Sampler Tool Case – the stitches in the sampler

The whole idea of the sampler on the case is to have a few reminders of stitches I haven’t done before, or use only rarely…

The first row was Fishbone Stitch in navy blue pearl cotton. I wanted something definite to create the edge of the panel. It was a little tricky to stitch on the soft pre-felt, but as I soon remembered – that would be true of all of them!

Next, Mountmellick Thorn Stitch in reddish-pink cotton. I’ve only used this once before, on the Jacobean Work Panel, largely because I have not found a suitable application. I enjoyed it, though, and now the stitch will be before my eyes more regularly, maybe I will find one…

Open Chain Stitch is an awkward stitch. In Barbara Snook’s “Embroidery Stitches”, she says it is best used as the basis for further ornamentation, such as single chain stitches across the bars. and I think you can see why. I used a pale yellow pearl cotton. I like the thread, but the stitch is one that needs more work!

Next, Sorbello Stitch, worked in overdyed blue mercerised cotton. I’ve used this stitch before, to work the modern villages on the Map of Amarna, but at this larger scale the form and texture of the stitch is easier to see.

Hungarian Braided Chain Stitch has become one of my favourite stitches since I used it for the Silken Crane and the Antelope Frieze. This version uses an overdyed pink/red pearl cotton. It does show colour variations nicely!

Bonnet Stitch is a new one for me. I am absolutely sure that yellow rayon is not what the stitch was developed for, but it worked rather well, and I enjoyed it.

I chose Feathered Chain Stitch next because I wanted something fairly wide, and fairly open. The navy stranded cotton makes a strong central axis for the panel.

Petty Chain Stitch is a new one for me. I found it in one of the books by Edith John that I have. She named it after the student who created it by accident when she confused the instructions for two stitches – immortality of a sort, I suppose! I’ve used a pinkish wool slub, doubled to even out the thickness. I’ll try to remember to use this again, in a less textural thread. I think it could prove useful.

The Herringbone Stitch, I chose because I wanted something narrow. You will have noticed I’ve tried to create a rhythm of stitch widths, although it isn’t a repeating pattern as such. The golden pearl cotton has a lovely shine.

Up and Down Buttonhole Stitch is another old friend. The challenge with this blue overdyed rayon floss was not in the stitching, but in wrangling the fifty or so metres that joyously tangled themselves as soon as I untied the skein!

I’ve never used Butterfly Stitch before, either. I’m not sure that the textured pinkish cotton does it the best service, but it creates an interesting effect.

Feather Stitch is harder to stitch well than you might think. The de-twisted gold rayon cord certainly didn’t make life easy, but it helps create an emphatic stop at the end of the panel.

A Sampler Tool Case

Here is something else I completed while I was recovering from Loading The Felucca, pictured with the two gifts from Alison that inspired my colour choices, a pincushion and a needlecase in English Paper Piecing. Considering that I selected my colours from stash, I think they have a surprisingly similar “feel”.

Some of you will recall that a couple of years ago I made a case to hold a wooden stiletto and mellor as a gift for my cousin. I’ve finally got around to making a case for three bone stilettos and a wooden mellor for myself!

I’ve included several stitches I haven’t done before, or use only rarely and I’ll write about those later.

It was a little tricky to find a suitable layout for the tools, but I finally decided I liked this one. I’ve blanket stitched the edges together, now, and I intend to needlefelt the layers together, just as I did with the other one.

When I find my needlefelting tool, which has gone Absent Without Leave!

Making It Up As I Went Along – The Big Reveal

The last time you saw the case I planned for the wooden mellor and stiletto, I’d cut the slits and described how I finished assembling it, using chain stitch down each spine, and blanket stitch around the edge.

When I put the tools in place, though, the whole thing seemed rather flimsy, somehow. I wracked my brains for a bit, and then thought that maybe if I were to needlefelt the layers together, it would give it a little more body.

I have a needlefelting tool with five needles in a single holder, so I fished it out, and stared at it pensively for a while. Fortunately it has a plastic guard around the needles, so I left the tools in place, and needlefelted around them. From both sides.

Then I took out the tools, and felted between the loops so that the fabric behind the tools would stay in place and only the loops themselves would be free of the backing.

Finally, I needlefelted around the edge of the sampler panel and across all of the back, so that the whole case would have the same sense of solidity.

Here is the finished piece. You can zoom in on the picture to get a better view of the stitches, and the needlefelting that gives the piece its body.

I’m very pleased with how it turned out, and I hope my cousin will have many opportunities to use it, and will find the sampler panel inspiring and intriguing.

Making It Up As I Went Along – Part Three

The final set of stitches for the sampler panel starts with Chained Feather Stitch, using very heavy plain pearl cotton

Braid Stitch (number eleven) is another stitch I’m fond of – I used it on the Frolicking Teddies Cot Blanket. It’s a stitch with a huge personality, so it needs to be used with care, but it’s a good one to have in the repertoire. The thread is another overdyed mercerised round yarn, and because braid stitch uses so much thread, it cycles beautifully through the colours and shows them off very well.

Stitch number twelve is Reverse Chain Stitch. This is a stitch I’d never used before the Goldwork Masterclass, but it is a very useful one, because for some threads it is much easier to work than conventional Chain Stitch.

Stitch number thirteen is Cretan Stitch. This is a great border stitch, but because the thread I chose – an overdyed soft cotton – was in a green that was rather close to the colour of the felt, I decided to add a row of Chain stitch in a very dark green silk to define the edge. It balances the cream Up and Down Buttonhole Stitch at the other end beautifully.

I double checked that I was happy with the layout for the tools by pinning an outline of the two wooden tools onto the felt.Since I used squared paper for the templates it was also very easy to plan where I would place the slits that would allow to tools to be held in place, and to line them up properly.

Then all I had to do was to make use of my mother’s buttonhole cutter to cut the slits – straight through the paper template – and reassemble the two layers. That was harder than I expected. I’d forgotten that felt is a very flexible material, and it bent and stretched itself, and needed to be coaxed back into shape, and then pinned firmly back into stability. Then I chain stitched down each spine, and blanket stitched around the edge….

Making It Up As I Went Along – Part Two

The idea of the sampler section was to give my cousin some inspiration for her own embroidery, and the chance to see what stitches look like in real life, since however good the book or the photo, it doesn’t come close to having the stitch there in front of you in real life! So I decided that it would consist of a sequence of stitches using a variety of threads. Naturally, I included some of my own favourite stitches!

Here, the top one is Up and Down Buttonhole Stitch, using a stranded linen thread from DMC. I first used this stitch in the Persian Fantasy, and I’ve loved it ever since. In this case I’ve added to the ornamental effect by alternating long and short upright stitches.

The next is Diamond Stitch, using an over dyed pearl cotton from Stef Francis. This is a stitch I’ve never used before but often wanted to. I’ll use it again, I’m sure – it was rather fun!

The third – in standard Anchor pearl cotton – is Cable Chain Stitch, which is my favourite chain stitch variation. It isn’t always suitable, because it is a stitch with a very strong character, and sometimes something more subtle is needed, but I always enjoy stitching it.

The fourth is Ladder Stitch, which I struggled with so much on the Tudor and Stuart Goldwork Masterclass course. Here I have used an overdyed soft cotton (Stef Francis again) and found it so much easier to do!

The fifth is Heavy Chain Stitch, which I have found very useful a number of times. It produces a smooth, clean line, definition without texture, which can be hard to achieve in embroidery, which after all is a very textural form of expression!

The first new stitch in this photo (sixth in the sampler panel) is Loop Stitch, this one in a round mercerised cotton. It’s another stitch I’ve not often used, but it provides a great contrast in texture with the Heavy Chain Stitch above it.

Stitch number seven is Coral Stitch (remember I used it for the little girl’s hair in the Holiday Traycloth?). I used another overdyed pearl cotton – one of my favourite threads, because it brings stitches to life.

Closed Herringbone Stitch is next, using an almost untwisted rayon thread. This produces a dense plaited effect – very glossy and dramatic.

The final row in this second photograph, number nine in the sequence, is a combination of Stem Stitch set beside Outline Stitch. I know it looks a lot like chain stitch, but the two stitches are mirror images of one another!

Making It Up As I Went Along – Part One

Since Christmas is over and the present duly received, I can at last show you the present I made for my cousin. She’s become interested in embroidery, and when I saw some hand made, beautifully-finished wooden tools (a mellor and a stiletto) at the Knitting and Stitching Show in Harrogate, I decided that I would give them to her for Christmas.

That was all well and good, but I couldn’t think of a suitable way to present them, so I decided to make a case for them. I spent some time sat in the picnic area at the show, sketching different possibilities and trying to work out what other supplies I needed to buy, and when, between mid-November and Christmas Day, I would be able to make it since I was still suffering from tennis elbow (I still am, but not nearly as much!). I was beginning to threaten to put together a kit and giving her that when one of the other ladies at the table pointed out that I would still need to make one as a proof of concept (a phrase I never expected to hear at the Knitting and Stitching Show!). She was right, because it evolved considerably in the process!

In the end I decided to make a case with three panels, using two layers of felt. I drew out paper patterns for each panel, and pinned them on to the piece of felt I had decided to use. I had considered putting a panel of canvaswork stitches on the front – I even bought a piece of congress cloth to use – but then decided that since she is interested in embroidery, it should be a panel of embroidery stitches.

As you can see, I also had second thoughts about the size of the sampler panel, and made it slightly smaller. That meant that there would be a wider border around the panel – always an improvement!

I ran tacking stitches around all the design elements to make sure I knew what was where, and then started thinking about the stitches to use for the sampler panel.