Filed under: ANG Main Line Stitchers Chapter, Vases with Curly Bamboo by Sharon G
Several members of my ANG Main Line Stitchers chapter have now joined several of us who took a class with Sharon G for her painted canvas, Vases with Curly Bamboo, at Nimble Needle of NJ a few years ago (2012). Original class members have Sharon G’s stitch guide and I’m using her recommended stitches (with a slight alteration of the beads near the black tassel).
Now, we have stitch guides by Amy Bunger and Tony Minieri to learn how different stitch guide writers approach the same painted canvas. These will be discussed every other month (December, February, etc) to give people a chance to stitch a vase before discussing the next one. The last session will review the background and border. We are not copying the stitch guides. Each person has their own or can take notes regarding the other stitch guides.
My first vase was finally done by March 2017. The little bits done on the other vases was done in class. I’m done with Vase 2. After stitching the Diamond straight stitch pattern, I had to get out the magnifying glass to see where to fill in the 2 strands of Bijoux 415 (really tough to get a photo to show the sparkle but 2 stitches fall between the beads on the diagonal). Then, I could see where to put the burgandy Sundance beads 460A. There are two rows of beads on the top rim. Sharon recommended two rows for the lower band near the tassel but I alternated beads on the diagonal with black Kreinik #4 Braid 005 because the cord of the tassel needed to appear to go around the vase. The tassel was supposed to be long stitches that ray out from the top but I couldn’t get that to gather how I wanted. So, I made some shorter stitches to fill in the bottom sides and long ones in the center. The two strings of 5 beads each lay across the long threads nicely looking like they are gathered.
Close up photo.
I’m looking forward to see what others have done with the burgundy vase.
Yesterday, I made great progress on the blue vase at our Saturday Stitch-in (4th Saturday of the month).
Please join us any second Monday of the month from 7-9 pm at Starbucks in Wayne, PA (218 Lancaster Ave).
Filed under: Gay Ann Roger's, Countess of Granrham, Gay Ann Roger's, Lady Edith, Gay Ann Roger's, Lady Mary, General comments, Other People's Designs, Technique Issues
I asked Santa for Gay Ann Roger’s series of designs inspired by Downton Abbey including the Countess, Lady Mary, and Lady Edith. Hopefully, she adds a fourth based on the Dowager Countess.
And, I expect to learn a lot from Susan Sturgeon Roberts in her book, Tips & Techniques for Needlepoint. After some cooking, I will settle down with this.
Happy Holidays to all!
Susan has beautiful diagrams in her booklet. I love how there is a grid on each page with large colored diagrams and instructions for each section.
I saw three pieces of this design all stitched differently at Woodlawn Needlework Exhibit this year. Each very pretty! I would love to do several of these.
Filed under: ANG Main Line Stitchers Chapter, ANG Stitch of the Month, 1999
One of the counted projects for my ANG Main Line Stitchers Chapter is ANG’s Stitch of the Month (SOTM) from 1999, Barbara’s Patchwork. Everyone’s is looking great.
Unlike Area B, most of Area C is covered but there are some open areas. So, watching where threads start and end is important. I started the base, Elongated Cross stitch, in Area A near the upper left corner with a 30” thread so that I would not need to start again. That long length of thread will not get stressed (excess wear) because they are such large crosses. My only change was from two plies to one ply for the last 4 elongated crosses (those that are vertically oriented located between the irregular Smyrna stitches).
Please join us December 9 (always the second Monday of the month from 7-9 pm) at Starbucks in Wayne, PA (218 Lancaster Ave).
Filed under: Uncategorized
At Seminar 2019, Cynthia Thomas introduced us to Stitch Manipulation in a 1-day class. It was lots of fun and I posted a couple of my favorite diagrams from class back in August. I’ve been playing with designs on my computer but haven’t had time to stitch any yet.
In the meantime, I just found a chapter in Needlepoint and Beyond 27 Lessons in Advanced Canvas Work by Edith Anderson Feisner entitled Variations in which she describes varying a stitch by size, by direction, by proportion, and by combination. In fact, she stitched a small landscape in all white using all variations of only cross stitch. I realize now that my design only changed by direction and by size of a straight stitch.
I wonder if Cynthia read this book too and developed it into a class!
Has anyone tried this technique?
In reading over suggested materials from the EGA Master Craftsman Canvas bibliography, I have found a couple of interesting issues and will post about some of them. I’d love to get your input on these.
In Needlepoint and Beyond: 27 Lessons in Advanced Canvas Work by Edith Anderson Feisner, she says to always work into the stitches that have been previously done. That makes sense. It’s also been described as working from a clean hole into a dirty hole. That’s not always possible but an excellent tenet to follow.
Before I proceed, let me say she is using size 10 or 12 mesh interlock canvas and Colbert Persian wool in her examples. So, perhaps her next statement that I have some question about is not applicable to all fibers.
She says to catch just a tiny bit of the fiber as you work the stitch to lock the stitches together but do not split the fiber. Her reasoning is that, “This will prevent friction between stitching from building up and destroying the fibers.”
Do you think her finished pieces are being used as rugs or something being handled a lot? Because when would there be friction after you stitched and framed something?
I have always tried to keep the holes more “clean” by specifically avoiding catching the fiber from the previous stitch. I thought that was preferred. And, so, perhaps “it depends” on what you are stitching and for what purpose. In straight stitches like bargello, it might decrease the chance of seeing the bits of canvas on either side of the threads (sometimes referred to as teeth or dandruff). And, bargello patterns are often pillows or purses which would get wear.
Have you ever heard anyone recommend catching the fiber while stitching? And, if so, when, what fiber, and why.
Thanks in advance for your thoughts and comments.
Filed under: Canvas Master Craftsman Program, Embroidery Guild of America, Step 1
I got started on the Canvas Master Craftsman Certification Program through EGA (https://egausa.org/certifications/master-craftsman-program/) in September 2019 with Step 1. I am also interested in the Color and Design Certification Programs. But, I decided to start with the Canvas program in order to demonstrate “mastery of basic canvas techniques and compensation” before advancing. And, I am thrilled to say that I passed the Step 1 evaluation with distinction! They want me to exhibit it as “an example of the beautiful work” being done as part of the Master Craftsman Program portion of the Education exhibit at the 2020 EGA National Seminar, September 4-8. I am happy to promote the program.
Since each program has 6 steps with judging at 6-month intervals, it’ll take a minimum of 3 years per program. But, you can take longer periods to complete any step. By the end of the 3 programs, I will have stitched 21 pieces and written 6 essays for the Color program (these sound tougher than stitching). While this is ambitious and challenging, it is just what I want. Even though I didn’t get started on my first piece until September, I was able to get it done before the end of October and send it in for the November evaluation. It appears that 3 people did the evaluation which looks at following directions, transferring the design, stitch technique, stitch placement, correct compensation, canvas coverage, and use of color.
For step 1 of Canvas, I had to select 10 stitches from a list of 20 and one of three designs using a monochromatic color scheme of 5 values of stranded cotton floss.
I selected the three fish mainly because I could use 5 values in the monochromatic color range that DMC calls Golden Yellow (3078, 727, 726, 725, and 972). After I made multiple copies of the design, I pulled out my colored pencils and mapped out the basic colors to be sure there would be contrast between adjacent areas and to get an idea of some different shading for each fish.
Next, I decided what direction each area would be. And, I wanted movement that would keep your eye within the piece. I selected Mosaic for what I saw as the furthest away fish (upper left) because it is a smaller stitch pattern, Parisian for the middle fish (right) because I could rotate the stitch 90 degrees for the tail which is showing the backside of the fin, and Milanese for the closest fish (bottom left) because it is the largest stitch pattern. Then, I filled in the rest of the areas.
For my initial tracing, I used a yellow copic marker but I couldn’t see the lines well enough. So, I got another piece of canvas and used a pencil even though I don’t like pencil. It either rubs away on me or it is too dark to cover with the light colored threads. As it turns out, one negative comment was that the lighter threads in some places picked up the graphite. Or, it might be that I didn’t cover the tracing quite enough in a couple of places. They offered two suggestions including colored pencils or micron pens which come in different sizes and colors.
I was pleased they noted my threads were “very nicely laid with good tension”. My coverage was good but “a small amount of canvas is visible in some areas”. I liked the coverage with 3 or 4 threads. But, I can appreciate their suggestion to use more strands on the straight stitches to cover even more. They also offered a good alternative to use paint behind the stitches. I wasn’t sure that was allowed but now I know it’s ok.
I planned out the thread blending on the bodies of each fish and they noticed. “Color blending added interest and the transition of values, particularly in the upper left fish, is excellent.” That fish had the most complicated thread blending pattern. And, they loved the way I turned the stitch on the right fish’s fin to add movement. It’s nice to read that my submission was “artfully done” and that the color blending and stitch placement, especially on the fin were appreciated.
An extensive bibliography is provided and, as a guide, each entry references which step it applies to. I own about 10 of the books. And, Rittenhouse Needlepoint has another 6 in their classroom library. I came to appreciate the stitching order as suggested in The Needlepoint Book by Jo Ippolito Christensen. She indicates that slanted stitches should be stitched first when next to straight stitches.
Step 2 instructions were included when Step 1 was returned to me and I am already planning what stitch goes where in the assigned geometric design. My analogous colorway with DMC floss has been determined. Color placement is tough. While I am anxious to get started, I am not in a rush as I have until May. And, there is a painted canvas that I must finish first.
Mt. Airy Learning Tree offers a great variety of classes throughout the year. I decided to take an Introduction to Zentangle class. I had been exposed to Zentangle by my ANG Keystone Garden chapter and stitched a design I had drawn (which got Honorable Mention in 2018 at Woodlawn). Candice had given us an excellent class but that was a few years ago and decided to give it another go.
Mindy Shapiro, a certified Zentangle teacher, provided a Micron 01 pen, a Micron 08 pen, a short pencil, a smudge stick (Pro Art Stump No. 2), and 4 cards (3.5″ x 3.5″ heavy stock with wavy edges and curved corners from Zentangle.com). There are no erasers because whatever happens is meant to be.
In just 2 hours, we covered the origins of the art form and got exposed to multiple patterns. The design on the left has Crescent Moon with auras (upper left area), Hollibaugh (pairs of lines passing under others; bottom right), Printemps (circular pattern with auras or dots; bottom left area), and Knights Bridge (grid; upper right area).
The one on the right was done in the last 30 minutes to expose us to a few more patterns including Florz (grid with diamonds at the intersections with shading as I did or it can have an aura inside each white space; upper left area), Printemps with Sparkle (leaves an open area in the circular pattern; bottom center area), and Static (zig zag with shading; upper right area).
Four dots are placed in the corners. Then, connect them. Mindy liked the wavy lines that I used to connect my four corners. The left design has a Z string and the right design a V string. A ‘string’ divides the large area. The smudge stick smooths out the pencil marks to create shading and depth.
It was a fun class. There was 9 of us and no 2 looked alike.
One of the counted projects for my ANG Main Line Stitchers Chapter is ANG’s Stitch of the Month (SOTM) from 1999, Barbara’s Patchwork. There a nice variety of colors going on.
This is the next area, a composite pattern looking like a patch of flowers to me. It was a little tricky to stitch without threads showing through. I either passed the thread through the outline or started and ended within the motif.
And, one more person signed up for my Crescent Journey! And, one woman is stitching on a black canvas. This month will reveal everyone’s center motif with 6 stitches.
We’ve got the projector and speaker going again and are watching Tony Minieri and Amy Bunger Back to Basics DVDs alternating months with discussing Vases, a Sharon G painted canvas. Doing both was just too much in 2 hours. This month, we are starting Part 3 and will take 20 minutes to look at The Canvas, Compensation, and 3 Filling Patterns (Burden, Double Burden, and a Composite Couching Pattern).
Please join us November 11 (always the second Monday of the month from 7-9 pm) at Starbucks in Wayne, PA (218 Lancaster Ave).
Melitastitches4fun's Blog 
Filed under: General comments
Thanks to the 6,900 visitors to my blog last year. It’s been a great year of needlepoint and am looking forward to my annual review. Stitching on each project is so focused that I enjoy reminiscing about the year’s accomplishments. I also like to consider what will excite me going into 2020. In fact, I got so involved yesterday with my new class that I forgot to finish and post this! For Lesson 1 of Making Stitches Work For You”, a 4-month design ANG Cyberworkshop class with Carolyn Mitchell, we get to make stitch samplers on paper or for me more practice on my computer. I came up with this yesterday 4.5″. I’ll make more another time. Before I stitch, I want to get around 25 bands covering 12″.
One of the most exciting and challenging projects of 2019 was writing up instructions for Crescent Journey. It is a 43-page booklet with 56 diagrams that I worked on as I stitched the design again in a “Beach” colorway. Linda completed stitching a “Neutral” colorway as she proofed those instructions. She provided great input. Now, there are 9 people from my ANG Main Line Chapter who decided to stitch Crescent Journey. Several are choosing their own colorways but “Neutral” was the most popular with 4 choosing that one. It’s divided into 12 parts. So, we are stitching it as a year long project.
My 12″ square geometric piece (largest and most complicated design to date) was begun after 2018’s ANG Seminar 3-day design class with Kathy Rees and got an Honorable Mention award in the non-professional original design category at Seminar in 2019.
Several of my Hearts for Hospice were published in Needle Pointers (January/February 2019 and July/August/September 2019 issues). It’s been great fun making the diagrams and seeing them published is fantastic! I learned how to diagram in Excel from Cynthia Thomas at Seminar in 2017 in just one day! It has taken time to get better with it (just as with most things) but I love doing it.
I tutored a woman who wanted to learn to stitch partly as therapy to recover from an illness and regain her hand dexterity. Since she couldn’t drive, I went to her house several times. I was glad to help and she kept getting better as she continued.
I got Third Place overall and a First Place for Stitch category in Needle Me’s needlepoint contest. By accepting the store gift certificate prize, I have, in the eyes of ANG, become a “professional”. This is the official ANG position:
Winning prize money at a county fair is a gift for his/her achievement and excellence in his/her needlework. A professional makes money by teaching, judging, working for a designer to make stitched samples of her designs, or stitching a design for a client/a commission. The gift certificate from the shop falls under the same as prize money from the county fair.
So, after 10 years (2010-2019) of entering pieces into the ANG Seminar exhibit as a non-professional, I will start submitting pieces in 2020 with the professionals. I better step up my game!
And, to do that, I have begun the Canvas Master Craftsman Program through EGA. There are 6 steps. Step 1 was to show proficiency in 10 stitches using a provided design and in a monochromatic color scheme with only 5 values. I stitched three fish in yellows and passed with distinction. A good start indeed.
All the “new” pieces (first 5 listed) begun in 2018 were completed in 2019! That’s really amazing to find out. And, I got even more done too. One is from the “been sitting around for a few years” pile. The rest were started and completed in 2019. One of the reasons more projects were not started was because I was running out of bars! I decided enough was enough and wanted to finish what I had already started.
Not everything I began was finished. Here’s what I started in 2019 (adding to the list of uncompleted projects):
Of course, I obtained some projects (either painted canvases or instructions for counted designs) that went into my stash. I have not nor will I keep track of that! But, I did not seek out projects or canvases when I visited needlepoint store this year. I tried to get threads for some of projects that I hope to begin after finishing up what has been started. Speaking of needlepoint stores visited this year . . .
My travels took me to:
I made some progress on the painted canvas Vases and my ANG Main Line Stitchers chapter has made this a project – so, it will be finished in 2020. But, I didn’t make much progress on these painted canvases: Swirling Leaves, Embracing Horses, JP Bird of Paradise & Bamboo, and JP Orange Orchid & Bamboo. Other projects begun as far back as 2011 include Stitches in Sterling, Tar River Trail, Rozashi – Patterns in Blue and Green, and Fire and Ice will still be there for me. Will I get back to these before beginning new projects? Maybe some but there are already fun projects and events scheduled for 2020 including:
Thanks for following along with me this past year and I’m looking forward to sharing my adventures over the coming year! Hope you have a healthy, happy New Year.