Stitching Idyllic

Stitching Idyllic by Ann Bernard

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More Spring Flowers.

This is a follow up blog on the last one which featured Spring Flowers that were stitched in adaptations of chain stitch.   This group are all stitched using Straight Stitch.

It has got to the be the most basic of all stitches.  I use it endlessly.  It is my absolute favourite stitch.  When you think about it, it really is the foundation of every stitch in existence.

“You put the needle in.. and then.. you pull the needle out.”                    What direction and where it goes is up to you.

Daffodils  Two shades of yellow  are used here but they are not blended.  Also, the leaves can be taller than the flowers.

Hyacinths have the same structure and use the same stitching technique,  Besides the obvious difference in colours, there are some subtle changes in the basic technique.  The leaves do not grow so tall.

Grape Hyacinths or Muscari.  A quick and bold effect.  These bloom in many different shades of blue.  As long s your choice is congruent with nature, they will be recognizable.

Dandelions.  Everyone has these in their garden!  As they also carpet parks, fields and street verges, they are a sure sign that spring has arrived in the neighbourhood.  Different stitches are combined here. Straight, open chain and leaf stitch.

Primulas.  In our area of Canada, they are an annual and a pot plant.  These use a combination of stitches such as chain stitch for the leaves, straight stitch for the petals plus french knots for the centres.

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When stitching all the flowers in Hand Stitching Recognizable Spring Flowers, it is essential to use the correct mix of greens threads for the foliage and the correct colours for the blooms as prescribed by Mother Nature.  Otherwise, the flowers will not be recognizable to the human eye.

For more details, see the previous blog entry. Weatherize, it is milder and much of the snow will disappear in the next few days.,

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“If Winter comes, can Spring be far behind”.

This famous quote helps us through the depths of the winter weather.

To help both you and myself, let us anticipate spring.  It is bitterly cold here in southern Ontario.  Today looks lovely but it the cold goes right through even the warmest coat and gets into ones bones.

It is a day to stay indoors and dream of Spring Flowers.

Here are some hand stitched spring flowers which are based on chain stitch.  It is amazing what one can do with the most basic and best known stitches if one plays around with them a little.   One never knows what will happen.  To achieve flowers that are  recognizable it is important that the proportion of plant height and flower size be correct and that the colours of both foliage and the flowers also be correct.  Otherwise, our eyes do not recognize them.  They become generic, rather than specific.

Snowdrops.  Except for celandines, these really are the first flower of spring.  One can have both snow and blooms in the same flower bed. Use a white Perlé thread to give the flowers some sparkle.  In nature, they really do sparkle.

Crocus also bloom in early spring.  DMC floss thread in the correct colours gives us a good rendition of these popular and fragile blooms.  Note that the foliage colour of all three plants is different.

Tulips are both taller and much later in the season.  These flowers bloom in a multitude of different colours.

My good friend, Mary, created card inserts using the instructions for tulips.  I would love to receive such a card for a birthday or to wish me well if I had been sick.  It is such a personal gift to, or from, someone important in ones life.

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You will find the instructions on how to stitch these flowers together with the DMC floss colour numbers in this ebook.

Hand Stitch Recognizable Spring Flowers published by ebookit.com

The book contains the instructions for 23 different flowers, bushes and trees.  It also contains, and this is important, information on setting up a frame with fabric that is taut.  Basic, ‘how to stitch’ information is included plus finishing and mounting ones completed work.  As most books assume that everyone knows the basics, they do not cover this vital information.  Because it is not widely know, I have included it in mine.  It saves beginning stitchers falling into  potholes and embroidery is full of them.  The experience is more enjoyable if one knows where the potholes are and is able to avoid them.

The book is published in ebook format because of the high cost of colour printing.  You can print it on your printer for your own personal use.  We have proved many times that the instructions are complete and you will not need other assistance.

Have fun with this and enjoy anticipating Spring.

Ann

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Through the Eye of the Needle

The Art of Esther Nisenthal Krinitz

Embroideries that Record History

Esther used her needle and thread to record her vivid memories of her family, her village, her escape and her survival in Poland during the 1930s and 40s. This is not only a remarkable series of embroidered panels, it is a historical record of the Holocaust. Her embroidery skills are superb. The action and the detail in the figures is remarkable.

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Please take the time to watch this video. You will be glad that you did so.  If you are able to watch this full screen, it is worth it to see the detail especially the faces.

I send greetings to all the readers of this blog and wish you a Healthy and Happy Year.

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The very first type of embroidery – ever

Would you believe that the first type of embroidery that was ever created was……….wait for it………….Needle Weaving!!  It happened many centuries or even thousands of years BC.   Spinning and weaving had already been established of course.

And this is how it happened.

The weaver, having set up his/her loom with warp threads, then wove in the crosswise threads – called the weft.  The weft threads were pushed close to each other forming what we know as – fabric.  The weaver would leave a space between the rows of weft threads at the point where a hem would be stitched.  I think that the next development was the creation of hemstitching which you can see in the top line of stitching in the above photo.

Coloured wool  threads were woven into that space between the lines of weft threads forming the first step in needle weaving and the first step in decorating fabric.

This is the needle weaving sampler I made while a student at the Royal School of Needlework.  We now remove both the weft and warp threads to form a hemstitched border around a piece of fabric.  I do not know when mitering corners was developed.

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Many lines of weft threads can be removed leaving space for more complex  needle woven designs.  Many of these designs are part of the traditional embroidery techniques of eastern Europe.

I remember working on this sampler while travelling from home to RSN on the London Underground.  I was weaving in the weft threads at the ends of the design bars.  A young lady was strap hanging just in front of me and attentively watching what I was doing.  After awhile, she said, “so that is how that is done.  I have always wondered and now I know!”

That is a very long term memory!  Because, it was truly, a very long time ago!

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“Blocking Embroidery” to professional standards. A tutorial.

The process of “blocking” removes all the wrinkles, distortions, twists and unevenness’s making your stitching look amazing. This process is well worth the time and effort spent doing it. It is logical and easy. Especially when you follow the directions!!! I mean that. Omit all the shortcuts that you can think of.

SUPPLIES
A piece of wood, i.e. plywood that is at least 3” larger in all directions than your embroidery.

Heavy Duty Foil to cover one side of the board completely, plus the edges.

An old white sheet, towel, or flannelette. This should be larger than your embroidery but not as large as the board.

A tape measure, ruler, set square and a pencil.

A hammer.

Four short lengths of masking tape.

A clean spray bottle for cold water.

Another larger piece of old sheeting to lay over your embroidery while it is drying.

A horizontal place to lie your “blocked” piece of embroidery and leave it there for at least 2 days. It may take several days longer if it is a tapestry or crewel piece of embroidery.

If your embroidery has some dirty marks on it such as from a hoop, use a Tide pen on the marks. Or wipe them gently with a damp cloth with a minute amount of detergent on it. Hopefully, neither of these will be necessary.  Be very conservative with any spot cleaning you have to do.

Do not wash and iron it. This may be necessary for white work but is not advisable for crewel embroidery or for any other densely stitched piece of embroidery.

METHOD
1. Cover the board with Heavy Duty Foil. This keeps any chemical or wood sap from oozing up into your embroidery and staining it.

2. Measure each of the four sides of the wood and place a piece of masking tape at that centre point.

3. Mark the exact centres of the sides of the board on the tape with a clearly visible pencil mark.

4.Mark the exact centre of each of the four sides of your embroidery using a short pencil mark on the edge of the fabric.

5. Lay two wrinkle free layers of cotton fabric or flannelette or, one layer of thin, old towel on top of the foil. The area that this covers should be larger than your embroidery but not cover the marks indicating the centres of the sides of the board.

The next point is variable and you have to use your judgement on which one is appropriate for your embroidery.

–Work with it dry. This is suitable for light weight fabrics with minimal distortion and puckering.

–Work with it slightly damp. Spray it all over, back and front, with clean, cold water. This piece needs some more major restoration. It is puckered, has hoop marks and looks messy.

–Work with it really wet. This is for tapestry work on canvas which is severely distorted.  Spray it thoroughly back and front, or put it in cold water and let the excess water drain off it.

Fix your Embroidery to the covered board.

It must be — right side of the embroidery facing you. The reverse side is the side goes next to the layers of fabric padding. After the stretching process is completed, your embroidery will appear to be embossed.

6. Position the embroidery so that the marked centre points of the board and the marked centre points of the embroidery are lined up.  The line of dash marks indicates the edge of the stitching design.

7. Place a temporary pin or nail in the centre of each of the four sides to fix the embroidery to the board. The pins or nails are close to the outside edge of the fabric and not near the embroidery. (Red dots).

Corners next. Stretch each corner of the fabric out towards the corner of the board and position these four pins or nails temporarily. You now have your embroidery centred and positioned so that the warp and weft fabric grain are positioned at right angles to each other. Check this with a ruler or set square

8. Go back to those temporary mid points pins/nails again. Remove them replace them accurately on those mid line markers but stretch your embroidery in the same way as you did the corners.

Go to the half way point between a corner and a central mid-point on one side. Stretch the embroidery fabric outwards so that the edge of the fabric is straight. Hammer in a temporary pin .Repeat for the other half of that first side. Repeat for all four sides.

Continue in this manner placing pins or nails about ½” apart round all four edges of the fabric.  Only one edge has all the pins/nails in position in the diagram.

Check that —  That the fabric is taut and that the warp and weft threads are at exact right angles to each other. The edges of the fabric should be straight.
Make adjustments to the stretching and pin/nail positions as necessary.

9. When you are satisfied with the stretching part of this job. Go round and hammer in all the pins or nails more securely. Do not hammer them in so far that they will be hard to get out on completion.

10. Spray the entire piece of fabric with cold water so that it is uniformly and evenly damp or wet.

11. Place the board in a horizontal position on a table. Cover with a loose but clean white cloth especially if you have pets, children or anyone doing messy work on your house. Do not stand it against a wall as it will drain and not dry evenly

12. Check it every 6 – 8 hours and respray any areas that are drying faster than others. It needs to be kept uniformly damp so that when it is finally dry, it has all reached that state at the same time. (Do not even think of using a hair dryer on stubborn areas; or an iron).

Leave it to dry. this could take several days.

This procedure will remove all the wrinkles, distortions, twists and unevenness’s making your stitching look unbelievably amazing. It is well worth the time and effort to do this. It is also easy despite the long instructions.  If it is not perfect, repeat the process.

When it is completely dry – leave it a bit longer if you are not sure.  It will not hurt if it remains on the board until you have time for the next stage.

Remove the pins/nails carefully.

Your embroidery should now look fantastic.Do not fold it as the fold will not improve your embroidery. Rolling it with a towel for a short time will not damage it.

Mount it on Acid Foam Core board which is available at Art Stores and at Picture Framers. You can do this yourself. No framer will give your work the time and attention that you will give it. Having done an excellent job of stitching, give the same attention to finishing it by doing it yourself.

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You could have avoided all this if you had worked your embroidery on a Slate Frame or on a square or rectangular frame. The puckering and distortion occurs when you stitch on a hoop. The hoop leaves marks, bends in the fabric, distorts the fibres in the fabric and your stitches get pulled out of alignment. To stitch on a frame with the fabric fixed into position and taut is the the way to produce stitching that exceeds your ability and expectations. The instructions for this are included in my books which are published in ebook format.

Stitching on a hoop is appropriate for a design that is within the area of the hoop.  It is moving the hoop around to different areas of the design that is not advisable.

Hand Stitch Recognizable Spring Flowers 2nd edition

Hand Stitch Recognizable Summer Flowers

Although both books contain the information, in Spring Flowers, it is more fully explained.

PS: I trained at The Royal School of Needlework and really do know what I am talking about. Using the instructions for preparation and finishing will express your stitching ability into the fast lane and improve your finished product by several hundred percentage points.

All good wishes for a life time of happy stitching.

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WW I Remembrance Altar Frontal. St Paul’s Cathedral, London.

November 11, 2018 is the 100th Anniversary of the end of World War l.  Every Remembrance Day is special to all those who cherish their freedom. It is the day when we remember and thank those who have gave their lives  to keep the freedoms formulated in the Magna Carta alive for us and for future generations.  It is the day when we pray that peace will prevail and that war will be abandoned.

The Globe and Mail Newspaper of  Toronto  published an article on November 9, 2018 written by Paul Waldie.  The Threads of History tells us about the First World War Tapestry that is the Remembrance Day Altar Frontal in St Paul’s Cathedral.

Sir Arthur Stanley, governor general of Canada 1888 – 1893, (of Stanley Cup fame) commissioned the frontal as a  rehabilitation project for wounded soldiers.  138 Allied soldiers from many countries, most of whom had never used a needle and thread before, created this tribute to their comrades.  Designed by the Royal School of Needlework, the individual motifs were embroidered by the soldiers and then appliquéd on to the silk damask background.  The black outlining conceals the stitching that attaches the motifs. The stitching techniques are mostly Long and Short and Laid Work.  Long straight stitches are secured by a line of couching.  Shading in this technique is a challenge. It can be gradual or it can be sudden. Both are technically and historically correct.   The black outlining conceals the stitching that attaches the motifs gives it drama and enhances its visibility. This is a handsome piece of Embroidery that Records History.

The tapestry/embroidery was put away for safety in 1941 and was forgotten.  Researchers found it rolled up in a wooden chest.  It has been restored and is mounted on the altar during Remembrance week.

If you are able to access the article Special threads reconnect descendants of Canadian First World War soldiers this week at the St. Paul’s Cathedral altar, it is full of colour and information, is not too long, and well worth reading.

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Sir Arthur Stanley started something that has been proven to be beneficial.  The use of activity as a therapy was used during and after both world wars.  It became the profession of Occupational Therapy. Many types of activity were used therapeutically in rehabilitation and in long term care.  It was not until the 1960/70’s that it broadened to include the development of equipment that is known as ‘Aids to Make You Able’.   From this came the development of wheelchairs, walkers, grab bars, accessibility considerations and building modifications.

This, my friends, is my chosen profession, Occupational Therapy.

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The Making of the Bayeux Tapestry – the absolute latest news.

“The Making of the Bayeux Tapestry” is an extensive article on History Extra, the website for BBC History Magazine and BBC World Histories Magazine.

The article, which is written in a question & answer format interviewing Alexandra Lester-Makin, PhD Medieval Embroidery and professional embroiderer, answers all kinds of questions about the tapestry, from how it was made and who made it to what the future holds for the tapestry

It’s a thoroughly insightful article, more so than the brief glimpses that have surfaced in the news over the proposed visit of the tapestry to the UK.

Mary Corbet of Needle N’ Thread posted information on this  article a few days ago.  I thought that you would be interested in hearing the latest research.  There are answers to questions in the article that have never crossed my mind.

It is easier for you to connect with the original article than for me to reprint it here.  It is fascinating reading being full of information about and explanations on what really happened in Europe and England in the centuries after the Romans left and William invaded in 1066.  There was definitely lots of action.

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Of interest to those who make large, and even larger embroideries, creating it in sections and joining them is as old as the Bayeux Tapestry. (Maybe even older!)  Section joins are specifically located so that they are concealed by action which detracts the eye from a fabric seam. It requires planning and organization for this to happen.  This article postulates that the Bayeux Tapestry was designed and planned by professionals and stitched in a workshop environment for this to happen.

The Stamford Bridge Embroidery is using this method.  It was used in the making of the Toronto Historical Embroidery.  This large embroidery is at least 40 years old and is in impeccable condition.

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The Magna Carta Quilts

The Magna Carta Quilts are a series of eight quilts made to celebrate the 800th anniversary of the sealing of the Magna Carta at Runnymede in 1215 A.D.  They celebrate the establishment of Human Rights and celebrate the birthplace of Democracy, worldwide.

They were made in 2014/15 by the Magna Carta Quilters. There are four Medieval Quilts and four Legacy Quilts, which stand together in a display that measures 30 feet long x 5 feet wide x 7 feet high.

Medieval Quilts

The four Medieval Quilts tell the story of the Magna Carta in a graphic novel style based on 13th century illuminated manuscripts. The panels are done with a combination of appliqué and embroidery using rich coloured fabrics and threads.

Legacy Quilts

The four Legacy Quilts show four oak trees appliquéd onto a background of hexagons. The hexagons represent traditional English patchwork as well as paying homage to the fact that the meadow of Runnymede has been cultivated for bee keeping since Neolithic times, around 3000 BC.  Note the bees on this panel.

Each oak leaf features a person in history or current times who has been active in the establishment of democracy.

Thames Mosaic

The reverse side of the quilts is the Thames Mosaic, which shows a pixilated outline of the the stretch of the River Thames between Windsor and Staines, which is where the meadow of Runnymede is located. (indicated by the orange/red rectangle).

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You will find and enjoy a more meaningful visit and see the details of these quilts by going to;

The Magna Carta Quilts at Guildford Cathedral

The Magna Carta Quilt Association Group

This Blog  Stitching Idyllic blog;

The Magna Carta Panels

MAGNA CARTA (AN EMBROIDERY) with thanks to information on Wikipedia

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Stamford Bridge Tapestry is making progress.

There are three embroideries/tapestries that record the events in England  in 1066.  The first was the Battle of Fulford Gate which was won by the invading Vikings.  The second was the Battle of Stamford Bridge which the Saxons won and which ended the Viking’s career of invading and marauding communities in the northern hemisphere.  These two battles affected the outcome of the Battle of Hastings and changed the course of medieval history.

The Stamford Bridge Tapestry Project is progressing well as you can see..  Sarah Hart took these photos at their display in early September.

To see more photos, go to Facebook Stamford Bridge Tapestry 1066 page.

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Sarah’s photos are copyrighted but I do not know how to communicate with her to ask if I may post these two for you.

You can read more about lO66 and this Embroidery/Tapestry in the August 2018 postings on this site.  It was a pivotal year in history.  When I  learned history many years ago nothing was mentioned about these other battles. It always puzzled me why an invading army who had to bring all their men, horses and supplies was able to defeat a determined and hostile Saxon army on their own land. The significance of these other two battles has only been recognized in recent years.  Yes, I am totally aware of the D Day landings but the defenders of France were not French citizens.

History is an intriguing subject.  Events that happened hundreds of years ago affect our lives now.  That is today’s truism!

This is Thanksgiving weekend in Canada.  Our first thanksgiving was in 1578 when Sir Martin Frobisher and his crew arrived back in Newfoundland after surviving a perilous voyage looking for a North West Passage.  In the following centuries, the thanks have been for surviving hardship and wars. It is now a thanksgiving for the harvest and for becoming Canadian.

Best wishes to all readers and thank you for following and reading this blog.

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Straw Embroidery. A historical technique that has been revived and modernize.

It is a pleasure to introduce you to Natalia Lashko.  She uses straw as her creative medium and her pieces are dazzling.  Her website includes pictures of many pieces some of which are floral and others are religious.

Snail by Natalia Lashko

Straw was used in Russia since the 16th century (according to some sources – even much earlier) as an imitation of gold embroidery.  Natalia was aware the actual process had been lost over time.  Through much experimentation, trial and error, Natalia began a journey of discovery, including her love of quilting (as evidenced by the fabric selections she draws together in her work).  To further her knowledge and skills she travels the world, visiting exhibitions, holding courses and master classes with leading foreign masters of patchwork, a word she uses to describe her pieces.

Natalia has developed her own style of straw embroidery;  one that creates dimension by not necessarily sewing each piece of straw as it might if it were thread stitched. As a result Natalia has taken straw embroidery into the current century.  The straw works of Natalia look both traditional and original and alive. Her masterpieces of straw that may take as long as five years to complete.  Her works, some being 5 feet in length, may be found in private collections in Israel, France, Russia and Poland.

                                                                     Madonna and child

According to Natalia, “Straw is a flexible material. Working with it is difficult and at the same time enjoyable. ”  There was difficulty with portraits, because they have to be graceful and beautiful. I had a lot of experimenting. Imagine the face of  Jesus just two millimeters and centimeters, in which I must depict the eyes, nose, lips, and that it was a child, with plump cheeks that he was beautiful. From all that I have embroidered, and this many characters, Jesus was for me a pleasure.

The Straw Shop is privileged to be the only American website granted permission to share her works.

I googled their site.  I found information on straw and several examples of its use.  I did not find anything by Natalia Lashko.  This is free publicity for you both.

You can see more of her creative work by entering Natalia Lashko on your browser and clicking on Images.

Enjoy; and be dazzled.