Smoky Mountain Stitches is working hard to finish its next reproduction sampler, Joanna Brimblecombe 1801. Here is a sneak peak at the border and a few of the motifs found on this beautiful sampler.

And the original piece. There are cross stitches, chain stitches, and lots of satin stitches. The flower motifs and the ribbon are stunning, but are proving very challenging to chart. PC Stitch really needs to add a free-hand drawing option.

Smoky Mountain Stitches is Live!

I know I haven't posted in a while, but I have been very busy working on my reproduction samplers.  Ann Woodall 1847 is off the stretcher bars and back from the framers. It is available from my eBay store in hard copy as well as pdf file format. 

You can find the hard copy here: http://www.ebay.com/itm/Ann-Woodall-1847-Reproduction-Sampler-Cross-stitch-Chart-From-Smoky-Mountain-Sti-/302136561699?ssPageName=STRK:MESCX:IT

The pdf is available here: http://www.ebay.com/itm/PDF-Ann-Woodall-1847-Reproduction-Cross-stitch-Chart-Smoky-Mountain-Stitches-/302136672718?ssPageName=STRK:MESE:IT

Also available in pdf format is Maryann Dobbs 1858.  I hope to have her to the printer sometime next week, but for now the downloadable copy is available here: http://www.ebay.com/itm/PDF-Maryann-Dobbs-1858-Reproduction-Sampler-Chart-Smoky-Mountain-Stitches-/291950822759?ssPageName=STRK:MESE:IT

Update on Ann Woodall 1847

I have been enjoying my journey with Ann Woodall very much.  Every day I try to get some charting done, then in the evenings I work on the needlework to complete the reproduction. Choosing colors has been a challenge, as so many of the colors in the original have faded beyond recognition.  I have only recently begun working with Au Ver a Soie threads, so my supply of colors are few, but my husband is always happy to take me to Cross Stitch and Crafts, in Johnson City, so I can comb through their vast array of silks and choose colors I believe may work.  So far, I have made three trips, each time choosing about ten different colors, mostly in the green families.  I find there are so many different hues of green.  There are the brown-greens, the yellow-greens, the  blue-greens, and grey-greens.  Needless to say, I have done a lot of stitching and ripping, just to get the color combos right.

This is the original stitched in 1847.

So far I have charted the lower part of the verse, as it happened to be the center of the piece and I have decided it is easiest to treat this as if it is any other piece I have stitched, working from the center out.  Once I had reached the right side of the piece, I started working on one of the flowers.  Not sure if it is considered a tulip or a lily, but I have been calling it a tulip.

Close up of the first flower on the original.

My work on the first tulip.

And a few of the leaves.  I know there doesn't appear to be any brown in the leaves on the original piece, but when viewed from the back, Ann used mostly browns and dark greens.

There is one more large leaf below these two, which I have mostly done, then on to the first of the roses.

I am stitching on 28 count linen, as it is comparable to the canvas size the original is stitched on.  The original is done with wools and silks, but I am not a fan of wool and canvas work, so I opted to reproduce purely in silks on linen, and believe it is turning out just fabulously.

In a few weeks I should be stitching around to the deer, and I can't wait to begin charter it.  It is the most beautiful motif to use as the focus of the sampler.  When I finish the rose, I will add another update.  I also update progress on the Facebook group, Our Sampler Years if anyone follows that group.

Ann Woodall1847 Sampler

 

 

This is one of my favorite antique samplers that I own.  Ann Woodall, stitched in 1847.  She is stitched on a heavy weave linen/canvas using a combination of silk floss and wool. Primarily done in cross stitch, the ground is done in wool with very long horizontal satin stitches.

The verse reads, "To lasting brightness be defin'd,

When this vain shadow flies away,

Th' eternal beauties of the mind

Will last when all things else decay.

Ann Woodall 1847"

Some of the damage to this piece is right through the verse.  The canvas has been torn but there is no loss of fabric. There is only minor thread loss in the verse.

 

The flowers are beautifully done.  There is a lot of damage to this piece: you see some water damage here.

I think the deer being done in white is just amazing.  At first I thought perhaps the white wools on this piece had faded from different colors. but because the verse is about beauty, I believe the white was intentional. You can see more of the  water damage here, as well as the long stitches used in the ground work.

 

I hope to reproduce her one day, I believe she would look amazing even if I were to do her only in silk on linen.

First project done

I have not been here to blog for a few weeks.  We had a very busy Spring break and I have not done much of anything but run and rest.  My husband's granddaughter just turned nine and was thrilled when her mom told her she could visit Papaw for Spring break.  Gene drove from Tennessee to Indiana, stayed two nights, then came home with Lexi.  We did something almost every day, and to say I was wore out is an understatement.

I did get a chance to begin her on her own needlework adventure. I had purchased a few beginner cross stitch kits for her, and she picked it up very quickly.  She had some trouble with her backstitching, and I made the quarter stitches for her, as we all know quarter stitches on Aida cloth is next to impossible.  I could kick myself for not taking a picture of her finished piece before she left, but it said, "Love you to the moon and back" with love being a pink heart.  I know her mom says this to her kids all the time, and I knew Lexi would want to make it for her.

So, after visits to Sycamore Shoals, Pigeon Forge, the Gray Fossil Dig Site and Museum, and other assorted day trips, I was finally able to get back to stitching with my poor achy feet propped up when Gene left for the return trip to Indiana.

I had been working on a small butterfly pin keep for my Cabinet of Curiosities class.  It is done in continental tent stitch on 26 count material and was fairly easy to do. 

 

First thing to do was to trace the design onto the fabric.  There are many ways to do this. For this piece I used a light board.  I taped the design onto the lighted surface of the board, then I centered and taped my fabric over the design. Using a very fine tip marking pen, I carefully traced the design onto the fabric.

Once this was done, I sewed strips of fabric to the two sides of the material.  I use quilt binding.  It is the right width and it is easy to work with.  I simply used a basting stitch to hold it in place.

 

I use Velcro with sticky backs to attach my fabric to my rods.  It is very inexpensive. The soft fuzzy size is permanently attached to the rod, and the hard bristly side I apply to the top and bottom edge of my fabric. When I done stitching, I simply snip the Velcro off and I am ready for finishing. 

 

Because this piece was so small, I chose to roll the fabric so the front of the fabric is on top of the rods. Usually I roll the opposite way, so that the back side of the fabric shows on top of the rods.  For larger pieces this helps keep the front of the fabric clean.  Any dirt that may be picked up along the rods will be on the back side of the piece, so if it doesn't come clean when washed, it wont show.

Next I used a heavy thread to lace the sides of the fabric to the side bars.  You can use any kind of thick thread, but in this case, I had a #5 perle cotton ball handy and I used that.  Lacing the fabric allows you to get a much tighter drum-like fabric so there is no sagging when you begin stitching.  The binding I basted onto the sides keeps the threads from pulling on the fabric, and gives a firm support to allow you to pull as tight as you want without damaging the actual fabric.

Once you are set up with framing, use a dark color thread and begin to outline the design, using your own judgment which side of the line to place your stitches as the design curves.  You can see here I am almost finished with my outlining. 

 

I ended up pulling the body out once or twice because I didn't like the shape I was getting.

 

The line to each side of the butterfly is the horizon line.  I had originally stitched this line, but decided I didn't want a hard line dividing the sky and ground so I pulled it out.

 

 

Next I did the color fill inside the butterfly.

Next

I then moved to the ground.  I started with a darker green and followed the horizon line for each row.  About a third of the way down I began to stitch every other stitch for three rows and finished off the dark thread.  I used a medium color in the middle, filling the spaces in the previous rows, then continuing with solid color until I got about two thirds down. Again I stitched every other stitch for a few rows to achieve a blending effect. I then finished off the bottom with the lighter color. I repeated this with three shades of blue for the sky, but doing straight lines beginning from the top with the darkest color.

 

 

 

I finished the piece following the instructions given in the class.  I was NOT happy with the finish, as this was my first time trying to finish something like this.  I may redo it once the class is finished and I know I don't need the extra fabric for other projects.

 

And this is my finished butterfly pin keep.  I have already begun stitching the next piece, which has a metal thread which is used in the background.  As soon as it is finished, I will post about that experience.

 

My New Needlework Stand is Here

Last week I finally received my needlework stand from Europe. This is NOT the Needle Needs stand that is so popular, however I believe it is a close second.  I will briefly recap from past blogs.

I ordered a Millennium frame from Needle Needs back in December, and I am still waiting for it. My understanding is it could take up to six months before it arrives, so I am not overly concerned about the time delay. I did not, however, order the Neccessaire Stand that is often paired with the Millennium frame.  At the time, the cost was not justified since it is so pricey.  This stand is unique, because there is no clamp to hold your frame.  At the end of the arms are pegs, which allows you to simply lay the frame on the arms.  When you need to turn the frame to finish off a piece of thread, you simply pick it up and flip it over. 

I have a sofa with double recliners, so any stand would need to be adjustable to accommodate my sitting position as I stitch.  Because I have a history of blood clots as a result of an accident, I really need to sit with my legs elevated to reduce swelling. When I stitch, I am generally kicked back with my feet up.  For small pieces, I can work in hand or with a small frame.  But when it comes to larger pieces, I really need a floor stand.

I did a search for needlework stands on Google, browsed through the buying options and spotted a stand on Etsy that was very similar to the Neccessaire.    After a few emails with the shop owner, which were answered within hours, I made my purchase. The shop owner, Kevin, advised me to purchase two additional pieces to allow for height and adjustment to accommodate the recliner. And best of all, the entire thing cost me under $100, and that includes the shipping cost from Europe.

The stand came in a very compact, small package, and I had my doubts as to whether it contained everything that I would need, but I was pleasantly surprised.  Some parts where pre-assembled, and the rest was fairly simple to put together. There were instructions included for the stand which were simple and clear to understand, but there were no instructions for the additional pieces.  My husband and I were able to very quickly figure it out, though.  All wing nuts, washers, and bolts are included.  It is great that each bolt is in its intended spot, rather than just tossed together in one large bag.

This is the height extender piece, which gives me the additional height needed to reach across the sofa. There is also a special "yoke" that I didn't take a close up photo of, which gives me a bit more adjustability in frame position.

  

Most of the pieces are drilled with additional holes so it can be adjusted to fit just about any position.

The arms where the frame rests also are adjustable to accommodate any frame size.

 

There is no finish on the wood, it is a bare pine, but it has been sanded down smooth, so there are no rough areas to cause splinters.  Once the weather breaks and I can get outside, I will probably put a finishing stain and a coat of varnish to protect the wood and make it a little prettier to look at in my living room.

 

So far I am quite pleased with the stand.  I can't leave my needlework sitting on it over night, because I haven't worked out the balance issues to keep it from tilting over, but the feet are adjustable and I will play with it later.  If I can not resolve this issue, it is not a problem, I will just put my work up each night.

 

Some of you may be asking where you can buy one.  Here is all the information:

The Etsy shop is called Kevscorner.  The stand is called ITA Floor Stand, and the link directly to the stand is https://www.etsy.com/listing/201490099/new-ita-cross-stitch-floor-stand-with?ref=shop_home_active_5  You can search for the additional parts if you are interested in purchasing them.

 

If you have any questions I might be able to answer, just leave me a comment here and I will do my best.

 

Thanks for reading,

 

Donna

Cabinet of Curiosity Kit One is Here!!!

I have been in and out of my email for the last several days checking the tracking on my Cabinet of Curiosity package, and yesterday it finally arrived!  I was so excited my husband thought I was going to dance right out of my skin.  This month's lesson includes the instructions to complete several of the first projects, and the kit contains all of the materials needed to complete these projects.

When I say "all"  I mean it.  Here are some photos of what was included in the first kit:

This is what came nicely packaged in the kit.

 

 

 

This is the small trinket box we will be decorating.  There is a decorative piece to place on the front after it is completed.

 

 

Pretty finishing materials.

 

 

The coffee mug was an unexpected surprise.

 

 

Several pieces of linen, 34 count, 40 count, silk velvet, silk lining material, tracing paper, etc.

 

And the fibers. Over 50 spools of silk threads in beautiful color groups.  I am going to have so much fun playing with these, I can't wait to get started.

 

 

 

When I tell people I am taking this class, they ask how expensive it is.  I am honest and tell them is a bit pricey, but they make it easy to pay by breaking it down into manageable monthly payments, and everything you see in this post is built into the cost, including the shipping (for US students.)  There is over a hundred dollars in thread alone.  Each of these packages cost anywhere from $23 -$38 dollars each.  The only extra cost is if you want the extra specialty threads offered in the Frostings Club, and you are on your own for buying the casket at the end of the class.  The kit even included a marking pen and several packages of needles.  I am quite pleased with this first kit.  Now to read the instructions and get stitching!