Treasure found!

I am so excited. I found this poster-sized needlepoint hidden away in an antique mall in Denver. I often look for completed pieces, but this gem, the largest I've ever purchased, was irresistible at $20.00. It's wool, probably stitched on Penelope canvas in either tent or basketweave. I am sure the trained eye would be able to tell by looking which method was used. The framing is a little dated and semi-professional but the work is pretty impressive. Certainly the size alone deserves commendation.

I wonder about the identity of the stitcher? Is it their one and only piece? Or one of many prized projects? It's regrettable the family wasn't able to keep it. Maybe she was the last in her line? Maybe she was a he.

Obviously, I'll never have the answers which raises a good point. Do you document your work or carefully provide any information you'd like to be known in the future about your stitching? Perhaps keeping a journal including photos, anything to show providence? This is not something I have done with much regularity in the past, although I often keep project notes which usually includes stitches used and materials. It would be easy when writing my notations to take it a little further. Thankfully my family does appreciate my efforts to leave a little beauty behind in this world, and I can't see any harm in including a little lore about each piece.

If you would like to share your thoughts and ideas on how you keep a record of your work, please feel free to leave a comment here. I and others would love to know how and what you do. Thanks for stopping by today.

Babble Without a Cause

Apparently I am going to have to get over thinking that I must have a photo ready before I can write something on my blog. I just don't have one today. I have been stitching (obviously not enough to photograph any progress), hosted two sets of visitors, volunteered and had house "issues." I also attended an EGA meeting this week where fellow stitcher, Jennifer Riefenberg, taught us about the color wheel. Jennifer is such a great teacher because she is so relaxed and non-intimidating; putting everyone at ease thus creating a very receptive environment for learning.

I thought I knew the color wheel, you know, red, yellow, blue. Well evidently it would be more accurate if I stated that I recognized a color wheel when I saw one. Knowing it is quite another thing. So most everyone knows that the wheel depicts the primary colors and variations thereof; but did you know about the tertiary colors? Yes you did, you just knew them as a combination of the primary and secondary colors. Well then, what about shades, tints, tones, values and color dominance? Hmmm, do you know about those? You better get a color wheel, it's all right there...and it's fun. You don't need to invest in the mack-daddy of all color wheels to be able to learn, although having said that, all wheels are not created equal. A great basic wheel with plenty of options and explanations is here, http://www.dickblick.com/zz049/15/. Then again this one here, http://www.dickblick.com/zz049/60/ might make a good case for more is more. Naturally you wouldn't want to be without this shown here, http://www.dickblick.com/zz049/47/. And when you determine how one might use this, http://www.dickblick.com/zz034/03/ let me know.

There's so much out there on the web about color wheels, lots of useful tools, and how to's, but if you don't have access to your computer 100% of the time, you need the real deal in hand. My recommendation is the pocket model, the size of a CD it's easily kept with your regular stitching supplies. Thank you Jennifer for supplying it with our class materials.

Yes, I've used links to one particular art supply website but there are many more out there. I have no affiliation with Dick Blick Art Materials, but I have ordered successfully from them in the past.

Keeping it short and sweet in Colorado. Thanks for stopping by today.

Plaid: Having a pattern or colors, checkered or marked with bars or stripes at right angles to one another

HUH? Never mind, sounds complicated...NOT!

I love plaid, always have since parochial school! But I had no idea how it was achieved with a needle and thread. Until last night at my local ANG meeting, I learned. Our program, taught by a local talented and gifted teacher/stitcher, Jennifer Riefenberg, showed us just how it's done. And in record time. After the general meeting we had just over an hour to learn and practice the technique. I loved it! If you haven't given stitching plaid a try, please do. It's as relaxing as basketweave or tent but with a much more interesting effect, IMHO. Depending upon your choice of color and the number of colors used, the effects can be as different as anything I've seen in needlework. Thanks Jennifer for sharing your photos.

Hmmm, I'm already thinking of ways to incorporate plaid into my projects, current and upcoming.

An interview with a very special lady!

It is my privilege to have accomplished needleartist and friend, Janet Perry, stop by on her virtual book tour. I first "met" Janet when she served as the celebrated Needlepoint Guide for the well known information site, www.about.com. Janet shared her expertise for 5 years on that show and continues to provide a wealth of information on her own website, www.napaneedlepoint.com. I would love to bottle her energy and I have never known her not to willingly share the knowledge of her craft with both expert and novice alike. The new book, "Bargello Revisited" is her latest example of Janet's mastery and skill as a writer and advocate for the needlearts. Enjoy!



What inspired you to write Bargello Revisited? I have been wanting to write a book on Bargello for 20 years and have started to do so at least twice. But this time instead of trying to cram in big projects and lots of theory, I decided to go for lots of little projects and find ways for people to be able to unleash their own creativity.

There seems to be a renewed interest in Bargello, to what do you attribute this? I think it's because Bargello gives you a big bang for the buck. It's incredibly easy to do and the results are so lovely that you feel it must be harder than it is. Besides all that it's less expensive than many other kinds of needlepoint and it is very portable, once the base line is in place all you need is the canvas, a needle and your thread.

Do you have a favorite needle artist that specializes in Bargello? I think I have every Bargello book out there and I love so many of them, but my all-time favorite is Elsa Williams. It was my introduction to Bargello and her designs are so classic and so wonderful, they never go out of date. For a wealth of information, I love Barbara Snook's books. There aren't many pictures of projects, but there are dozens of lines charted.

What pattern do you most enjoy stitching? I love stitching basic scallop patterns, they are so soothing.

What pattern would you consider the most challenging?Four-way Bargello is not my best thing. I always find them challenging. I think that is because the pattern only becomes apparent to me once you get to the larger rings. Since I always start in the center, I'm confused for awhile.

What type of Bargello project would you recommend to a beginner. Look for a simple line pattern, not one with closed shapes. Pick a thread which is easy to use like Silk & Ivory in a color family you really love. And start by making a small project. Once you've finished it, find another line you like and another set of threads and make another small project. With every project you will gain more confidence.

Can you reveal your strategy for putting pattern to design? In other words, how do you decide what Bargello pattern would most compliment any given design, such as a stocking? Some of the shapes I like, such as the mini-socks, mittens, and ornaments can take almost any pattern as long as three repeats can fit across the widest part. But other items, like the 3-D Christmas Tree quite simply wouldn't work with a line pattern, the joint would look weird.

Mostly to decide, I tend to pick the pattern first and then decide what to make from it. So if the item is large, then I know I can pick a bigger pattern.

Is there a rule of thumb for determining how many colors should be used and how many shades of each color? I have a few Bargello pieces which use three colors and one which uses two and I think these look very modern. Pretty much I think Bargello looks best when 3-5 colors are used. If you get too many more than that the object will need to be large so you can see the whole span of color.

Does Bargello look easier than it actually is? Or just the opposite?? Easier. It's just one stitch, grouped in different ways. That's what makes it so fun, the patterns look complex, but they aren't.

Is your book available through your website? Where can we find a copy? I don't sell from my website, but you can order it from Amazon.com, although they are a bit slow. If you want it fast you can order it from your local needlepoint shop, who can get it through my distributors, Rainbow Gallery, Unicorn Books, and Nordic Needle. If you don't have a local store, you can order it from Needle in a Haystack (http://www.needlestack.com).

Coming Soon...

to a blog near you. Have several things that I will put up over the course of the Summer starting with my, "Anatomy of a Sampler" as I call it. At the time it was stitched it was probably the most challenging thing I had done. I'll also finish up, "The Legend of the Defiant Kimono" and "Hey, there's 5 Geisha Standing in a Red Lacquer Tray!" "The Cozy Toes 12" and "La Petite Biscournu" are calling to be included in this Summer's plan as well, so now that I've put all this in writing I will get on with it and leave you with the following:

THE SECRET to bringing to fruition our dreams of project completion is, no not time, but inspiration. When inspired enough, we find the time. When not, we find something else. But where do we find such motivation that will take hold and not let go? I usually need to be bombarded with visuals but after reading a close friend's book I only need to think of her spirit and inspiration finds me. Not just inspiration to stitch, but to live, to do what I am meant to do here.

The book, Thai Odyssey, is a lightening-quick read and extremely well written account of where inspiration might take us if we allow it.....at any age. The author, Loretta Dunbar, has been a positive presence in my world since I met her 15 years ago, and she stitches, weaves, writes and, best of all, plays Mahjongg with abandon! Loretta never makes excuses, she just acts. Seems like I always let something get in the way of or sidetrack me from my mission of the day. So when I think of her courage and willingness to experience life unconventionally well into her 70's (sorry Ret), I become inspired to set and achieve my own goals.

"Madonna, get to gettin'and don't waste one more minute on anything that doesn't count in your life." I can just hear her say that. Pearls she has given me. Since reading about this one woman's later-in-life adventure, I think I have it in me to finish an UFO or two or three, and stitch a prototype for a class (twice), learn something new and on and on. Instead of thinking, "I want to, but....", I can accomplish is my new mantra. And so can you. Oh, BTW, Loretta is promising her memoirs!!!! Believe me you will not want to miss those; I know from whence I speak. Motivational? Not sure, but I know they'll give me some good ideas! Yours in Stitching, Madonna

Anatomy of a Sampler

A year long project published in ANG's Needlepointers beginning in late 1997 continuing to September 1998 turned out to be my most challenging undertaking at that time. The mere size, 9x25" (168 threads wide by 450 long), was daring by my standards; would I ever finish it? I did learn what bankers clips were and how to use them when working on large pieces such as this. I had never tried a band sampler before and figured that it would be a fun way to learn a variety stitches. There are a total of 16 separate bands, designed by individual teachers each featuring their favorite sampler pattern. A combination of floss, overdye, braid and a few beads were used. There are 10 identical dividing bands worked in elongated padded cross. I've tried to highlight some of the details but recommend reading Needlepointers for more information. Also worth mentioning that I had never heard of a laying tool back in the 90's!

BAND 1-Florentine Trellis-by Susan Kerndt stitched in 5 steps including a. Foundation row; b. Hungarian point variation; c. Trellis; d. Diamonds; and e. Beads.

BAND 2-Wheat and Diamonds-by Estelle Kelly. Another 5 step band which included wheat variation, fishbone, running and straight stitches. BAND 3-Composite Stitch-by Gayle Bicknell using floss, overdye and braid. Stitches are sheaf, upright cross, elongated cross, slanted cross, eyelet variation and some straight stitches for the background. BAND 4-Florentine- by Debbie Stiehler suggested finding the vertical center and working the top half of the band across then turning the canvas 180 degrees and finishing the rest of the pattern. Eyelets were stitched inside the diamond motifs. BAND 5-Sunburst-by Pat Morse. A variety of straight stitches following the chart forming a wave with large sunbursts and small smyrna crosses. BAND 6-Satin Stitch-by Lizbeth Napier. Following the chart using straight satin stitches to form butterflies and pinwheels. A running stitch was also used and a small smyrna cross inside the pinwheels. BAND 7-Beaty Stitch and Heart-by Sandra Reddell using beaty stitch, double tent and straight stitches following the chart to form the "hearts." BAND 8-Balloons- by Louise Meier. What a fun band featuring 4 different balloon styles. Stitches include half Rhodes, longarm cross, slanted gobelin,smyrna cross, brick filling, tent, dillon, mosaic, straight, cashmere, eyelet, woven, and reverse tent.

BAND 9-Herringbone and Eyelet-by Mary Clubb. Stitches include herringbone, half-eyelet, backstitch diamond adding a bead. BAND 10-Cloud-by Peg Laflam. The rounded cloud form is actually 2 pairs of interlocking chevrons. BAND 11-Floral Motif-by Ilsa Altherr using alternating scotch, gobelin and outline stitch. BAND 12-Herringbone-by Sandy Rogers. Using a 4-trip herringbone, eyelet, straight and zigzag straight stitches this band was one of my favorites.

BAND 13-Laid Work Tied with Woven Cross-by Joyce Lukomski beginning with metallic brain and overdye with long horizontal and vertical laid stitches working the woven cross over. BAND 14-Satin Flowers and Eyelets- by Sara Lee J.-Allen. Stitches include Satin, eyelet, diamond rhodes, cross, double cross and upright cross. BAND 15-Tied Cross-by Jean Taggart using upright cross and oblong cross.
BAND 16-Shaded Gobelin-by Nannette Costa using very carefully laid upright straight stitches and through the use of color shading made this final band a perfect choice for the bottom of the sampler. Well this is it, it's a lot to take in but I did enjoy sharing it with you and hope to stitch another sampler one of these days. Thanks for viewing.

What was I thinking?

I have no idea what I was thinking when I said I was going to finish my Red Kitty project before proceeding onto other things. I must have wandered into some alternate universe when this "pie in the sky" notion came to me because no way can I place this darling redwork project so high up in the first queue. Yes, I said first queue which to me is nothing more than a wish list of items waiting to be checked off as done, finished, abandoned. You know, did that, that, wanted to do that, thought I'd do that, nope, not doing that.

I once had a single queue whereby my projects in waiting were prioritized but soon I realized that it was necessary to add a queue to my queue. A place where when I finished something I could rotate a new project from queue-2 into the coveted queue-1 slot. Made sense to me and then it dawned on me how much more organized I would be if I would actually create subsets of each queue. In plain English, Q-1 stores my projects to be finished in the current year; Sub Q-1 defines the order they shall be completed. Q-2 is filled with this year's hopefuls, like Red Kitty, and Sub Q-2 defines, you guessed it, the order they shall be moved into Q-1 status. Red Kitty was high up in Sub Q-1 status but has now been downgraded so to speak to a high ranking spot on the Q-2 list.

Now, what all this Q-ing has done for me is it keeps my projects in front of me; changing them around is like changing the furniture, a new outlook and enthusiasm without making another purchase. A subtle reminder of things I have to look forward to and work toward. Ahhh, the stitching life is a good life.