Prairie point Christmas Tree finished!

I couldn't put up the Christmas decorations without the Prairie Point tree, so spent yesterday and last night finishing it. I removed the top and cut a wedge out to make it less wide at the bottom and more conical. I used the removed side and added two more layers at the top and turned a layer upside down to make an apex.

Then I stitched green ribbon to each of the sides, from top to bottom and added red ribbon to each side to tie as bows and connect one side to the other.

I then made lots of tiny bows and attached them to most of the points. Finally I tied all the bows at the back to create the conical tree and made a str from a black felt base, with a sparkly fabric and a later of yellow organza straight then zigzagged around to hold it together.

Our rather naff fibre optic tree is going to the naff tree graveyard tomorrow and the PP tree now has pride of place.

Christmas tree back

Christmas tree front.

Happy Christmas!

City & Guilds level 2, Module 1, Chapter 8 completed

Having doodled my interpretation of walk, run, jump etc I committed them to stitch and then to avoid any confusion stitched and wrote which action was which. I had a lie down at the end as all the jumping and cartwheels had worn me out!

Walk, run, hop, skip, jump, cartwheel and lie down

So then, to dance with stitch. Well what I know about dance is minimal, so I watch some You Tube and attempted to transfer the feeling of the dance to stitch. As this exercise is about stitch control, I wasn't to worried about my dance steps more the emotion and speed of the dance.

Dance moves!

Waltz is forward, side, side so one long step forward and two little steps to the side. Then a couple of swirls, followed by the foxtrot - no idea but I think it's fast so lots of little fancy steps and the fox went off on his own. Then the jive, fast and jumpy and the twist, "up and down we go" and then line dancing, lots os stepping sideways and on to the American Smooth; swirly and soft. The Pasadoble was strong and angular and finally the Cha cha with little side kicks on the spot. I've stitched the names of the dances. Good fun!

The next sewing sample was to depict 6 emotions in stitch having prepared the exercise on paper.

I chose anger, joy, peace, frustration, sadness and love and tried to feel these emotions as I stitched. 

My samples are all on calico backed with Stitch and Tear and held in an eight inch embroidery hoop, a 100 needle and black top and bottom thread. 

During this chapter mark making in a notebook was part of the exercise. I photographed my notebook and the mess on my table. 

Mark makers

Charcoal on long sides and with the tip in sweeps, line and circles

Natural sponge, toothbrush scraped an flicked, a fine line paintbrush with tip and on side and a wooden stick on LH page. On RH page a selection of different hardnesses of pencil and italic pen. The paper wasn't hick enough to stop the impression from the other side.

The left hand page is different thicknesses of graphic pens and pencils and the right hand page graphite, a thick block of charcoal, cotton bud and different brushes

The final sample is Quink black ink, bleached out with a stick and a bottle top, then detailed with a fine brush

C&G Level 2, Module 1, Chapter 7, Razzle Dazzle!

Free motion embroidery.

I drew rough ideas of what I would sew in my notebook. An ethnic type repeat pattern in primaries, a simple more linear design again in primaries, a little swirly pattern in red and yellow which could be possibly be elaborated on and founded perhaps in Celtic or aboriginal design. I then drew a treble clef facing the usual way and then reversed. I like reversing images - sometimes not easy to do but they remind me of Leonardo da Vinci who wrote backwards in code.

I used black felt backed with Stitch and Tear and a 100 needle and mostly Madeira thread. The fabric was mounted in a 10" wrapped embroidery hoop and tightened to prevent any rucking. I stitched my plan elaborating on odd bits. I used an darning foot throughout.

I then freed up a bit and did some wavy lines in several colours then added a variegated thread and made some circles which eventually became flowers so leaves were added when I reached the bottom end. Not planned but I like the effect.

The Plan in my little notebook

The stitched sample

The stitched words. 

Having stitched over 100 Prairie points with very straight lines I wanted to free up a bit so planned to Razzle Dazzle all over the fabric. Again black felt (although I possibly could have used another fabric) was mounted in a 10" wrapped hoop and backed with Stitch and Tear. 

I had drawn 12 possible styles of Razzle Dazzle and incorporated the majority into my sample. I used pink, lilac, blue, green and yellow threads and then around the end where I have stitched a couple of continuous Razzle Dazzles I used a variegated thread for variety. 

I used upper and lower case letters and in each case tried to make the styles differ to some extent from each other. Good fun.

Some ideas on how I might write the text with my needle

A rough idea of where the text might sit in the hoop, not followed exactly and more added around the edge

The finished sample for Razzle Dazzle. 

C&G Level 2, Module 1, Chapter 6, Prairie Points completed

Prairie Points resolved sample.

When I made the practice sample and was thinking about what I could make with prairie points as a resolved piece, I thought of dinosaurs, spiky extra-terrestrials (Star Wars or Doctor Who) and then as Christmas is approaching, I decided that my sample would have a purpose and be a Christmas tree as the points resemble the structure of a fir tree which when embroidered could be a decorated tree and possible be something that can be passed on through my family. Anyway, that was the starting point.

So I made a paper mock-up which is shown alongside my finished piece and it made me realise that I had taken on quite a task as I'd have to make over 100 points. I used over two metres of felt.

In order to be supported I decided to use pellet Vilene as an understructure, green felt as my fabric and mostly metallic Madeira threads for embroidery. I chose a bronzy gold, red and blue metallics to represent baubles, green metallic thread to represent the traditional holly and ivy, a variegated blue, red yellow thread to represent the berries of autumn, silver stars for the night sky, gold stars for the star of Bethlehem and the gold gift and a variegated gold and soft coloured thread just because I like it. I used a 100 needle throughout

The bottom of the Vilene was painted with red acrylic paint and hung to dry for 24 hours. This was to fill the gaps between the bottom layer of points and when asked why red and not green like the tree, I replied that the woodland elves who live in the tree were having a party and had red fairy lights!

I decided That the tree was best constructed on flat Vilene whereas I had made a card cone for the mock-up which was stuck together with sellotape and would not work for the stitched sample.

I measured the distance between each side of the cone at the base and decided to start with 20cm points. These were gradually reduced in size so that at the top of the tree they are 10cm.

First two layers of Prairie Points stitched to painted Vilene

Detail of first two layers

I reversed the points on each alternate row and gradually built it up, determining at the end of each two layers, the dimensions of the points for the following two and gradually decreasing the size. As I progressed up the tree, I was able to reduce the amount of rows of embroidery as the points grew smaller. Having started with eight rows of stitch, the top layers only contain four rows. 

Approaching the top of the tree after applying ten layers of points

Detail of first eight layers of points

As the felt was four layers thick when made into points, it somewhat lost it's shape. I had pressed the edges prior to stitching to help keep crispness but as the tree was to be conical, the crispness of the points would eventually be reduced.

As with the mock-up, I decided to top the tree with a conical 'hat'. I shaped a piece of felt and using all of my threads, stitched rows of the leaf pattern previously stitched in green in each. I then stitched a seam in the top ensuring that it covered the edges of the top layer of points. 

 The finished tree alongside the smaller mock-up

The tree from above.

I intend to connect the sides of the cone with ribbons which will be tied on bows making pretty detail down the seam but for the moment it is connected with Microstitch tacks. The ability for the bows to be undone will enable the tree to be stored flat between seasons. 

And finally, 

A fairy who was at the elves' party popped out to say, happy stitching!

Revised Prairie point tree

Nor being very pleased with my first effort, I removed the top section of points and reduced their size by a third. Then I made a little cone to top the tree off. I don't mind the result and will probably keep it and embellish it with gold rubbing and fiddle about with it. I may use dowelling and a base and keep it. Or not!

I'm glad that I cleaned the living room yesterday!!

Prairie point tree

Paper mock-up of Prairie Point Christmas tree

It goes a bit wonky at the top as the cone decreases in size. I will probably make bigger PPs so that there are less - the tree took nearly 100 - and when I get to the top I will use a separate piece of fabric, cut into a circle and embroidered then draped over the point to remove the irregular look at the top.

Fun though.

Prairie points exercise - for comment please

I have stitched the sample piece and to avoid having the frayed edges at the back of the work, have folded the solid piece down and behind and stitched it. I hope that the pictures will explain what on earth I'm talking about.

Front

Back

C&G Level 2, Module 1, Chapter 5 completed

The first exercise was to stitch a simple colour wheel using the primary and secondary colours and either zigzag or a machine pattern.

In this sample I used a feather stitch pattern for the red, blue and yellow primaries, then zigzag for the orange and a machine pattern for the purple. I liked the purple element of the colour wheel most of all so decided that for the second stitched colour wheel, I would use the pattern throughout. For both samples I used calico on a Stitch and Tear support, Madeira threads and a size 100 needle as this takes the two tops threads well.

The second colour wheel was stitched with the machine pattern I preferred from the first. I think that the result is very pleasing. Where there were gaps I moved the embroidery hoop used to support both pieces to ensure that gaps were stitched over. 

I like the red/blue mix to make purple and the blue/yellow mix to make the green - it is interesting as a painter to see that the same effects as paint mixing can be achieved with thread. I think that the pattern used also makes the wheel attractive

The two samples above will be on Page 25 of my book.

The next piece is the use of primaries and secondaries as blocks alongside which are their shades and tints achieved by mixing black with the main colour to achieve the shades and white with the man in colour to achieve the tints. 

I used calico, again backed with Stitch and Tear and Madeira threads and a zigzag stitch on the machine with a 100 needle. Using my widest stitch width and a short stitch length, the blocks were filled which left a small gap down the middle of the block. I infilled this with a narrower stitch width. 

This was interesting with a pleasing result. I had to move the hoop to get to the edges as I had used an 8" hoop and the foot hit the edge on the top and bottom corners. This was not a problem and I didn't get puckering despite fairly dense stitching.

From needle to brush, the next sample was the tonal piece with the primaries adding black and white in small gradual amounts to get a range of the shades and tints of the primary colours. 

The two samples above will be on page 26 of my book

And finally two colour wheels were painted. The first, Colour Wheel 1 was a fairly simple wheel of primaries and secondary colours and the second, Colour Wheel 2, more complex using primaries, secondaries and tertiaries, both with tints and shades. My palettes were works of art in themselves, I should have photographed them as well. 

Colour Wheel 1

Colour Wheel 2

These two colour wheels will be on page 27 of my book.

I enjoyed this chapter and look forward to some serious sewing with the Prairie Points in Chapter 6.

C&G Level 2, Module 1, Chapter 4

Level 2, Module 1, Chapter 4

Zigzag stitch and automatic patterns, changing stitch width

My first piece was worked on one of my dyed samples although I used the original painting again and using a new dry iron, got a much better image transfer. It is polyester satin and was backed with Stitch and Tear. I altered the stitch width from the narrowest, almost straight stitch to the widest which on my Juki machine is 7.0.

I used green and orange threads to match the fabric colours and stitched over and over but allowed the fabric to remain visible through the stitch. I like this sample.

This image will be on page 21 of my notebook

Changing stitch length.

I used a piece of black felt, backed with another. I used vibrants colours Bright pink lilac and blue and altered the stitch length from almost satin stitch to long stretched out zigzags. On a couple of rows I also changed the width but only a few as I realised that this was not part of the exercise. The black is a good foil for the vibrant colours.

This image will be on Page 22 of my notebook

Experimental piece

The sample that I used is calico on felt. It was a piece of fabric that I had dyed previously with Procion dyes and I enjoyed the result of that dyeing and thought it would provide a good background for the exercise. I have used the same fabric for the next three pieces. I used variegated threads with good colour mixes to stitch this piece and used a range of widths and lengths intermixed. I particularly like the effect if the 'satin stitch' with the variegation and the expanding and decreasing shapes to their left.

This piece with be on page 22 of my book. 

Automatic patterns

This was a good exercise to make me explore the many possible patterns and stitches that I can stitch. It also allowed me to know which would and would not let me expand and decrease them and how they looked. 

I used the same fabric as the last piece for the next two. With this first piece, I used a purple thread and used a star pattern in lines across the width of the fabric, then using lilac, orange, blue and pink threads that reflect the fabric, I stitched between the lines of stars, changing patterns as I went. Some could not be altered, but as can be seen in one of the lilac and two of the orange patterns, I was able alter the set pattern.

The following two pieces will be on page 22 of my book.

I like the result with this piece but was astonished at how much thread some stitches used. I have thankfully been using a white bobbin thread. 

This is the second piece using machine patterns and trying to modify the stitch length and width. I used purple, lilac and pink again as they work with the fabric. The patterns I used on this piece seemed to be more amenable to being changed. I think that this piece works well although quite like some of the original patterns without them being altered. Some great patterns for future use. 

I then changed fabric for my final two pieces again using machine stitches and altering their length and width. I used two layers of white felt for each piece. In both, I wanted the stitch to make the statement and not the fabric, just to see what they looked like. So, the first piece was stitched with variegated soft colours with a range of stitch patterns, some could be altered some not but the result is quite delicate and pretty. The colours and stitches explored could be used for a baby item. I used my letter stitches, L mixed with a flower pattern just next to a row of the @ symbol. which could not be altered but looks good as a pattern. 

This and the piece below will also be on page 22 of my book.

My final piece for this chapter was also worked on double white felt but this time I changed to bright variegated threads trying out some different patterns and seeing if I could alter them. I like the unchanged pattern second form right with the variegation then the patterns to the left of these, I will use again. The colours and designs reminded my of Native American Peoples' designs and colours. 

I look forward to creating a stitched colour wheel in the next chapter!!

Chapter 3, Module 1, C&G level 1

Chapter 3

Straight stitching. This was my first sample, using the purple 'leopard skin" with my second attempt of paint transfer using a dry iron at a much hotter temperature than I could achieve with my travel steam iron. I used a 100 needle on the polyester satin based, stabilised with Stitch and Tear.  Quite fun, it looked like a modern tartan - with a Scots background, this may be sacrilege. I used a purple yarn, the complimentary yellow and then a pink as a near complimentary to the yellow. I really like the result.

Stitching a diagonal grid. This is my second sample. I used two layers of black felt, 100 needle and three yarns; blue, pink and green. I had no puckering and am pleased with the result although my line are not very straight!

Stitching lines all over. I found it very difficult to do straight lines when I wanted to stitch a picture. I used sunset over green fields with a tree as my inspiration on calico backed with Stitch and Tear. I use all the colours used in my two previous samples.

I enjoyed this exercise and look forward to zig-zagging in the next chapter

City and Guilds level 2, Module 1, chapter 2

This chapter was to collect a group of differing fabrics, from sheers to thicker and to use a variety of  threads, then determine which needed stabilising.

I have a large fabric stash so selected 10 as suggested. For each I either used a matching or contrasting thread. For the sheers I used a stabiliser, either nappy liner or water soluble support (aquafilm). For the heavier weights I didn't use stabiliser, but should have done on reflection. None of the samples were pressed after stitching. These samples will all be added to my notebook at pages 16 and 17.

This is my range of needles from which I chose what I thought would be the correct needle for both the fabric and the yarn. I used Madeira yarns throughout.

1. This is a piece of orangey-red organza. I stabilised it with Aquafilm and chose a blue tip (75) fine fabric needle and stitched simply in straight stitch. The sample stitched well and was well supported.

2. The fabric used is a lightweight Habotai silk stitched on Aquafilm with the same size needle and same yarn as sample 1.

3. This is a piece of lightweight polyester crepe backed with nappy liner and straight stitched with a yellow contrasting Madeira yarn. I noted some slight puckering and wondered whether I should have used a stronger backing to prevent the puckering.

4. I used a piece of wool mohair for this piece, unsupported at is close woven and fairly heavy. I decided to use a triple needle and threaded three lilac/purple yarns, one on my top thread and two in small bowls behind my machine. I have never used this needle combination before and was really pleased with the effect - interesting and I'm sure I will use it again.

5. I kept the triple needle in the machine and changed the threads to match the fabric. As the velvet is lightweight, I backed it with nappy liner and it stitched really nicely. I like this piece very much.

6. I kept the same three colours in the triple needle and used black unsupported felt. I decided to be a bit more adventurous with design even though using straight stitch. The contrasts are lovely and would look good on a larger piece.

7. I changed to a double eye needle for this piece of polyester satin and green thread. I had a poor result with bird-nesting of my thread so changed to backing the fabric with nappy liner and reverting to a blue tip fine fabric 75 needle. This worked reasonable well with a degree of puckering.

8.  I used an unsupported piece of a suede-like fabric and changed to a 100 needle to penetrate the material. I used three threads, a metallic gold, a variegated black/gold metallic and a yellow variegated. I wanted to make something more interesting whilst continuing to use straight stitching. I think that the result is pleasing.

9. This is a piece of slub silk. I tried to sew with the 100 needle unsupported and got a lot of puckering which I undid. I then used nappy liner (NL on photo) on a part of the fabric and still had puckering, so again behind a small piece of the fabric I used water soluble (WS) Aquafilm and was able to create a more regular result. Not very pleased with this one.

10. I used a piece of light weight poly cotton initially with no support (NS on photo). The fabric puckered so I slipped a small piece of nappy liner (NL) behind and still had puckering. After adding Aquafilm (WS) the result was better but on consideration this piece of fabric would have been much easier to stitch if it had been mounted in an embroidery hoop. I have had very good results with mid weight silk unsupported by stabiliser but mounted in a hoop, so should probably have treated this fabric similarly.

I have enjoyed trying different needles, threads and fabric weights and recording my results. It was a good discipline.

So on to Chapter 3!