Blackwork Journey
Embroidery Designs by Elizabeth Almond
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December 2011 December is here and another year is drawing to a close. If you look in “Freebies” you will find my Christmas chart to you with all my love and best wishes for a happy and peaceful Christmas and New Year. I hope you have enjoyed Blackwork Journey during 2011. Big changes are ahead for 2012 which I hope you will enjoy. It is always a pleasure to hear from readers, listen to your suggestions and see your work, so please keep in touch. In Praise of the Needle! I researched an article on needles for "The Gift of Stitching" recently and I would like to pass on to you some of the information I found during the course of my research. In January in the new “Techniques” section there will a Pdf called “Needles” which should help you to look more closely at this subject.
"Memories of a Needlemaker" "By the start of the 19th Century there were over one hundred needlemakers around the English town of Redditch. Needlemaking groups came in all sizes from only a handful of needlecraft workers to a few hundred. Over 250 years ago, scouring and grinding, creating the high polish and ‘points’ of the sewing needles were very labour intensive, back-breaking processes. Water power from the areas many rivers and streams meant that water mills were eventually converted to the use of new methods of driving machinery. Up to this stage, grinding the points involved the 'pointer' skilfully tapering the ends of cut wires against a spinning grindstone, to a long point.
The origins of needlemaking in the Redditch area began literally in the cottage industries. Family groups would work together specialising in one or two processes. Children as young as 7 or 8 would be involved alongside parents and grandparents, with needle work skills being passed down through generations. Workshops would be found in rooms and brewing houses behind cottages in and around the Redditch area. Scouring was the first process to be brought under one roof; the first factories where a workforce would be brought together. Sewing needles in factories Washford Mill and Studley Mill were converted in the early part of the 18th century, with Forge Mill being built especially for purpose in 1725. Many parts of the process of needlemaking were still housed within the cottages, however until the development of steam power and advancements in machines meant that most processes could be brought into the factory by the middle part of the 19th century. Although output was able to grow and many tasks were undertaken by machine, much of the work was still done by hand. Stamping and Eyeing machines were eventually introduced in the first part of the last century. Social awareness grew through the latter half of the 19th century, with the emergence of sick clubs and hardship funds - even small pensions paid to retired workers. Some large employers would rent housing at a favourable cost to key staff and long-serving employees. Apprentices would be taught by elder craftsmen, alongside the original 'passing down' of skills within families of the needleworking trade. Fishing hooks, reels and tackle were manufactured along with needles. John James and Sons (formed in 1840) were making hand sewing needles, fishhooks and hardware needles at their Victoria Works before transfer of the needle production over to Washord Mills after 1912. Victoria Works in Studley continued then to concentrate on the production of fishhooks. Companies expanded and merged from the family businesses which were working side by side with other needle and tackle manufacturers across the area. In some factories, works committees brought together the management and the shop floor, raising and resolving issues and concerns, all with the aim of making production run as smoothly as possible as the needlework supply industry grew. There was much forward thinking in the developing industrial age. Educational trips by works committee members to other factories and even overseas kept the Redditch factories informed and moving onwards. Redditch became the centre for the needle making industry through the 19th century. Needles were also manufactured in London and in parts of the north and west of England and no-one is exactly sure why this particular part of the midlands came to have such a hold over the industry. The entrepreneurial spirit of the Redditch industrialists saw machines being developed and introduced to the benefit of production levels. Water power being used to polish needles was an important step and gave the Studley and Astwood manufacturers some early advantage over the competition. The introduction of machines to stamp, press and drill the eyes progressed the production process throughout the middle part of the 19th century and hardening techniques were refined. Redditch gained the reputation for producing the best quality needles and handworkers were re-trained in the use of machines." The traditions still continue today and I would like to thank John James Needles for use of their photographs and assistance in preparing this article. To find more information on John James Needles go to:
Forge Mill Needle Museum Forge Mill Needle Museum in Redditch is an unusual and fascinating place to visit. This historic site illustrates the rich heritage of the needle and fishing tackle industries. Models and recreated scenes provide a vivid illustration of how needles were once made and how Redditch once produced 90% of the world's needles. Take your needle, my child, and work at your pattern; it will come out a rose by and by. Life is like that - one stitch at a time taken patiently and the pattern will come out all right like the embroidery. Happy stitching! Liz
November 2011 Winter is just round the corner and the nights are beginning to draw in. The leaves are falling, but we are still waiting for the first frosts. This is the time of year when I take stock about the projects I have completed and try to develop new ideas, knowing that much of the winter will be spent in the house rather than outside in the garden! I am currently working on my next article for the "Gift of Stitching" and have dispatched various embroideries for publication next Spring and even one for Christmas 2012, after which I will then have a period free to look at what I want to achieve both for the site and for myself as an embroiderer. January will see two new sections added to Blackwork Journey, "Techniques" and "Cross Stitch Charts". In my previous Blogs, I have only briefly touched on various techniques and in future, under the heading “Techniques” I am proposing to write individual articles on different aspects of embroidery in greater depth, including some historical details, photographs and links to web sites for further investigation. "Cross Stitch Charts" will be just that, but with a move away from the traditional charts to new samplers and creative designs. It will include patterns from Eastern Europe, alphabets and modern samplers designed for the world in which we now live. I will also include pdf’s about specific embroidery topics which I find interesting and which you may have never researched. Whilst blackwork is my passion, I have also worked most embroidery techniques over the years and have a number of ideas that I would like to share with you, including patterns, embroidery tips and worked examples. For example, I specialised in whitework for many years and have a desire to revisit this technique in all its different aspects. I also intend to cover quilting designs and monograms. So I have a great deal to think about in the coming months, but I would value your input into the site. I thoroughly enjoy reading your letters and e-mails and try to help with specific needlework problems whenever possible and please don’t forget to keep sending me your photographs for ‘Readers Gallery’ On a lighter note, I have been looking at some extracts from some very old magazines which I have in my collection. The Needlecraft Practical Journal was published in Manchester in about 1900 and I have some of the earliest editions. The Needle and Thread Magazine dates from 1914, one month before the start of the First World War. It cost one shilling (10p) which was a lot of money to pay for a magazine in those days and the lady who bought this copy made copious notes in the margins which I have read with great interest.
To look through these magazines opens a window on a world long gone, when women had little freedom or independence and needlework played an important role in their lives. It is interesting to note that some of the firms advertised in the magazines are still in business today. For example, DMC silks which I use daily and Paton's Wools which I used to crochet my children's cardigans and little dresses and Pearsall's Silks which was established in 1795 and are still a joy to use. Happy stitching!
October 2011 Working out the correct size and type of fabric to use for a new design can cause problems for the inexperienced needlewoman. Whether to use an evenweave fabric or Aida blockweave for counted threadwork techniques will be largely determined by your eyesight, ease of working and confidence. Working on evenweave can be more stressful, but practice and experience helps determine which fabrics are the most suitable for you. Working out the correct size of fabric required, especially if you use a different count of fabric other than the one recommended, cannot be left to guesswork, so before you make any decisions regarding size, start by learning the basic facts about the different embroidery fabrics you will encounter. Aida or blockweave is woven in blocks and stitches are worked in every hole. It is available in a variety of counts i.e. holes to the inch. The most common are 11, 14, 16 and 18. The higher the count, the smaller the design. It is available in a wide range of widths and colours and can be made of a mixture of cotton, synthetic or linen. 22 count hardanger can also be classed as a blockweave. Beginners may find it easier to stitch on 14 count Aida.
Examples of blockweave and evenweave fabrics
Evenweave and Linen This fabric has the same number of threads, across and down and is available in a range of widths, stitch counts and colours. The most popular is 28 holes per inch. Stitches are usually worked into every other hole (two threads over two) producing the same finished design size as 14 count Aida. It may be made of pure linen, linen and cotton mixes or pure cotton. Working half or part stitches is much easier on evenweave, but it is more difficult to count. Familiar names are 18 count Davosa, 20 count Lugana, 25 and 27 count Linda, although finer fabrics are available. 22 count hardanger can be used very successfully for blackwork. Using the Fabric Calculator The Fabric Calculator on this website will allow you to key in any combination of material, stitches border etc. and determine the correct size of fabric required for the project. Design in 14 count Aida or 28 count evenweave, which one should I choose? Both fabrics produce the SAME size results so relax and let me explain...
Using the calculator to find fabic size for "CA" design to celebrate a Diamond Wedding Design area: 60 x 70 stitches
If you want to use a smaller frame you would leave less fabric as a margin. In the same way if you wanted a larger border you would leave more material. Whether it is Aida or evenweave, you would still need a piece of material the same size. 18 count Aida, 36 count evenweave, design area 60 stitches wide by 70 stitches high, the fabric required would be... etc.
From chart to embroidery There is a large variety of materials and threads available in a wide range of colours and thread counts so explore and find materials which suit your needs. Use the fabric caculator. Consult a good website to look at what is available! Be aware of your own abilities and limitations when choosing equipment. There is no reason why you cannot stitch into your 90's if you have the right tools and materials to help you! For a new way of looking at crafts have a look at 'Rainbow Disks' run by Vivienne Wells. (See below) She produces e-books on disc and I think this an excellent way of presenting crafts in a modern medium and to a wider audience. Happy stitching! Liz
September 2011 What I had planned to say in my Blog this month has been overshadowed by two recent events which have happened to me and the affects they have had, both now and for the forseeable future and I felt I needed to share some of my feelings with you. I know from my years of teaching how important needlework is to many people and how it can become a lifeline during times of illness or great distress. Many people who visit my website have become friends and I feel very privileged to be part of their lives. One such person wrote to me recently who has lost a family member in the most appalling circumstances possible and has found that her needlework has not only helped her during her difficulties, but changed in character and become even more meaningful and as a result of what has happened, has set up a Foundation in her daughter-in-law's memory. I was so impressed with this initiative, that I have said that I would design something specific to them to raise funds for their organisation. As you know, many people raise funds for their churches and specific projects through their needlework, but this example touched me deeply, so keep going Peggy, there is a lot of love out there for you! The second thing that happened to me at the beginning of the week, was that I was mugged and my handbag stolen by a fully grown man on a mountain bike in a supermarket car park. He grabbed it from the front seat of my car as I climbed in. I got out and chased after him after trying unsuccessfully to hang on to my precious bag. I didn't know I could still run and I probably shouldn't have tried at all, but all I could think about was that there were two finished embroideries in the bag waiting to be posted to magazines and they would have to be restitched! The fact that my house keys, purse, credit cards and cheque book disapppeared in my best black handbag, faded into insignificance at the thought of losing my embroideries. Besides the acute distress it has caused, I have spent most of the week cancelling cards, ordering new ones, speaking to the banks, (Don't you just hate automated telephone lines when all you want do do is talk to someone direct!) having all the locks changed and trying to come to terms with a physical attack. I am now much more wary, apprehensive and angry that some lowlife has taken part of my life, probably to feed his drug habit. Apart from the trauma it has caused me, the sheer inconvenience has been horrific as I have had to report the incident to the Police, flll out numerous insurance forms and provide several receipts etc. How many of us keep our receipts for months on end and put a price on their embroideries, which often don't reflect the hours of work spent designing and stitching them. My lasting memory will be the look of hate on his face... However, what I originally wanted to raise in this month's blog was as follows:- I have been delighted to see that my recent articles in "The Gift of Stitching" under the heading “Stitching with Ease” have raised a number of readers’ questions, ranging from where to obtain equipment to dealing with health related issues and stitching. If you have a problem and need some guidance, or want to share something you have found particularly useful, please feel free to contact me by e-mail and I will do my best to provide you with some help. This is your chance to have your say and to raise queries about your experiences and problems which have arisen whilst you have been stitching.
Stitching with Ease The on-line Needlework Fall Show runs from 20th-25th October, 2011 and there will be a number of new designs available from 'Blackwork Journey'. The public can view the pages from the vendors and it is great fun to look through them all. My new charts are available from some Vendors, but will also be available in PDF format after the end of the show. I have a new "Seasons" collection as well as many other designs which I hope you will view and enjoy. All designers spend many hours assembling their collections and this show offers an excellent opportunity to look through other peoples work and perhaps stimulate ideas of your own.
October Show
Take care and keep safe! Liz
August 2011 The National Trust in the United Kingdom works to preserve and protect the coastline, countryside and buildings of England, Wales and Northern Ireland through practical caring and conservation, through learning and discovery and through encouraging millions of people to visit and enjoy their national heritage. After a recent visit to Berrington Hall, a stately home built in 1778 - 1781 which is set in the Herefordshire countryside, I realised just how much I take for granted and how different my life would have been even 100 years ago! Berrington Hall reveals the lives of its wealthy owners as well as the lives of its servants, something I found particularly interesting.
Footman and chambermaid at Berrington Hall Because so much of my time is spent in caring for textiles, turning on the washing machine, using a steam iron and occasionally a dryer, I was fascinated by the Victorian laundry which was located just outside the main building. Ruled over with a rod of iron by the chief launderess, the three servants, one a child of twelve, would toil every day of the week with the most basic of equipment to maintain the household's linen. The laundry was soaked in lye which was a mixture of ashes and urine which helped to remove stains and retain a white colour.
Whilst herbs were added to sweeten the mixture, it stripped the skin from the servants fingers and hands which often became raw and callused. Soap was made from ash lye and animal fat pressed into a hard brown block. Sunlight soap was a much later addition! After soaking in a large wooden tub, the linen would be moved to three large wooden sinks (wood held the heat!) where the servants would use metal washboards to rub the fabric. There were three taps - one for hot water, one for cold water and one for soft water! The invention of a "modern" boiler made life much easier, since boiling water was readily available for use with the dolly tub and peggy.The legs on the peggy were used to stir and pound the washing in the dolly tub which was very hard on the fabric! I remember my mother having one before she bought a washing machine in the 1950's.
Wooden sink, washboards, herbs and soap were used along with the "modern" boiler and the oven for heating the flat irons Once the washing had been completed, the linen was passed through the mangle several times to remove the excess water. The mangle consisted of a heavy pair of wooden rollers well known for catching unwary fingers. It was also used after the linen had been dried for pressing and smoothing to remove the creases from sheets and table linen.
Irons, dolly tubs, drying oven and open oven for heating flat irons. The linen was then placed onto the drying racks which were heated by a boiler and once dry, the arduous process of ironing with heavy flat irons began. One iron was in use whilst the other was being heated in the open oven. The heaviest iron was used for coats and a special iron was used for crimping. Irons had to be kept clean, sand-papered and polished. Beeswax was used to prevent the irons from sticking to the starched items. The atmosphere must have always been very damp and unpleasant. Opening the vents in the boiler for the dryer was a particularly dangerous task as if the vents were not opened correctly when the dryer was opened, the laundress would be met be a wall of scalding steam.
From the mangle and the dryer to the ironing. A polishing iron is being used for the collars. Starch was also used.
The complete servant maid: or young woman's best companion. Containing full, plain and easy directions..., The whole process of collecting the household linen, catalogueing it, soaking, washing, drying and ironing took most of the week. For example, on Sunday the household linen was checked and sent back to the main house and the laundry was scrubbed down ready to begin the whole process once again. So when I complain about the pile of washing or the ironing waiting to be done I will think about those women who worked so hard to achieve what I do in a few hours with minimum effort in a warm, dry kitchen with biological washing powder, an effective washing machine and spray starch just to give the right amount of stiffness! I hope you have enjoyed an insight into a world long forgotten. Embroidery still has to be prepared carefully for mounting, kept clean, ironed and if necessary, starched. So spare a thought for the laundress of yesteryear at her work, trying to achieve what we do today so easily! Happy ironing! Liz
July 2011 A reader asked me recently how I created my designs and how long they took? The answer is simple, but the process is long! First, I have to have an idea or some thoughts about what I want to create. The trigger can come from anywhere, a picture, a line of poetry, architure or a magazine, to name but a few. Once I have the germ of an idea, I think about it for a while, then write a few notes as a reminder and then leave it for a few days. If I come back to the original idea, I either draw it on paper or more usually, turn to the computer. The "Inspirations" section of my site shows where I find some of my ideas. I use a number of different software design programmes. Each one has its advantages and disadvantages and depending what I am designing or where the design will be going, depends on the programme I use. Some publishers specify exactly which format they require. Others offer a choice! How to design and work a biscornu. After developing the initial idea, I choose the material and the colours using actual threads to get the colours exactly right. I then chart my idea on the computer using a combination of colour blocks and symbols. The chart could be displayed as colour blocks, symbols or symbols over colour blocks, depending on the type of design. For the biscornu I used symbols over colour blocks.
The design may contain hundreds, or even thousands of stitches and each stitch is one click on the computer! After the design is completed it is checked carefully, photographed and printed as a hard copy or turned into a pdf. Working the biscornu from my chart. I cut the fabric to the size indicated in the chart and bind or machine the edges to stop the fabric fraying. I usually use 28 count evenweave or, 14 count Aida depending on the design. Two pieces 7 x 7 inches DMC threads in three colours Tapestry needle No.24 Terylene wadding or stuffing and two buttons Method: I start from the central cross stitch square and work outwards using TWO strands of cotton for the cross stitch and ONE strand for the back stitch, eyelets and diamonds except for the outlining square when using TWO strands (310 black).The black outline squares are then used to join the biscornu sides together so they must be accurate. Each side must have the same number of back stitches.
Making up: a. I cut out the two pieces leaving 5 squares of aida or half an inch from the black outline all the way round. I then press them face down on a towel and starch them lightly (optional). If you try this, enjoy your handiwork! What's New Pattern CH0250 Rose and Violet Biscornu At the moment I am writing a series of articles for "The Gift Of Stitching" entitled "Stitching with Ease". The twelve articles examine different tools and show how they can be used to make stitching more comfortable. Making the right choice of equipment can save time, money and frustration!
Happy stitching, Liz
June 2011 The UK Royal wedding in April was watched around the world as everyone waited to see what the bride's dress would look like and when it was eventually revealed, it did not disappoint! Katherine Middleton’s wedding dress was designed by Sarah Burton, creative director of Alexander McQueen. She chose British brand Alexander McQueen for the beauty of its craftsmanship and its respect for traditional workmanship and the technical construction. The ivory satin bridal gown, with a fitted bodice and nine-foot train, was decorated by hand with lace appliqué flowers. It was made amid such secrecy that the needlewomen from the Royal School of Needlework who worked on the dress were not even told the identity of the designer or that the project was a royal commission, lest it leaked out. They were led to believe that the dress was destined for a television period drama. The large team - aged from 19 to 70-something - comprised staff, tutors and graduates from the school, alongside students from Britain, Japan, the US, China, Switzerland, Holland, Thailand, Germany and Slovakia. Conditions were so stringent that the embroiderers were required to wash their hands every 30 minutes to keep the lace pristine and the needles were renewed every three hours. The lace designs were applied to the delicate net background with fine cord-like thread and minute stitches. To maintain a flawless appearance, no securing knots were used. French lacemakers Sophie Hallette made the lace. Sophia Hallette has been making lace since 1887and the lace selected by Sarah Burton was an exclusive model designed in 1958 and manufactured on artisanal looms that are more than 100 years old. Roses, daffodils and shamrocks were cut out from the original lace and hand-sewn onto the silk tulle of the decollete, sleeves and train. It is expected that the gown will pass to the Royal ceremonial dress collection, which houses costumes from the 18th century to the present day. It includes the wedding dresses of Queen Victoria and Princess Margaret.
Click on Katherine's photograph to view a Pdf with more details about the dress from the Royal School of Needlework. Further to my article on Ollivier Henry last month, I have just received a photograph of one of his latest costumes which was so beautiful that I thought I would share it with you. To see such exquisite work in one month from two such different sources has been very satisfying. Readers Gallery provides an opportunity for you to display your work for others to enjoy and my Guest Book is there for your comments.
Sharing ideas via the internet is one way of keeping the interest in crafts alive for the next generation to learn and enjoy. I think we have a responsibility to pass on the skills that we have gained to ensure that these crafts do not disappear. In England, there has been a revival in knitting and crochet amongst younger women and new magazines have been published to cater for this renewed interest. There are groups across the world like the Embroiders Guild in the UK and the American Needlework Guild who do sterling work in promoting all aspects of embroidery, but there is a need to promote the less high profile groups such as the Braid Society, the Smockers Guild and many more as they all have an important role to play! Many small needlework shops are under threat from the larger internet stores, but they play important role in the community and deserve our continued support if they are not to disappear. Many of these stores are turning to the internet to promote and develop their ideas through on-line classes. This is an innovative way of recruiting members who may live in isolated communities and have no access to local stores. Needlework forums, blogs and individual websites all help to disseminate information, but it comes down to knowing how to look and what to look for. Social networking sites such as Facebook and YouTube also provide new avenues to explore and will become increasingly important. Mary Corbet's site: www.needlenthread.com is a very good example of an informative and interesting site with excellent sections on Hand Embroidery Techniques, patterns and resources. Dip into sites such as this to strengthen your own knowledge and then pass the information on!. Let me know what you think about passing skills on to the next generation and how you think it could be best achieved. I look forward to your E-mails. Happy stitching! Liz
May 2011 The Internet Needlework Show is over until the next one in October, but the twenty eight new designs I created for the show are now available as PDF's and hard copies on my site as from 1st May. It has been a very interesting experience and I have particularly enjoyed looking at the work of other designers and seeing how they present their work and getting to know some of the retailers who stock their shops from shows such as this one. I am not often lost for words, but last month I saw the most beautiful hand stitched costumes I have ever seen at a needlework show in Birmingham UK, so I took some photographs and would like to share them with you. I hope you enjoy them as much as I did! They were created by Frenchman, Ollivier Henry. He was born in 1962 and studied fashion design and art embroidery and now makes costumes for theatre and opera companies and also teaches the history of costume. He was acompanied by Jean Noel Lavesvre who is a sculptor, painter and stage-designer who creates fantastic ceramic figures adorned with textiles, metallic fragments and even paper. Together they make an outstanding duo. Just click on the photograph below to open up the document which is in pdf format. Whilst it is only possible to display some of his outstanding work, I have concentrated on the fine details.
Liz
April 2011 This is proving to be a very busy month with a number of different events taking place. I have been busy preparing for the internet Needlework Show and catching up on some essential site housekeeping. I never realised when I started Blackwork Journey in 2008 just what was involved in running a web site. However, the benefits far outweight the problems of broken links, wrongly sized jpgs and sheets of script behind every page as I have made contacts round the world, shared some wonderful moments with visitors to the site and made many new friends. This month I have been especially fortunate in receiving a number of photographs from Canada which I would like to share with you in the form of a pdf which you can open and enjoy. Just click on the photograph below to open up the document.
When I design charts I am aware that materials may be difficult to obtain so I always use products that are available worldwide. However, as the pdf reveals, a simple design can be transformed by using different threads and fabric. Have the courage to experiment with new products and I am sure you will be delighted by the results. I hope you will visit the internet Needlework Show between April 14 -19th to see all the new designs and the many designers who contribute to making embroidery one of the most creative of all hobbies.
Red Thai Mandala was published by "The Gift of Stitching" in March, 2011 and is one of my new designs at the internet Needlework Show. My thanks go to all the readers who allow me to share their special projects with you. Liz
March 2011 Spring is just round the corner and so is the Internet Needlework show, so I am working hard to create new designs to unveil at the show.
This is the only wholesale needlework show in the virtual world, but unlike other tradeshows there are General Viewing pages! This means that you have a chance to look at the 20+ new patterns available from Blackwork Journey and to contact me by e-mail through my site if you see something that you would really like. The patterns will be available as pdf downloads from the 20th April, but as with all my charts, they can also be purchased as hard copies and posted internationally. When you purchase a chart from Blackwork Journey and you feel you need some advice or more information about the chart you are working on, I can be contacted through the site at any time and I will do my best to help. Blackwork is a wonderful technique, but sometimes you just don't quite know where to start or whether colours could be changed etc. I would also be delighted to receive photographs of your finished work to add to 'Gallery' so that other readers can also enjoy them. Food for thought - Lighting and lenses This month I have been looking at some of the magnifying lamps designed to make needlework less stressful. If it is necessary to use an artificial light, it is worth investing in a good quality one. There are many types around, but I have found the ones with a daylight simulation bulb particularly helpful as they are not only suitable for organising thread colours, but also reducing eyestrain and glare. These bulbs can be obtained from most good craft stores or via the internet. (See thedaylightcompany.com)
Clip frames, magnifying lamps, lenses and bars are all readily available.There are different levels of magnification and some of the lenses also incorporate a small area of much higher magnification, which is useful for threading needles or examining stitches in detail. Consider a number of different options before making your choice, to determine what strength of lens is needed and in what combination. If the natural light where you usually work is particularly good, simple lenses without lights are available which can be clipped to a table or an embroidery frame. These can be very useful and often more flexible than a light which has to be connected to an electricity supply. These are some of the lights and lenses I use as part of my normal stitching and they make my life much less stressful and I consider them a worthwhile investment. If you are not finding it quite as easy to sew then it may be time for you to examine the alternatives! Just a word of caution, remember to cover your magnifying lens when you have finished working, especially if it is near a window as I know of a case where an uncovered lens with the sun reflecting through actually started a fire! My thanks go to The Cross Stitcher magazine for publishing one of my designs in their February issue. As a designer it is a great boost to see a chart in print and without the support of editors and their magazines my designs would not reach such a wide audience.
Happy stitching,
Liz
February 2011 This year has started badly for some of my readers, with extensive swine flu in the UK and serious flooding in Southern Australia and so my thoughts go out to all those affected. As many of you know, I stitch and dispatch embroideries worldwide for various magazines and last year, the publication of some of them was held up by the ash cloud which hung over Europe for weeks and this year, it was the potential effects of the flooding in Australia and I had visions of one of my embroideries floating down a river being chased by a crocodile and so I was greatly relieved when it arrived safely, if very overdueI This month, I want to talk about interpreting blackwork sketches into embroidery. A fellow embroiderer named Helen, e-mailed me to ask how she could embroider some black and white sketches. She had been concerned about the lack of contemporary blackwork designs, but found an amazing slide show of blackwork sketches which she downloaded to a file on her computer. This question reminded me of a piece of embroidery that I completed in 1992 using just such a technique when I embroidered the old Edwardian Fire Station in Manchester, UK and later presented it to them at their new station as a reminder of their heritage.
This is how I went about creating it...
If you have difficulty seeing pencil, use a blue water-soluble pen, BUT test it first on a scrap of the material to make sure the blue comes out. If you don't have a proper lightbox, then I suggest a sheet of perspex placed between two chairs with an anglepoise lamp pointing upwards from below. It works and is cheaper than purchasing a proper light box. If you find a drawing that you like, just follow the same method that I have outlined above. Children's colouring books are a very good source of simple outline sketches, but newspapers often provide good black and white images or, use your own photographs. The more you look for black and white images, the more you will see. It is great fun to embroider and involves very little counting. Send me a jpg of your finished embroidery and I will be pleased to put it into the "Readers Gallery". Finally, congratulations to Carole for embroidering my "Fountain Mandala" design which is in my "What's New" section this month. The design was also published in The Gift of Stitching magazine. Carole's interpretation is delightful and is in "Readers Gallery". Seeing designs that other people have stitched is a real pleasure for me, especially when they alter the colour schemes, or add little extras. My charts are only a starting point for you to interpret in your own way. Altering and adding, removing or adjusting can make a design unique to you. It takes a little skill and some confidence to move from charted designs to creating your own work, but can be really satisfying. Liz
January 2011 Happy New Year, peace and happiness to all the readers of Blackwork Journey! 2010 ended in a flurry of snow and freezing temperatures here in the UK, which was the ideal excuse to hibernate for a while, consider new designs and actually complete some stitching projects. As usual, I made some resolutions which will probably be broken by the end of the month, but amongst these, I decided to be more organised with my needlework supplies and not buy so many silks and books when I go to craft fairs and shows. The temptation of just one more book, one more piece of material is often hard to resist, especially when there are so many gorgeous threads on the market, but more of that in later blogs! Old alphabets provide an interesting insight into historical needlework and I have been looking at the designs from the 1800's, with a view to creating modern designs with a historical twist. The letters are often very ornate and can be worked individually as a gift or incorporated into a sampler.
The 'S' was worked on 14 count Aida and is six inches high. The 'L' for Lily was much smaller and less ornate, but was ideal for a birthday card. I have used letters in several of this month's charts and hope to produce some samplers worked in both cross stitch and blackwork over the coming months.
This English sampler (above) was created by Elizabeth Laidman in 1760 and is a good example of how alphabets were used. It contains both upper and lower case letters and if you look carefully you will see that there is no letter 'j'. This was not uncommon in samplers as 'j' was not yet considered a separate letter. It would be a simple matter to chart the alphabets used in this sampler and create a modern version. The Victoria and Albert Museum in London has a collection of samplers which can be viewed online, including the earliest dated British sampler to have survived. Its maker,Jane Bostocke, created it in 1598. Its inscription commemorates the birth of a child. 'Alice Lee was borne the 23 of November being twesday in the after noone 1596' One of the most attractive features of these samplers is the name and date, as these give an identity to the needlewomen. Any new sampler should also be named and dated so that one hundred years from now someone will look at it and wonder about its creator. I hope this gives an insight into a really interesting aspect of hisorical embroidery. Liz
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