And that's when I had one of those life-shaping moments. After 45 minutes of plodding, I realized I was doing something with my needle that I was not enjoying, and it was really a first in my life.

I'll have to explore later exactly what I didn't enjoy about the whole thing. Maybe it's just a mood. Maybe it's the fact that I wasn't pleased with the square in the first place. Maybe it's simply not my thing. I haven't bothered to think much about it, yet. But I will later.

One of the most satisfying things about the experience was taking the square off the frame, putting all my little tacks neatly back in the jar, folding the square into a nice little, tiny, unrecognizable lump... and turfing it.

I did. I pitched it.

Berate me if you wish. I enjoyed the experience!

Will I try it again? Perhaps. And when I do, you all will be the first to know!

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