For whitework embroidery lovers everywhere, Yvette Stanton has recently published a new and unique whitework book: Sardinian Knotted Embroidery: Whitework from Teulada.

If you are familiar with Yvette’s last whitework book, Portuguese Whitework: Bullion Embroidery from Guimarães, you’ll recognize the approach: she introduces us to the history and culture surrounding a more obscure form of whitework embroidery, carefully educating the reader on the technique while offering a beautiful selection of manageable projects to embroider.

It’s a successful formula that brings to light exquisite forms of whitework embroidery that we might otherwise never know anything about if it weren’t for Yvette’s careful research and instruction.

Once upon a time, just over three years ago, a friend and once-fellow-teacher called me.

She: “Can you teach me how to do gold church embroidery?”

Me: “Yes, I can.”

And so we started by covering the very basics of goldwork embroidery. Nothing paid or formal. Just a casual arrangement to meet once a week when she had an hour or two to spare.

Once she understood what threads do what, she decided the best way for her to start would be to actually start, to begin with a real project that could be used upon completion.

Her primary interest was learning to work with real metal threads that can be couched. To that end, we began a “sacred monogram” project. We transferred the design onto velveteen, appliquéd felt padding, and then couched gold passing thread.

After several months of her working on the project quite slowly, the inevitable happened: life got busy, she had to prioritize, and the goldwork was side-lined.

I sent my slate frame and my floor stand home with her, so she could work on it when she had time.

A good two and a half years went by, and although we occasionally touched base, the embroidery was still languishing, neglected, not going anywhere.

Imagine yourself going all-out on an embroidery project, focusing all your concentration on that particular piece of needlework, getting into it, moving along on it, always having it there and ready for you when you have time to stitch…and then you run into the Brick Wall of Indecision.

Or at least, you find yourself second-guessing a previous decision and coming to a complete halt while you ponder your options.

Ever happen?

Well, it happens to me, probably at least once on every large project I work! The Hummingbird Color Kerfuffle we talked about yesterday – and to which you responded mightily with many excellent suggestions! – is exactly this kind of situation.

I always find pauses in a project like this a good opportunity to take stock of my workroom, re-organize, and clean up a bit. Doing so gives me time to think. And when I’ve finished tinkering and organizing, I’ve usually finished thinking as well.

Not only do I have a fresh perspective for my embroidery, but I end up with a moderately well-organized workspace where I can launch back into my project with an easier mind and a better sense of order about me.

Last week, I finished the flowers on the Secret Garden embroidery project – finally!

Two feelings welled up inside me upon completion of the flowers: 1. that sense of elation you feel when you’ve finally plowed through to a seemingly elusive goal; 2. that sense of trepidation at what comes next!