Lion in tent and longstitch needlepoint on canvas |
I love hearing from my readers! Recently a lady who had learned about this blog from a friend wrote me, saying: “I wish you didn’t live so far away. I would love to take some of your classes. Please tell me you are going to write more about what you do in your classes. I studied the first two posts (1/16/2018 and 2/5/2018). The directions are clear and the pictures are great. I have made the butterfly and the water lily and I really like the way they turned out. I can’t help but think that learning more about the lessons online is the next best thing to being there.” I wish she could be here, too! I appreciate her enthusiasm! For her and for everyone else who is interested, I am going to do some more posts about what we’ve done in the classroom, although they will be spread out among other topics that I have promised. Today we are continuing with the studies of canvas work, focusing on French longstitch.
Pattern for bighorn in French longstitch |
Puppets in the classroom |
Simple drawing for bulldog's head |
Canvas with edges taped to prevent raveling |
The students had been working on #7 plastic canvas for their projects. Since #10 is a much smaller mesh (100 squares to the square inch, rather than 49 squares), they now had some adjustments to make. Each one was provided with a shorter tapestry needle which had a smaller ‘eye’ than the one they had been using. I demonstrated how to use two different kinds of needle threaders and put some on the tables. Then I demonstrated how to separate and combine strands of 3-ply and 4-ply yarns to get the proper thickness that would cover the canvas. I also demonstrated how to combine strands of different colors of yarn to get the effect of shading (also detailed in the April 8, 2018 post.)
One half of bulldog stitched |
When about 20 minutes was left of our 90-minute session, I demonstrated a stitch pattern on a pegboard display stand which shows individual stitches in a large size, and had them copy the stitches on a small piece of plastic canvas, label it, and store it in a notebook. The stitch is one of several long-and-short stitches belonging to the family of very old tapestry stitches known collectively as “Hungarian point”. These stitches are usually called “grounds” or “groundings,” and are used in a single color or two closely related colors as backgrounds for other kinds of needlework. I have used two colors in this sample for clarity.
This pattern is called Parisian stitch. The first stitch is an upright one over 4 threads of canvas or bars on plastic canvas. For the second stitch, drop down 1 thread or bar and make a stitch over 2 threads or bars. Alternate these two stitches across your canvas. In the second row, the short (over 2) stitches are done at the bottoms of the long (over 4) stitches, and the long stitches (over 4) are done at the bottom of the short (over 2) stitches. These second row stitches begin in the same squares of mesh where the stitches above them ended, so no threads or bars are left uncovered. The third row and all other odd-numbered rows are like row 1; the fourth and all other even-numbered ones, like row 2. To complete an area, fill in with short stitches so that the top and bottom of the piece is even.
There is no reason, however, that these stitches cannot be used to form colorful all-over patterns on their own. In contrasting colors, as on the top sample here, the stitches make a boldly striped pattern. But if you choose closely related colors like the reds and oranges of the middle sample, you can achieve a more subtle ombre-shaded effect. This is how the stitches were used in the old tapestries. The more closely related the colors are, the subtler the effect. A variegated yarn (bottom sample) will give you a more abstract effect. This can be be useful. Imagine, for example, using a variegated green in the background of a picture to suggest trees or shrubs, or a variegated brown or gray to suggest a fabric.
As the end of class neared, I asked the students to practice the Parisian stitch, but not to use it on the backgrounds of their pictures, explaining that in the next session they would learn a number of such background stitches and could choose their favorite. I also asked them to put color directions on their traced outlines and return the color renderings for my puppet files. They were to have their outlines filled in, plus interior back-stitching; by the next session to be ready for background stitching. The two ladies working on Easter animals asked if they could have copies of the color pictures and outlines for the other Easter animals. They planned to work together, so J.D. did copies of two extra animals for each of them and together they had the full set. For those of you working at home, you might want to work from a photo of the face of a favorite pet. We adjourned.
I realize that some students will not do canvas work again after they finish their class projects. Nevertheless, the skills they have learned will carry over to other kinds of embroidery on fabrics like monks’ cloth, Aida, decorator burlap, etc. And they will have learned the advantages to be gained from having a firm surface to work on and will be more likely to use hoops and/or frames. That will reduce the necessity for extensive blocking and produce a neater project.
As always, enjoy your work!
More simple puppet head designs |
This post by Annake's Garden is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
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