Wattle scarf

I have. over the last seven years since doing an Ottoman Scarf class with Alison Snepp, embroidered a number of scarves. Most of these were Raffal scarves, purchased as a follow-up to Alison's class. They are woven in India from Australian wool. The Raffal story is worth reading, a successful business established by one woman using the expertise she gained from working for the Australian Wool Board, utilising Australia's fine merino and the expertise of Indian weavers.

I am not sure if Raffal are still making perfectly plain scarves, but I had a couple left from my earlier purchase, and wanted to embroider one of them as a gift for a cousin who had kindly invited me to stay during my recent trip to England. I purchased scarves in colours that reflected the Australian bush, so chose a green one, sketched out some wattle branches and got to work.







It is a little tricky embroidering on these soft, open weave scarves. They resemble original Turkish bath towels - which is why Alison Snepp chose them for her original Ottoman scarf design. This means, however, you need to take great care in stitching, not to separate the fibres.

Back

front

You also need to take care that the back is fairly neat - as scarves don't sit obligingly on one side. These considerations limit the stitches you can use.









I limited myself to French knots, stem stitch and fly stitch.

Rather than adding larger tassels to those already there, as I had done in the past, I added gold beads that sparkle. It's not too over-the-top but adds little glints as the scarf moves.









It worked - and is something that will get some use in England!

Pontos Vermelhos

I have been making a bit of an effort to work some of the kits and projects in my stash. I played with a few of them, but the one that spoke to me was Pontos Vermelhos, a drawstring bag designed by Maria do Ceu Freitas in Inspirations 79  in 2013. I features the traditional embroidery of Guimaraes in Portugal.

The bag is worked on a single piece of linen, edged and prepared for construction before embroidering. Traditionally worked in one colour, this one is in red.

I used a pencil to trace the design on  to the linen.



It was relatively complex, but could be followed from the basic shapes of the design.

It used reverse chain,, whipped chain, padded chain, buttonhole, satin, padded satin, stem, eyelets - and lots of bullion knots.

The result is highly textured - and really interesting to work.












The interest didn't stop there.  The bag is stitched together decoratively, a hem-stitched panel accommodates a cord and tassels are added.



I love the result - and enjoyed it. It is the kind of project that gives me huge enjoyment - so many parts, each one satisfying and purposeful.




For the moment this is a keeper. I am using it to store the monthly Stitchy Box thread packs.


I am also grateful to Christine Bishop for showing me a piece from her collection of Portuguese Embroidery and giving me access to an article she wrote on Viano do Castelo Embroidery for Embroidery and Cross Stitch Magazine.

Zen mandala

For some time I had thought that Zen colouring designs would make interesting embroidery, so a couple of years ago, when Herrschner's advertised some already printed on fabric, I ordered some for me and some for my Adelaide daughter.  She got to work on hers fairly smartly, but I put them on my embroidery back-burner. In the last month or so I dug one out as a back-up 'grab and go' project. 

I had purchased a thread pack to go with it. This consisted of a range of bright perle cotton. The thickness is not marked on the label, but it is about 5 - quite thick.                                                                 My concept for this mandala was a red edge, then very roughly following the rainbow from purple into a red centre. I didn't want to plan it in detail - and I certainly didn't want to colour it in pencil first. I wanted to use the threads to guide me and work it from the outside in, making decisions as I went.

I also wanted to try out a range of stitches. The narrowness of the bands of the design, especially when combined with the heaviness of the thread, places some limits on stitches. I worked the outside border in fly stitch. It gave the density of colour that I wanted - but used an entire skein of thread.

I gradually worked my way in, using stem, chain, more fly and French knots. Later I introduced pistol stitch (yellow row below).

Keeping to my rainbow colour movement wasn't straightforward but it provided a general guide. I tried to foreshadow coming colours and provide an echo of those I was moving away from.

I found it useful as I entered a new band, to try out colours on a wedge.


The density of the thread grew on me. It began to look like a carpet.


Most of it I worked in my hand. I needed to scoop most of the stitches and even if I don't always follow the maxim 'never scoop in a hoop' (picked up at a class at the RSN) these narrow circular bands are difficult to work in a hoop. I used a hoop for the pistol stitches.

The row of curly things gave me a challenge. I tried bullion knots and fly stitch before settling on a double couched line and French knots. The line below these is worked in Palestrina knot stitch.

The finished piece needed blocking - and easy task which straightened it up nicely.


By now I had decided what to do with the finished piece, which is about 10" in diameter.

No, not a bag.


I appliqued it on to the coat I made last year, using the red thread of the outside border and a buttonhole stitch.

It blends well with the wool fabric and I get to see it (as, of course, do others!).

I've really enjoyed this piece. The threads (somewhat to my surprise) were terrific. I have some other designs to do and another pack of thread when the mood takes me.

Robin Panel 1: When the red, red robin

The panel I chose as No.1 is mottled lemon and white - inviting me to think about wattle. This one, I decided, would belong to the female scarlet robin. I stayed with stranded cotton and stem stitch.








I put her on a barbed wire fence and was thinking of filling in above the fence with wattle and below with wheat, when a friend suggested chicken wire. Invented in Norwich in the UK, it is widely used in Australia, and a brilliant suggestion from my friend. I went home and spent the evening embroidering chicken wire.










I  added branches of wattle.


I was assisted here byAnnette Rich's book on Australian wildflowers which has designs for three different varieties of wattle. I used stem stitch for the elongated leaves and French knots for the blossom.


I am very pleased indeed with this panel. My friend Sue's suggestion of chicken wire was brilliant and has captured exactly what I wanted.


Two down, seven to go!

Rooster Cushion

I fell for a couple of easy folk art cushion kits in very bright cottons from Herrschners a few months ago. They are produced for Herrschners by Duftin, a Hungarian company whose products I have successfully used before. I like their products that come ready-made and stamped to embroider. They make for easy, attractive products to embroider while on holiday, talking or watching the world go by.

This was no exception. The threads were sufficiently well organised and labelled to be usable without further work, the pattern was clear and the instructions simple, bold and easy to manage.

I began just before going to Carrickalinga for Christmas by embroidering the central line of the design.

By the time I went away I had some tail feathers done, and had decided to use stem stitch and split stitch in place of satin stitch for a good part of the design.

When I came home on 26 December I had a large part done and was enjoying it very much.






It is a lot of fun to work on something so bright and shapely. It is an exercise in colouring-in and the interest and satisfaction is in adding each component and watching the colours lift and complement each other.

The body of the roosters and the pink flowers practiced my long and short stitch.




I finished it, appropriately, on New Year's Eve, washing and blocking it on New Year's Day. I haven't inserted a cushion yet. I will give this to someone who could do with a cheery cushion!

A few days ago Herrschners had a special on the shoulder bag in the same pattern and fabric. Even with the deteriorating exchange rate and a generous stash of projects I did not resist.