Now I have been told that I often think differently than the masses so if you’re scratching your head, let me explain. Scarlett does everything she can to save her home and Dorothy goes on the journey of a lifetime to return to hers. Both go through unbelievable adventures yet essentially end up where they started, back home. Both movies end leaving you with the impression that brighter days lie ahead for both heroines.
What does that mean in relation to our work in progress? It means I’m stitching Tara, of course! Do you know that most needlepoint projects aren’t completed because people either don’t know what to do with or get bored with stitching their background? I’ve been told this by more than one needlepoint expert and I can see that as being true but not the case here because the designer gave us a built in pattern to which there’s only one logical choice in my mind, cashmere stitch outlined in gray tent. I wanted the cashmere stitches to seam very smooth and flat so for that I’m sorry to have to say it folks, but we’re going to have to strand. Yes I know, I know, no one ever wants to strand, never mind their background, but the look warrants it. And I have a quick tip to help you. I have been stitching “in transit” (train) of late and I find if I strand the whole cut length into little bundles and then wrap them lightly around a finger or two, making a little wheel of the amount of strands I need, they stay neat and then I don’t have to strand every single time I need to start a new thread. I sometimes do several lengths at a time if I need a lot. It just cuts a step out for later. You could even thread up multiple needles and have them ready if you are trying to keep the momentum going. So try pre-stranding and you might not hate it as much. Oh and I’m assuming you all know how to strand properly so it’s not a jumbled mess. In case you don’t, I tap the top of the cut end so the strands fan out, grab a single strand, hold the rest of the strands with my other hand and pull straight...don’t try to separate them like a cheerleader split, that’s where you get into problems. This always works without fail and it will save you a lot of wasted thread and personal headache. And while we’re talking about stranding. I hear the question again and again— three or four stands? For me, on 18 which is usually what I work on, it’s almost always three, but I often like a lighter coverage, but if you are changing the color from what the canvas is painted or need full coverage because you’re covering something up, I suggest four. One thing I like about standing (yes, there IS something to like about stranding) is if whatever you are using isn’t covering, in a pinch (aka too lazy to rip out and start again) you can always go back and add one to two more stands on top of what you’ve already stitched to get the coverage you need- my needlepoint students and I affectionately refer to this as “popping a stitch” (needless to say I have a fun group of students). You can also do that to do very pinpointed padding (like I did with Scarlett’s lips back in this POST—link). Is this technically correct? Probably not, but practicality is always wins out with me, especially when the alternative involves ripping out. So I’m going to strand away because it will lay very flat which is the look I want. I’m using four strands in Splendor 800 in bright white for the white bricks/slats and Pepper Pot Silk Oyster 004 for the gray outlines. I’m using four strands because as you will see, I am going right over a few things again that I’m going to add back later (like Ms. Melanie’s veil and the tassel—more on those in future episodes).
We also need to stitch the shutter. I began by stitching the
shading on the right using a cashmere stitch and then tent stitching the
shading of the vertical slats in Vineyard Forrest Green C-069. I then used four
strands of Splendor 907 to do a cashmere stitch down the right and left sides
using the vertical shaded lines as my guide/boundary. That naturally creates
the slats across. This is a great example of how you can break up a single
color using a series of directional stitches to give it interest and look more
realistic. Also notice I reversed the direction of the slant on the slats, as
opposed to keeping them the same slant/angle as the sides. I did this for
visual interest. It’s subtle but I think it works.
While we’re talking about the concept of home, let’s talk
about my second one, my local needlework shop, B.F. Goodstitch. Something
bordering on magical happens when I walk through those doors, it’s just
comfortable. It doesn’t put on airs, if you love needlework, you’re welcome.
The owner, Fidelis (what happened to her? She was supposed to be stitching this
too... I think maybe I’m monopolizing the canvas), went to the Royal School of
Needlework in the UK. She knows about all kinds of needlework, not just
needlepoint. Her knowledge is such an asset because she can help you figure out
how to do anything relating to needlework, and I do mean anything. You need to
pad Geisha’s hair, she knows precisely how to go about it. You can’t figure out
what material to use for raised 3-D cat whiskers, well she just so happens to
have horsehair in her stash (no joke, that actually happened). Not a single
thread is the right color match for your Sharon G corset canvas, she knows how to
manipulate an overdyed thread by flipping it onto itself adding a blending
filament and a light stitch to make it all work...she has saved my stitching
sanity more than I can count! I always feel so inspired when I’m with her. When
I count the blessings of my stitching life, she is the top of my list. That’s another thing about
homes, it’s not about the building, it’s about the lives inside, it’s about the
people.
Many years ago Fidelis and I had a conversation about where this
art form would be going. We agreed that there was going to be “crossover;”
crewelwork/long-and-short, elements of goldwork and stumpwork were all going to
start being incorporated and if you follow many of the designers and/or
teachers or are even just an observer on the original Needlepoint Nation
Facebook group, I’m sure you will agree, that day has come. Hopefully we, as
stitchers, will keep evolving which is why education through a local needlework
shop is so important! Online shopping may be easy but we need shops to help enable
us to build a local needlework community and just as, if not more importantly,
provide hands-on education. It’s only through education will we grow as fiber
artists. B.F. Goodstitch recently hosted a class with JP Sligh of Labors of
Love on how to paint your own needlepoint canvas. JP’s partner in crime, Mark
Young, attended too and was great company. It was a surreal moment for me to
not only meet the designer of this Gone with the Wind canvas but to have a
conversation with him about my progress so far and my plans for the remaining
areas. They are both such nice gentlemen and very generous with their
talent/knowledge. I’m not usually a picture taker but I just had to get a photo
to remember the occasion.
It was such an educational day. If you have the chance to take
JP’s class, you should because the way he teaches do not require any
artistic ability on your part to apply his techniques.
We still have some background left but such an emotional topic
has tired me out like a lady who missed their nap at the barbecue, so we’ll
cover the remainder of the background next time... we are over the halfway
point now, only two characters left and the rest of Scarlett’s dress to finish.
Many stitches and techniques still to come so don’t miss an episode, subscribe
for updates for delivery to your email.
In the meantime, just remember the moral to both stories ...
there’s no place like home. . . because after all, tomorrow is another day!
