Oh dear where are my smelling salts? I think I shall faint!

Many stories have a character similar to Aunt Pittypat Hamilton. Someone who grounds the story in the past. Not unlike the Dowager Countess in Downton Abbey, she values etiquette very highly. Unlike today, asking “what will people think?” seems is a very relevant point, but unlike the Dowager, she doesn’t have those snappy quick one liners. She does serve her purpose though, she’s setting the scenes of the expectations of society of the time.

In this day and age, I think we’re just used to stronger women. Scarlett is obviously pointedly portrayed as the strongest female character and even in her own quiet way, as is Melanie to a degree, but Aunt Pittypat is just SO delicate (eye roll). And I think thereon lies my ambivalence, I think. On the one hand, as the childless aunt, I get it, a lady needs some help every once in a while but as a modern woman, I was raised to be strong and highly capable. How I long for the days when these roles were much more clearly defined and expectations of society were more clear. But the thing is, she over does it— always pulling out those smelling salts so she doesn’t faint, which actually we now know was often due to either a too-tight corset or being too warm from so many layers of clothing in the heat of the deep south. This is especially so of Aunt Pittypat who is often seen with a shawl and all trussed-up like a thanksgiving turkey, often covered all the way up to her neck— a few things we need to keep in mind when we’re making stitch choices. 

Sometimes designers paint canvases in such a way that it’s difficult to use the particular specialty stitch you want. This was the case with the diamonds across the bust of Ms. Pittypat’s dress. The diamonds are painted at an angle and they’re different sizes. I’m assume this was done to show perspective, so I quickly decided that to stitch right over the painted pattern to create my own grid was probably the easiest way to go. I stitched a Double Hungarian in four strands of Planet Earth Port V 1172 which is an overdyed thread. And notice I’m stitching right over her collar too, we’ll bring that back later, I promise. I then used two strands of DMC 550 to outline the diamonds in a zig-zag pattern and three strands to stitch Nobuko for the solid dark area that look like straps and her empire waist. I flipped the stitch direction of the Nobuko to suit the angles appropriately and stitched basketweave for the verticals empire waistline. I don’t use basketweave/tent, but I always incorporate a bit into every canvas as it gives the eye a place to rest, you can’t have everything be the highlight. Then I stitched Serendipity stitch using the overdyed Planet Earth thread for the area under the waistline, which I think of as her tummy and top of her skirt.

I originally was going to applique purple ribbon for the dark purple/strap-like areas and waistline but it just didn’t look right... it looked too much like suspenders. Just goes to show you, what you think is a given might not always work. And honestly Nobuko is one of my favorite stitches. My students often say think I believe that no canvas is complete without a bit of Nobuko, and they’re probably right because it’s a very versatile stitch. I think I said it before and at the risk of repeating myself, the classics are just that for a reason— because they WORK! 

And speaking of classics, we’re using T stitch (aka alternating basketweave) for the sleeve. This is one of those areas you often encounter where the painting is vague,  where does the shoulder end and the sleeve begin? I have found the best way to treat those kinds of area is use a stitch that doesn’t call attention and let the area just kind of blend in. 

You know what I do want to feature though?  Those dots down either side of her bodice. I don’t know what they are and you can only get an idea that something’s there in our inspiration photo, so I decided sequins would be a good look and I attached them using clear thin quilting thread. It’s a bit of a bear to work with but you can hardly tell they’re attached so it’s worth the aggravation. 

Back to Aunt Pittypat’s trussed-up-ness... we need to do something fabulous with that collar, so I got my hands on a bit of scalloped 1/4 inch doll lace. When you are on your travels and you see bits of lace or trim, or doll buttons, just pick them up for your stash. If your LNS (local needlework shop) doesn’t have what you need, Etsy is also a good way to go. Using the same thin clear quilting thread, I attached the lace using tiny stitches putting subtle little folds as I go which is what will make this lace stand up a bit off the piece and really give dimension. You can obviously attach lace flat but that’s not the look we wanted this time. I did bury the ends of the lace using the loop method that I talked about in my Last Post and I whip-stitched the lace to the back using the same clear thread but you could use one of the purples threads as well. I am pretty pleased with how it came out, if i do say so myself. It is always fascinating to me how it doesn't take much of a little something extra to bring a piece to life.

In our next episode we’ll stitch Aunt Pittypat’s skin, her smelling salts bottle, finish off that sleeve (you didn't think I would leave it that way, did you?) and perhaps talk about her hair. Fidelis is a master with hair techniques but since I know we want dimension, we‘ll probably have to save that to the bitter end...I hate it when I have to be patient! But more to come in our next installment, so stay tuned. And if you haven’t subscribed, please consider doing so and don’t forget to click the link in the email you're receive to verify your subscription (if you don't receive it, please check your junk/spam). And follow Miss Pittypat’s example and spread the word about this blog to your stitching friends.

And so we begin.....  

            

I've always felt that staring at an unstitched canvas must be similar to how authors feel while staring at the blank page. Granted painted canvases aren’t quite blank, but there are so many options. How do you know what's going to work and where do you start?

For me, if the canvas in question is Gone with the Wind by Labors of Love, there's really only one option, you have start with the star of the show, Miss Scarlett. Her attire is usually the height of fashion, even if it’s made from the drapery, but it's her natural beauty, that dewy skin, those hypnotic Irish eyes and those rosy lips that can make every man in the county swoon. You know the ones.... the lips that "should be kissed and kissed often and by someone who knows how". And how does one create lips that convey that look? You've got to go rayon. Many cringe at the thought. I have a friend who did almost an entire piece in rayon and although I think she may have invented a few new curse words along the way (and they weren’t fiddle-dee-dee), sometimes you just have to pull yourself up by your boot straps to get the look you want, which she did, and man was it worth it!

While we are talking about that dastardly rayon, let me share a few tips. I've heard talk in needlepoint society of stitchers who use mini hair straighteners to flat iron their rayon. If you like to do that and it floats your boat, by all means go for it, but I have found that running the strand(s) over a barely damp brand new makeup sponge helps straighten and control them just enough and I like to use slightly longer lengths for laying. You waste a little with the extra length, but I find having a little extra helps not only with laying but it prevents it from slipping out of your needle as often. I'm going to be using Anchor Marlitt in 881 – it’s a pretty bold rosy color but not quite hot pink. I prefer Marlitt over Neon Rays sometimes because you can add or reduce strands depending on what you're doing so it's great for darning stitches where you want a light touch. I'm not doing a darning here but the color was spot on and I like the freedom to strand when I'm not exactly sure what I'm going to be doing.

The first plunge into a brand new canvas is always thrilling but in your excitement, don't forget to take out some brand new needles. Many shops, like BF Goodstitch, are thoughtful enough to provide you with 1-2 new needle(s) with your purchase of your canvas. If you don't already have a needle brand that you prefer, you might want to use that opportunity to find out what your thoughtful shop is giving you as this is an easy way to try different brands, styles and sizes of needles to see what strikes your fancy. I've tried lots over the years but the ones I always go back to and are my general go-to needles are John James Tapestry Petites in size 22 (for 18 mesh). Obviously I wouldn't use these for bullion knots, I have special needles for that (more on that another time), but they are great as a go-to needle for general stitching needs on 18 mesh. When I now stitch with a normal length needle, I feel like I might as well be using a BBQ skewer! Ok I exaggerate, call me Aunt Pittypat, but I feel like I have better control with the Petites. If you haven't tried them, they are worth seeking out, and if you find them, make note of where because not everyone carries them. 

But back to Ms. Scarlet and that dewy skin. Time to choose threads and for me, when it comes to skin, it has to be silk. Since Pepper Pot has such lovey choices for shading, for Miss Scarlett I have chosen four beautiful shades: Tippy Toes (194), Powder Puff (193), Baked Alaska (192) and for the blush area, Scallop (035). And a piece of advice, Tippy Toes and Powder Puff are just a hair different, don't make the mistake I did, keep track of what you're using where and don't mix them up as Powder Puff and Tippy Toes are very close to the naked eye. I used Powder Puff for the bulk of her skin but it is worth using Tippy Toes too because it creates a perfect subtle highlight.

As much as I like progressive needlepoint and stitching to push the envelope, I'm also all about balance. I think skin really looks the best stitched in basketweave so that is what in going to do for Katie Scarlett. For years I risked the curse of the zipper line. You've probably seen them, it happens when someone stitches two rows of basketweave in the same direction accidentally. For longer than I am embarrassed to admit, I would never stop at the top or bottom of a row so I would know which direction I was traveling. For advanced stitchers this will be old hat but you newbies who may not be aware, or those who want a refresher, I have attempted to demonstrate how to read the canvas to determine the direction of your stitch. Basically you look at which thread is on top of the weave of your canvas. I remember it by "up the stairs, down the pole", the "pole" being the vertical intersection on top which means you should be traveling DOWN which I have illustrated below with red lines, the “stairs” illustrated in turquoise meaning the horizontal weave is on top so you should be traveling UP. 

I've known several advanced stitchers who have claimed not to have known how to read the canvas so I thought this was worth mentioning. If you're still not following me, try to get your hands on Jo Ippolito Christensen's "The Needlepoint Book" (there are three editions—I’m sure they all have similar sections on basketweave) as this book has the most comprehensive information on basketweave. I think every serious stitcher needs at least one edition in their possession but if you aren’t in the position to invest in this book yet, check with your local library.

And now we are onto those lips that should to be kissed....I did a simple vertical satin stitch using 3 strands of Anchor Marlitt 881 using the longest horizontal line in the middle as the dividing line. But before I started my satin stitch, I did a horizontal stitch over two canvas threads in the middle of both the top and the bottom sections just to pad and give it a little fullness. I had a few areas that were looking too sparse for my liking so I went back in with a single strand strategically filling-in areas. I think I stopped just before the appearance of lip injections.

I am a firm believer that all eyes need sparkle, even if you're dull ole' Ashley. Scarlett's emerald eyes are stitched with Silk Lame' Braid for 18 Ct. in SL 58 and Winter both by Rainbow Gallery and Kreinik #8 black 005HL. 

Here is the result of two evenings of work:

I'll stitch her eyebrows when I do her hair. Now what will we tackle next?? Her BBQ dress? The RUFFLES (sigh of overwhelm)? Or will we move on to another character entirely? You'll have to stay tuned to find out. Don't miss a single episode, please consider subscribing to have delivery right to your inbox and if you do, please remember to click the link in the validation email to active your subscription. Until then, happy stitching!