magnifier cover

I am unable to embroider the Victorian Street crewel work piece whilst seated on the sofa because the frame is wide and it’s just awkward to turn it over in a restricted space, but I wanted something to stitch in the evening so I made a cover for a magnifier I recently acquired. Two of the pieces from Sachiko Morimoto’s book Stumpwork Flowers embroidered way back in March/April 2014 were used for the outer cover and the lining is a synthetic batting which should protect the glass well. One flower on the cover is watercress and the other is viola.  This evening I might add some fancy stitching along the seam as I think it looks a bit plain. I only ever framed one of the completed flowers from the book and the rest have been in a cupboard since. Three down, fifteen to go. Any ideas on what to do with them?

Lowery stand frame adaptor

I bought a frame adaptor for my Lowery embroidery stand so that I could more easily use a roller frame and embroider larger projects without having to remove and re-position the fabric as much I might otherwise have to do if I used a hoop, and the frame can also easily be moved from side to side without much effort.

I recently put the Victorian Street WIP that I started in 1983 or thereabouts onto a large Elbesee Easy Clip Roller Frame but in order for the adaptor’s plates not to dig into the front of the fabric, I turned them to face outwards as you can see in image two. The first image shows the metal plates in the default position, i.e. curving in towards each other. Yes, of course I could have removed the fabric from the roller frame and remounted it as per the Elbesee instructions (i.e. with the back of the work visible on the roller bars) but I haven’t had any loss of tension on the fabric and the frame is still held securely this way so this is how it will remain. The third image shows how the adaptor is attached to the Lowery stand clamp.

needlepoint sampler #2

Yesterday I finished the needlepoint sampler, added a fabric border and attached it to the footstool. Taa Daa! I’m not sure how well it might wear but it adds a nice splash of colour to an otherwise plain carpeted floor. I deliberately aimed for a different stitch in each of the forty areas but as I was typing the stitch list I noticed that I’d used Tent stitch in two sections. Too late now to unpick one of them but I won’t lose any sleep over it. I quite enjoyed doing this but it might be a while before I attempt any of the projects in the charity shop book that got me started on this in the first instance. Stitches used are listed below with the name that was given in the source I found it in but you may know some stitches by other names. If you spot any glaring errors between what stitch I claim to have used and what I actually stitched, please let me know!

 

what if? #2

Using yet another ‘fail’ piece of fabric painting, I placed the cut-out words from what if! #1 underneath and rubbed oil pastels and water soluble wax pastels over them before free machine stitching and couching too. I then roughly cut the piece into strips, and then small squares.

 

This simple six rows of five squares layout used all the squares and that was how I left it overnight.

 

This morning it seemed too safe and boring but more essentially, a pointless exercise if the text couldn’t be read. I also realised that I didn’t need to use all the squares so I selected the text squares, divided some other squares further and settled on this:

It reminds me of graffiti and I like that there are little pieces missing from the text. I also like how I succeeded in turning a fail piece into something I’d be happy to see on my wall.

The painted fabric is blackout curtain lining which doesn’t fray, accepts paint well and stitches through easily. The dark background is cotton sheeting and an additional layer of re-cycled white sheeting was stitched behind that.

what if?

I recently made this small collage piece and thought that if I could see it easily in my workroom and be reminded daily, I might actually challenge myself more often to take a familiar technique several steps further than I currently do. When I have a piece which I consider a fail, I try to work out what has gone wrong and mostly I think it’s my colour choices so even though I have two colour wheels and an Ultimate 3-in-1 Colour Tool within easy reach, and I decide to use colour combinations that compliment each other, what actually ends up on the fabric falls far short of the original expectations. I’ve also always known that putting random colours of paint on fabric and expecting the end result to look fabulous will rarely, if ever work, but I do it time and time again and get the same muddy results or clashing colour combinations each time. I’m never surprised when this happens and I don’t know why I haven’t stopped doing this, but I’m hoping that from now on, seeing my “what if?” collage will be like someone shouting, “STOP! What if you actually think about this before you paint/draw/sew/cut….” Maybe I need several of these collages in strategic places around my workroom. Hmmm.

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Not sure about the heavy border of black soft cord but I think the appliquéd letters are a success. The large piece of painted interfacing the letters were cut from was a fail, but in smaller pieces the poor colour combinations seem more acceptable. I would consider this collage a success but I can’t really explain why. Do you agree? I welcome your opinions and or suggestions for improvement. I’m already working on a second piece using the same letter cutouts but in a different “what if?” manner.

Cotton fabric background coloured with acrylic paints. Letters hand cut from heavy-duty interfacing previously splattered with acrylics, and free-motion stitched to the background. The blue rectangles (painted cotton sheeting scraps) were stitched around the borders using a normal sewing machine presser foot with reduced tension and a very short stitch length. Backing fabric (not shown) of bonded twill fabric.

 

home again

Home again yesterday after three weeks of voluntary maid service to Big Sis following her extremely successful hip replacement operation, and this morning it was strange not to have Jasper greet me with much tail wagging. This was him before he had his coat clipped a few days after I arrived and he seems to be saying “Haircut? What haircut? No-one mentioned a haircut. Is it open to negotiation?”. It wasn’t and he was duly coiffed into a slightly neater version of what he looks like here, but his coat seems to grow so quickly there’s already talk of another trim this weekend.

Sadly, my camera repair is going to cost half as much again as the repair shop assistant suggested it was worth spending on the repair and as I’ve had it six years and camera technology has advanced a little more, I’m looking for a replacement instead. I’ll have to make do with my phone camera for the time being. I just wish I could retain all the phone techy camera stuff I learn from time to time and not have to refer to the internet for refresher lessons each time!

Painting the Roses Red didn’t get stitched at all while I was away except on the journey north, and I haven’t taken any update photos yet. I had also taken some aida fabric and crochet cottons to try blackwork which was a new technique for me. I only had a few colour options but I quite enjoyed the process and found it easier than cross-stitch but doubt that I’ll do much more blackwork in the future. I can’t see myself ever needing a bell-pull or a tray cloth or yet another needle case which were the suggestions in one book.

6 scary chicks

I began making these chicks last December and until yesterday, I still only had two completely finished. I deviated from the original pattern after the first two were made (can’t remember now why) so I have two as per the pattern, and four with varying body shapes and skinny heads, as well as long legs. Let us just refer to them as ‘designer’ chicks and leave it at that. My original idea was to make a couple of dozen of these little birds but I couldn’t shape the wire into a consistent size and shape for the feet/claws even though I’ve made lots of samples. I solved the problem yesterday by making a jig from thick cardboard and pushpins, which I clamped to the edge of the worksurface. The jig turned a chore into a pleasure (almost) and as I had always planned to make a dozen or more of these chicks I now have no excuse not to have them made before Easter – this year.

6-scary-chicks

This image shows the underside of my little jig. I didn’t need four pins in the end but I did add a few more at the other end so that the cardboard wouldn’t crumple at the other end under the pressure of the clamp.

wire-jig