Tag: Needlepoint
Grandmama’s Dragon Footstool
The Dragon Footstool I worked for Grandmama
I think that this was my first reasonably large canvaswork project, worked very early in my stitching career. The design was in the Readers Digest Encyclopedia of Needlework, which is a very good general introduction to a lot of styles of needlework, but needless to say, even at that early stage I made changes to both the design and the materials.
The Readers Digest suggested plain canvas – on the advice of my local needlepoint stop, I used interlock. The project pages said Tapestry wool – again, on advice, I used Persian Wool (lovely colours, and a really gorgeous sheen). They said Tent stitch – ah well, you can guess what’s coming, can’t you! Oh, and the colours were all changed, too. I did paint the design onto the canvas, using my mother’s oil paints, but after that, almost all resemblance to the project in the book ended.
Corner Motif for the Dragon Footstool
The ornaments in the corners were worked in Upright Cross Stitch, which creates a surprisingly heavy texture for such a relatively simple stitch. Looking at the design now (after my grandparents died, the footstool came back to me) I rather feel that the original designer didn’t quite think things through. The corner motifs are all at different spacings from the dragon, and somehow the whole thing looks a bit congested. I think they may have designed for the round footstool bases that were popular at the time, and then added the corner motifs to make it more interesting for those who wanted a rectangular one. Nowadays, of course, I would try to have the courage of my convictions, and remove something or change the spacing, or alter the motifs to create a more pleasing effect. But a printed book looks so authoritative, doesn’t it – not for experimentation. One lives and learns!
Dragon's Head Closeup
The scales on the dragon’s body were worked in Oriental Stitch, and the spines on his back in Kelim Stitch, worked vertically instead of horizontally. Small details like eyebrows and outlining were worked in tent stitch (I do occasionally make the simple choice!). The trailing beard and horns were worked in rows of Knotted Stitch.
I don’t think I would use the same stitches again, or at least, not in all cases. I think the Oriental stitch is at the wrong scale for the dragon’s body – it was certainly a nightmare to get the compensation right! – and the beard and horns in fact need a heavier and more distinctive texture. The Kelim Stitch spines work well, I think, and the corner motifs in Upright cross stitch are successful too. I hadn’t, at this point, worked Slow-and-Steady, and although pictures of the worked stitches give you an idea of the worked appearance, it really isn’t the same as having done it yourself.
Still, it was fun, and interesting, and at the time, Grandmama said she was very impressed!
Slow-And-Steady in needlepoint
Slow And Steady needlepoint cushion
I worked this cushion from a design in one of the craft books Grandmama gave me (“The Book of Creative Crafts”, it was called, and it included woodwork, screenprinting and candlemaking as well as embroidery, needlepoint and rugmaking), but in my usual somewhat ambitious fashion, I did not restrict myself to a single side.
Slow And Steady Facing The Other Way
In some ways this made it easier, because the patches of stitching that represented the plates down the centreline of Slow-and-Steady’s shell had to be worked in the same stitch and colour on both sides. That at least meant that those decisions were only made once. I also decided that the shapes of the plates would be the same on both sides (approximately – they were drawn freehand!) and that the colour would be the same as well.
After that, I rummaged through every book on canvaswork I had, to find a sufficient variety of stitches to keep the work interesting. In effect it is a sampler, almost a practice piece, but camouflaged by making it irregular in shape and style. My favourite stitches pop up again – Leaf Stitch, Upright Cross Stitch, Linen Stitch, Byzantine Stitch. In fact this is probably where I met most of them for the first time.
I have a notebook in which I drew out the pattern and then listed all the stitches used, so that if I forgot how to work the stitch I would be able to look it up. I used Persian wool, rather than tapestry wool, and 14 gauge cotton single thread canvas. One thing I did not note down, and should have done, was how many strands of the wool I used for each stitch. I know they are not all the same, but I didn’t keep notes. That means that when I use these stitches in future, instead of checking on my previous experience, I will have to work samples all over again.
I did note down what the materials cost – £13.50. It was a very long time ago!
Calling him “Slow and Steady” was my idea. I always loved the Just-So Stories.
Follow Up to the Lady By The Lake
Stitching showing colour changes
Several of the comments on my Lady By The Lake post asked me to show some close ups of how I achieved the colour changes on the skirt. I’ve not had enough light to get her down from the wall, so in the meantime I found a fragment of canvas and some tapestry wool and worked a couple of patches of stitching to show what I mean.
The stitch is a bordered Hungarian Stitch. I couldn’t find a diagram online, but I think it is fairly clear to see how the stitch fits together!
I was rather limited by the threads I had available, but I’ve tweaked the image in The Gimp, and I hope you can see that I’ve only used three colours of wool, but I’ve achieved seven variants of shade. In practice I think I would choose one or other of dark diamond and light border or light diamond and dark border, and stick with that choice, since changing between them is rather messy. That said, sometimes it’s worth the extra headache to get the precise effect you want. This stitch gave the Lady a slightly textured skirt with suitable shading without spending the earth on different thread colours.
A Patch Of Linen Stitch
As this patch shows, you can blend colours with Linen Stitch as well, and I have done in the past, when the available colours weren’t quite right for the effect I wanted to achieve. I didn’t do so on the Lady, because I wanted to create the effect of a glossy silk satin blouse. So rather than creating softer colours by blending them, I wanted strong shadows and bright colours. The Lady’s canvas was a double thread canvas, so I could choose to work at two different scales. I wanted to reserve the finest scale for her skin, so everything else used the basic canvas count, and the skin and features were worked as petit point.
Hmm, I really do need to get her down and try photographing her again, don’t I. There’s loads more to say about the Lady by the Lake!
More Canvaswork Inspired By Clarice Cliff
Canvaswork Hollyhock House
Emboldened by the combination of fun and applause (admittedly only from my parents at that point!), I moved on to the “Hollyhock House” design from the series of Designs Inspired by Clarice Cliff.
Again in two versions, and again I haven’t photographed the tent stitch cushion.
Hungarian Stitch is another of my favourites, and you will notice that there is still more Cashmere Stitch, Diagonal Mosaic Stitch and Upright Cross Stitch. I chose to work the poplar-like trees in a Sheaf Stitch variant, which I think was not hugely successful, but an interesting experiment. The background is Linen Stitch (diagrammed on my post about The Lady By the Lake) as it doesn’t obtrude, but it does cover the canvas thoroughly.
At some point soon I should find a suitable thread for the outlines and then finish these two. Then I can turn them into cushion panels or something and move on…
The Lady By The Lake – another early project
The Lady By The Lake
This was another early project. It was a DMC painted canvas, which was clearly intended to be done in tent stitch using tapestry wool. As it is eighteen inches by nearly two feet, that would have driven me wild…
I bought it almost entirely because I thought I could see a way to get the folds in the dress to appear the right shades without using as many colours of thread, and I wanted to experiment. So I used a bordered Hungarian Stitch, worked in three shades of pearl cotton and combining them to create the impression of five shades in the skirt. It worked!
The blouse is also pearl cotton, this time Linen Stitch, which is effectively the back of Basketweave Tent stitch put on the front. It produces a very solid, durable background and I’ve used it on cushion projects in the past.
Linen stitch in canvaswork
The only drawback is that it takes so long to do. I’ve diagrammed it here because I can’t find it online, and I’ve found it such a useful stitch myself. It is worked diagonally, just like basketweave tent stitch.
The face and arms were worked in petit point, separating the double threads to create single thread canvas, and worked in stranded cottons (blended). The hair (she didn’t have such glorious chestnut hair on the painted canvas itself) is also blended stranded cottons, worked in a sort of long and short stitch. The hat has spider’s web stitch roses on it.
I changed the wooden, slatted backed bench of the canvas into a padded one so that I could do the upholstery in Reversed Mosaic Stitch. The lake itself took ages to do – row after row of darning stitch using all sorts of ribbons and threads, including some truly ghastly knitting acrylic which would have made a dreadfully uncomfortable jumper, but made a very good lake surface, with that slight sparkle you get when there’s just enough breeze to move the water.
The sky and clouds are all Milanese Stitch, worked in blended Persian yarns with three strands in the needle. It works, but now I’ve read Terry Pratchett I’m afraid it makes me think of the sky above “gnarly ground” in “Carpe Jugulum” – not such a peaceful thought!
Canvaswork Inspired by Clarice Cliff
"The Cat Who Walked By Himself" in canvaswork
The design in counted cross stitch that I created, “The Cat Who Walked By Himself” (now being re-issued by Classic Embroidery – remember how excited I was a few months ago?) was such a success that I experimented with other ways in which the basic design might be used.
First of all, in ordinary tent stitch at a large size. Pleasant enough, but rather dull – for me, at any rate.
Then, at the same size as the original cross stitch, but using ornamental canvaswork stitches. Originally I had in mind to run classes based on these designs, in one of the local shops, but the shop closed, life changed direction, and I’ve not done anything with it yet.
As I post more of my early canvaswork, you will probably notice some stitches recur. For example, I like Upright Cross Stitch – it is sturdy and heavily textured – and Milanese stitch (I think just because I like the name). I usually sneak in Leaf Stitch as well (remember the Elephant of Considerable Charm?). I’ve also used Jacquard Stitch, and Satin Stitch. The background was worked in Encroaching Gobelin Stitch.
I’ve not put the heavy outlines on yet. Tapestry wool would be too heavy – some of the areas are quite small – but on the other hand, I don’t want to use something that will draw too much attention to itself by being shiny..
C is for Cat
C is for Cat Cushion Panel
When I saw this as a painted canvas is a needlework shop, it immediately made me think of a friend who had a black cat, so I thought of doing it as a present.
The original canvas showed a seal-point Siamese with blue eyes, so I stretched a few points and used grey and navy to create a black cat that was light enough to show its shape and markings, and gave him green eyes as well. The cat is entirely worked in basketweave tent stitch. Much as I enjoy working the ornamental stitches, sometimes restraint is advisable!
Besides, the bright blue “C” is double padded with soft embroidery cotton and then satin stitched over with pearl cotton. I thought that would be quite dramatic enough without any additional flourishes!
The background is worked as a gentle oblong check in Straight Cashmere Stitch, using two shades of soft embroidery cotton that tone with the velveteen I used to make the cushion it is mounted on. I’d almost forgotten about this panel until I was rummaging for notes of some other embroidery I had done and found a reference to it, so it is gratifying to find that I am still very pleased with it. It was a fairly simple and straightforward design, and I think my choice of stitches and threads was simple enough to reflect that while having enough variation to be interesting.
I’m not sure what the real cat thought of his portrait. Cats are what they had in mind when they came up with the word “inscrutable”!
The Elephant Of Considerable Charm
The Elephant Footstool in canvaswork
I don’t confine myself entirely to surface embroidery. I’ll give most things a try, and needlepoint is fairly high on the list of things I enjoy.
This is the second footstool I made. The first one, which I made for Grandmama, was an adaptation of a design from the Reader’s Digest Complete Guide to Needlework, but I designed this footstool for my mother after we had Grandmama’s in the house for a while, and she decided that she really liked Putting Her Feet Up Properly.
An Elephant Of No Distinction But Infinite Charm
There are several elephant ornaments in my parents’ living room, but the inspiration in this case was a glazed terracotta elephant which we call the Elephant Of No Distinction But Infinite Charm (to distinguish him from the Elephant of Considerable Distinction, who joined the family much earlier, when I was still a child!). I thought his decorated saddle cloth and harness simply cried out to be rendered in canvaswork of some description, and thought it would be fun to try.
The Elephant In Canvaswork
I used two strands of Paternayan Persian wool for the whole piece. The background is worked in Leaf Stitch Filling in two shades of green. This is partly for a stylised jungle-like effect, and partly to echo the green damask fabric covering the furniture.
The reds, oranges, and browns pick up the curtain colours, and echo the Elephant Of No Distinction himself. The harness uses cashmere stitch variations, the saddle cloth is upright double cross stitch, and for some reason I can’t now recall I chose to use Byzantine stitch on the elephant’s ear.
The sides were worked with a Bargello rope pattern, but I had to fudge the final piece because I discovered the pattern wasn’t going to meet up – I hadn’t thought that far ahead when I planned it (if you can call it planning!). Almost everything I do has a slightly improvisatory element to it and in this case, I left enough space to put my mother’s name around the corner that wasn’t going to match. It almost looks deliberate!
I’m not displeased with him, but I would do something entirely different now, I think!