Camille

Have been making progress on Red Kerchief as I continue to enjoy stitching on this project. BUT....I've been distracted, waylaid, whatever you want to call it. Family health issues (not to worry, all is well thankfully) that included a short hospital stay (not me) and I thought I'd get some stitching done, but not meant to be. Sometimes distractions are way to much to overcome and I just couldn't concentrate.

That was then, this is now. Over the weekend I nearly completed stitching Camille. Loved getting her face shaded just so, and the stitches chosen for her coat and kerchief were perfect. Primarily using Burmilana which is one of my favorite threads, it does tend to fray a bit but keeping the thread length to a minimum fixes that problem. I changed one thread out, the Silk Serica; as much as I like working with silk I just don't like this one though many stitchers do. But even with the sheen and brilliant colors offered I find it too difficult to work with. Using Rainbow Gallery's' Flair for the ruffles is a great idea and so forgiving! Stitching for 18 hours (not all at once) over the weekend, the background canvas is nearly (nothing like photography to show my stitching imperfections and omissions!) finished. YAY!

I can't stress enough that if you want a unique project that packs a lot of bang for your buck so to speak, this may just be the project for you. It looks a lot more difficult than it is. I can honestly say that whether it's the small size of each area, the stitches and threads chosen, or just the thought of having a Monet hanging on my walls, this has been the most fun I've had stitching since my Gossipy Geisha Kitties.

Next up I'll show the progress on the foreground canvas; I'm closer than I thought at getting this done and am already mentally moving on to my next stitching adventure. Thanks for stopping by today, more later.

Closing in on Camille

Showing more progress the photo on the left depicts the nearly finished "forest". After all of the Diamond Rays were stitched you then go over some of them with the Ermine Stitch using Pine. It's really a nice shading technique for creating the illusion of trees in the distance. On the right are the three steps of the Hurdle Stitch - a composite stitch I had never used but really, really like. Why? It goes quickly! And once you get your bearings it flows along smoothly and rhythmically.  Because it's done in three steps, you get the hang of each step without having to constantly refer to the chart, etc.  I actually liked the way step one and two looked before adding step three. The thread, Simply Shaker Tin Bucket has such a nice variegation it's almost unnecessary to add a third element. BUT, years of parochial school have taught me to follow the directions. I hope to make enough progress over the weekend so I can begin stitching Camille. Excitement!  Thank you for taking the time to stop by today.

The Forest

Left side - Red Kerchief
Don't know if I instinctively decided the next section I would start would be the tree and background forest or if I was just impatient and wanted to see how the snow and trees would fit in together; but the right side background is actually what I should have stitched..."all in good time, my pretty, all in good time". LOL!

The tree trunks are worked in outline stitch with Caron's Wildflowers Black Forest. Using one strand this variegated thread is in between the #8 and #12 Perle Coton in weight, but has more of a matte finish making it perfect for a tree trunk. The stitching on the trunks took about one and three-quarter hours. The tree's needles are worked in a variation Diamond Ray pattern using Pine by The Gentler Art Sampler Threads; a lovely hand dyed over-dyed floss. The background "forest" also uses a Gentler Art thread, Simply Shaker in Green Pastures. I've left the link to Gentler Arts in case you're not familiar with these beautiful threads.

I really like the way the canvas came pre-shaded in appropriate colors allowing for the use of very light and subtle stitches (unconventional Ermine stitch), that effectively take advantage of the background tinting. Total stitching time for the greenery 4 - hours so far. Seems slow but the stitches actually move along quickly, it's the starting and ending of the threads that takes a little more time on an open pattern design like this. I am thoroughly enjoying this project as Caela's design has just the right tempo to it; you just begin to get anxious to finish one section and before you know it you're on to the next! Perfect timing for this instant gratification girl with a slight tendency of adult ADD.

HERE WE GO!

I am so excited that I will be taking you along on my next stitching odyssey which just might become the "pièce de résistance" of the year. When I first saw professional designer Caela Conn Tyler working on the Red Kerchief model, I knew right away I had to take her class. I mention Caela often on my blog and one might say I am a Caela groupie; there are a lot of us out there. Anyway, her concept of Claude Monet's Portrait of Camille Monet, The Red Kerchief, is most amazing in that she has achieved her interpretation by using foreground and background canvases. It's my first framed 3-dimensional needlepoint. There are several threads and techniques used, some familiar...others not so much, making this a unique and exciting project. Currently, Caela is offering The Red Kerchief at The 39th Annual Callaway School of Needle Arts  and the EGA Great Lakes Region Seminar.

Naturally Caela's work and mine vary dramatically, what you'll get here is my attempt to do this fabulous design justice. To begin, I've chosen the background canvas for purposes of this blog, but I actually completed the foreground canvas as assigned during the pilot class. This took place earlier in 2009 and I have been waiting for just the right opportunity to present it here.

Using Evertites, the line-drawn and shaded canvas is ready to go. I was totally unfamiliar with the technique used on the first step which was to apply Angelina. What the.... hmmm, Angelina. If you are as unfamiliar with Angelina fabric as I was, go here for a great tutorial.

Basically Angelina comes in a small sized bag for around $5-6 and sort of looks like spun glass or angel hair. Apparently it's readily found in quilt shops. The left photo depicts Angelina fibers after they've first been spread apart and then pressed with an iron. On the right photo, it's basted in place serving as background for the snow stitches. Clever! Notice the iridescence? Depending upon how much you spread out the original fibers, it will determine how opaque the pressed pieces appear.

Using regular sewing thread for basting (which will be removed once all the permanent stitches are in place) and a sharp needle to go through the Angelina, I'm ready to move on to stitching the snow.  The snow is stitched in Long Tall Sallies combining white floss and Accentuate (with a little light grey thrown in for good measure). Remember that this side of the snow will be covered by the curtain hanging on the foreground canvas and is stitched rather randomly suggesting the effect of glimmering, drifting snow. I'm hoping I've done this well otherwise we'll be viewing this with the curtains drawn! LOL! Prep time (iron fabric, cut and baste onto canvas) about an hour.  Stitching hours: 2-right side only

STITCHED!

This might have been the quickest project in memory--yay! Instant gratification, almost. The bells were stitched in three strands of Mori silk, with shading done at the stitchers discretion. Then large and loose French Knots in the silver metallic for the clappers.  Isn't this design different? I can't wait to get it finished into an ornie. Did you notice the adorable needle minder above the heart? A Christmas gift from our local ANG Chapter, I think mine is hello kitty. Perfect! Hours logged for last evenings session: 2. Total stitching time: 8 hours.

Moving right along...

last night I finished filling in the center section. I loved using the Silk 'n Colors Royalty for the main pattern. Silks rule! Then in between are various colors of Accentuate, and burgandy silk for the flowers. Pearl beads were included in the kit, but I decided to change it up and use some lushous (OH NO I DIDN'T...that would be luscious, Madonna. BTW, I noticed it on my own) lavender and turquoise pearlized beads. Truth be known, the pearls included in the kit have gone missing. :( I should check between the cushions of my stitching throne but I'm afraid of what else I might discover.....a hairbrush, empty pistachio shells, my first husband! Just kidding, I've only been married once; but if I had been married before.......

Back to the task at hand, the center design is flanked by a braided pattern stitched in a gold metallic. And the vertical lines on either side serve as the underlayment for the next pattern and are stitched in an overdyed metallic. Stitched this through one taped episode of "Young and the Restless", two "Criminal Minds" reruns and the local news. Total hours logged, 3.5.

Our Heart

designed by Marnie Ritter. This is the first of a series of hearts Marnie created for our local ANG Chapter, Mile High in Denver, to honor those that have experienced breast cancer. You may purchase the kit directly from Marnie at the above link and $2.00 from every sale will go to the Susan B. Koman Breast Cancer Research Center. Thank you Marnie for your generous heart in designing this beautiful design. I'm am proud to include this as my first project of 2010.

Getting started, all of my Evertite stretchers in this size were "unavailable" so I decided to use mini rollers attaching the canvas with the hook and loop type tape and side lacing. For the lacing you can use carpet thread, but not having any on hand I used button hole twist which is also very strong. I like using this method for smaller projects such as this. By the way the heart measures approximately 5".

The canvas used is light tan with gold flecks. First time I've used this and it really adds sparkle to the project even though it doesn't seem to show up in the photos.  The kit has some very delicious threads including silks and metallics. Using a laying tool really makes the threads lie flat allowing for maximum sheen from the silks. Though some stitchers might object to this practice, I often use my finger to lay threads, but I always have my Tekobari and that other gadget that fits on my thumb close by.

This year I am planning on being more diligent about documenting my projects in a journal. I will include the type of thread used, number of hours stitching and anything else worth noting. So far I have logged 2 hours, 30 minutes.