Clara - So Close!

This is how far I've come on Clara:

But I only have one length of the tan thread left!  I need two or three to finish the design.  Doesn't that just stink?!

The really annoying thing is that I made the same mistake twice on the left ear, which wasted exactly the two lengths of thread that I could have used to finish it!

The tan thread is a substitution from the original design, and I also foolishly did not write down the DMC number.  So I will be taking my last threads either down to my stash (fingers crossed) or out to the store to match them.  Wish me luck!

Juin - Almost Finished!

It is hard to believe that my last post on this project was in February, but I finally have just a few more odds and ends to finish up on my "Juin" (June) sampler from Bonheur des Dames. It has been a long time coming, given that I started it in 2004! It was packed away for many years, but I took it out again in early 2011 as part of a big push to clear up some UFOs. So it has still been over a year of on-and-off work.

Yesterday I finished up the leaves and stems on the middle cherry motif:

They still need a bit of backstitching around the cherries. And today I did the "Juin" lettering in petit point:

The close up photo is a little misleading - this is 32-count linen.  It was fun though!  No colour changes, it used one strand each of medium and dark green blended in the needle.

So, I have one and a half cherry motifs to go, and a fair bit still of backstitching over one around the figures in the middle row (which is a little tricky), and that'll be it!  Now that I've written this post, I really will have to finish it soon.  ;)

Backwards and Forwards on Celtic Spring

There has been a fair bit of work done on Celtic Spring since the last time I showed it, but it has not all been forward progress!  Once I decided to stitch all the gold braid double, I also decided to remove most of the previous gold stitching that had been done single.  This necessitated taking out some of the other stitching around those areas as well.  The main areas that were affected were the left side border, and the front of the underskirt.

The gold sure looks nice, though:

I also decided to keep all the backstitching to just a single strand.  When I squinted at the small blurry picture that comes with the chart, it seemed to me that the backstitching had been done double. But, when I tried it both ways, I preferred the more delicate effect that a single strand achieves:

The chart also calls for a dark quarter stitch to fill in the eye, but I left it unstitched to give the effect of a highlight.

I am very keen to start putting in some of the beads.  There are lots!  But I don't want the stitching to become awkward to hold, so I think I need to give that some more thought.  I know from experience that doing all the beads at once can be tiresome too, so balance is key!

I'd rather hoped to be further along on this by now, but, you know, life gets in the way sometimes!

Flood Finds

Here's a couple of old, old UFOs that were unearthed by the flood in the basement. I think I bought them in the winter of 2002/03 when I was visiting Toronto, before I moved back here.  They are limited edition cross stitch designs from Lizzie Kate, Clara and Henry O'Hare:

They probably have not seen the light of day for 8 years until now!  I knew they were there but I've not been keen to finish them.  Henry was already done:

You may have noticed that I changed the colour of his fur.  The pattern calls for quite a dark, steel grey which I thought was just too cold.  Except for the fur and the backstitching, which are done with solid coloured DMC threads, all the rest of the stitching uses The Gentle Art's Sampler Threads.  I remember that I was pretty annoyed when I bought the kits, only to get them home and find the threads weren't included!  I'm sure that is part of the reason they have been buried in a hole in the wall for eight years.  I think I was holding a grudge!

But there is no reason not to finish them now, so I've made a start on Clara over the past two days:

It does not get any easier than this!  But I can use something completely stress-free these days, so they're a good pattern for now.  And you can see the hand-dyed threads are nice.

Pink and blue are not my favourite colours, so I think I may make these into pillow covers and sell them through my quilt guild at some future event.  They were meant to be stand-up ornaments, but all the charms and other doo-dads that came in the kit have not done well over time.  I don't know what possessed me to buy them in the first place, but I guess I was probably desperate for a project during my vacation!

Other UFOs have come to light as well, but I'm not sure if I'll be taking them on too right now.  Soon it'll be cool enough to start quilting again, and I am SO keen to get back to that!

Thanks to everyone who asked about my Dad.  He is being monitored right now, and they may adjust his pacemaker if necessary.  Hopefully he will take it easier from now on!

Banner Corners and Borders

As I mentioned yesterday, I finally realized in April that I had to simplify the design for my banner, because I still wanted the stitcheries themselves to be the focal point.  These little 2" finished square-in-a-square blocks were an idea that I had rejected early on.  But when I looked at the stitcheries I realized that the designer Jim Shore had put different blocks in each corner of his borders, so I could make my blocks more interesting by varying the colours!  I went to my stash and pulled the fabrics to match the stitching.

I mentioned a few days ago that I planned right from the beginning to use Flying Geese around the sides of the stitcheries.  I also planned all along to do them in green and yellow, echoing the colours of the top border which are consistent on all three pieces:

But during my final design phase in April I worried that green and yellow would be too high contrast, too busy, and therefore distract from the stitcheries.  I went to my stash looking for two shades of green instead, and found these:

I really, really love this fabric combination!  The small print against the big one, the slightly warmer geese versus the cooler background, the geese are defined without being "in your face."  These sections will finish at 2" x 6" each. I am foundation paper piecing them, which I did for the corners as well, using my own home made foundations copied onto vellum.  They are quite slow to sew, but at least the points are perfect!  There will be 10 in all.  Here's a preview of how it will all look together:

Imagine if I had gone ahead with those stumpwork daisies!  This is so much better.

I took advantage of a break in the humidity last week to piece these side sections, but I still have six left, so I think it will still be a while before this is finished.  I have found, though, that I stay cooler working on something small like this, rather than trying to manage large pieces of fabric and long seams.

There will also be a little bit of needleturn applique in the triangle at the bottom.  Hopefully I'll be able to show you that soon!


Previous Posts:

Percy Pig

Sophie Sheep

Clarissa Cow

Clarissa Cow

You saw yesterday that Sophie had a nice quilt on her back.  Clarissa's blanket also features a great quilt block:

I think the colours stand out beautifully against her black and white cowhide!

Quilt blocks are featured throughout these designs, in the blankets and also in the upper corners, so sewing them into a quilted banner seems like a natural evolution.  My first plan was to put a solid fabric border around them, with just enough quilting to hold it all together.  Then last summer both my quilt guilds were sending out reminders for us to submit our quilts for their shows in the fall.  Wouldn't it be nice, I thought, to put some fancy pieced borders on these cross stitches (the last one, Clarissa here, was almost done), and enter them into the show(s)?  Well, I missed the entry deadline, and it is probably just as well, because the shows are long over and I am still not done!

That "fancy pieced border" turned out to be quite a sticking point.  Once I had the idea I couldn't give it up and go back to the original simple plan.  I came up with the idea to put 1" x 2" Flying Geese around the sides almost right away, and that part has stuck.  But the big question has been what to do in the corners.  The plan got more and more elaborate!  First I thought about tiny pinwheels.  Then I was obsessed with daisies.  Maybe I could design a little cross stitch daisy for the point at the end?  What about thread painting it?  Maybe I could fussy cut some daisy fabric?  At one point I thought I would do stumpwork daisies in the corners.  Thank goodness I backed away from that!

Finally in April I went back and pulled out the actual stitcheries again for inspiration.  This seems more reasonable:

Stay tuned!

Previous Posts:

Percy Pig

Sophie Sheep

Sophie Sheep

There were a heck of a lot of beads on Sophie!  I was surprised by how long they took.  But they give her a nice curly-looking coat.  The beads look great in the flowers and vines in the borders, too:

Once I had decided that I wanted to use fabric instead of the perforated paper that comes with the kits, I knew that I would still prefer aida over an evenweave for these projects.  The beads are heavy, so I wanted a fabric that could hold them.  The cross stitches are also done with three strands, which gives them a nice full look on the 14 count fabric.  At first I looked for a fabric that would match the colours of the perforated papers, which were in pastels.  But when I saw this natural linen aida at Nordic Needle, I was sold!  I love the traditional look of natural linen, and I think it complements the folksy designs, while the darker colour provides good contrast to the bright threads and beads.  Nordic Needle still sells it.

You can see that Sophie stands out quite nicely from the darker neutral of the background:

And I love the little basket block on the quilt on her back.  Stay tuned, the tale continues tomorrow!

Previous post:

Percy Pig

Percy Pig

That's a pretty gorgeous little blanket for a pig, right?  It belongs to this guy:

This is one of three farm animal designs in cross stitch and beading that Jim Shore did for Mill Hill a while ago.  You may still be able to find them.  Jim Shore did a whole bunch of fun designs for Mill Hill, which I immediately loved, but waffled about for quite a while.

Like most Mill Hill kits, these came with 14 count perforated paper, and are designed to fit into a 6" square frame (which is also available).  They are fun and easy projects, but the question soon becomes what to do with them all?  I think that in general, this is a big issue for stitchers.  No matter how elegant the designs may be, once you start littering your walls with a bunch of tiny pictures you have lost any claim to good interior design.  I usually handle this by grouping together smaller pictures into sets - those Lanarte butterflies, for example, are hung stacked vertically over a bedside table.

These designs, though, I felt were more seasonal, and just in a grey area near too whimsical, so not something I wanted to hang permanently.  So I didn't buy them.  Then one day it occured to me that I could stitch them on fabric instead, and sew them together into a quilted banner.  For me it was one of those Eureka moments!  That was almost two years ago now.  So yes, this is another UFO.

Tune in tomorrow for the continuing saga!

A New Way to Secure Thread Without a Knot

(Update 02/13 - Apparently this is called a loop knot.)

This is a technique that Alex Anderson demonstrated in an early episode of The Quilt Show.  I can never find the exact episode, but if someone knows please put the details in the comments.  Alex used the technique for redwork, but I have found that it adapts very well to cross stitch.

This technique works whenever you are stitching with two strands of floss in the needle.  I am stitching Celtic Spring 2 over 2, so it has been perfect for that.

Start by cutting the thread twice your normal length.  If you usually stitch with an 18" length, cut your floss to 36".  Pull off one strand, fold it in half so it is double, and thread the cut ends through the needle:

I have used a shorter thread for the demo.  Leave the loop at the end of the thread.

Start your first stitch by coming up from the back.  Don't pull the thread all the way through!  Make the first diagonal stitch of the cross and go through to the back without pulling the thread all the way through.  On the back the folded thread will form a loop:

Run the needle through the loop (you are still on the back of the work), and pull tight:

The loop will snug down flat against the working thread, and secure the whole thing with no knots and no loose ends.

Like everything, this method has pros and cons.

Pros

• Reduces the number of loose ends on the back of the work
• Quicker and easier than a waste knot when you are stitching in a new area
• Slippery threads like gold braid won't work loose later

Cons

• Only works for an even number of threads
• Doesn't work when different threads are blended in the needle
• The two lengths in the needle are running in opposite directions.  If your thread has a nap this may reduce the sheen of the finished piece.  It may even increase snarling in dense stitching or fabric.

For Celtic Spring this method has been fantastic.  In the borders especially you are frequently starting  new colours in isolation, and the waste knots are tedious.  Plus I have been finding that the gold braid tends to work itself loose, which is eliminated with this method.

I also like it in places where there are many colours in a small area, because it reduces the bulk on the back. I start with a shorter length when there are fewer stitches to make.

And it's great for redwork too!  Although for redwork you start with the loop on the top of the stitching, and it works better for stem or outline stitch rather than back stitch.  But it makes a very clean back!  I think I owe a post on that some day...

Celtic Spring Instructions

We had our first official heat wave (3 days or more over 32C) this week, so I haven't wanted to turn on the sewing machine and iron.  But it has been a great time to do some cross stitch.  Celtic Spring is progressing well:

There is a striking lack of instructions with the Celtic Spring pattern.  At the top of the key it mentions, in brackets no less, that the piece is stitched 2 over 2.  It's not clear whether the gold braid is also meant to be stitched double.  It's also not clear whether the backstitching is meant to be stitched with two strands.  In my experience, backstitching is almost always stitched with one strand.  But at the very end of the backstitching instructions it mysteriously says, again in brackets, that the gold braid backstitching should be done with one strand.  Does that mean everything else should be done double?

I decided it was open to interpretation.  I tried cross stitching the gold braid with a single strand, and it looked good to me.  I also did the backstitching under the hand and along the outer border with one strand, and that looked good to me too.

Recently, though, I have been using a new way of securing a new thread, which requires a double thickness. I'll show you that tomorrow.  I like it so much that I tried stitching the gold braid with a double strand too.  Stitching it double has pros and cons, but overall, I like it better.

When the gold braid is stitched with a single strand, it lies flush with the other stitching.  When it is stitched double it has a raised effect, which actually is pretty nice.  The amount of sparkle seems to be the same.

Changing my mind halfway through the piece is challenging, but I don't think it will be insurmountable.  The only place where the difference may show is in the side borders.  The right side border is too far gone to completely replace, but I may redo the left border.  The gold in the bodice can stay the way it is, and fortunately I hadn't done much gold in the skirt, so I have already changed that out.

I am also wondering if the backstitching around the face is meant to be stitched double.  I may try it both ways to see what looks best.

I am glad to have this decided now because it has been worrying me.  It will be easy going from here!

Celtic Spring Progress

Yesterday I showed you where Celtic Spring stood a week ago before I took it out of the frame.  This is what I've managed to achieve with four or five days of steady stitching:

Taking it out of the frame has turned out to be very motivating!  It is SO much easier and more comfortable.  I am fairly strong despite my dodgy back, so I was able to hold the Q Snap frame for about three hours before my left wrist became tired.  Out of the frame I was able to sew for much longer.

It is also much easier to stitch accurately.  With the work in hand, it is easy to come up through the fabric in the right place because your left hand can help guide the needle. As I mentioned yesterday, I am still stab stitching the cross stitches, because my stitches just aren't as neat when I stitch entirely from the front of the work.

When I stitched the aida there was no difference between the stitches worked in hand or on the frame, but on the lightweight linen evenweave there IS a slight difference.  It is harder to get the two strands of floss to lie beside each other rather than overlapping.  If you look closely on the photo you can see the stitches on the skirt below the line are not quite as smooth.

But that is a price I am willing to pay, because everything else about it is better.  It also seems to put less stress on the gold metallic thread, so that actually looks better in the new part of the stitching.

The other challenge with this project is that there are a lot of beads throughout the entire work.  I couldn't imagine how I was going to bead the whole large piece in a frame. Now I don't have to worry about saving the beads to the end, I can alternate between beading and cross stitches to keep everything fresh.

Sometimes you will see someone's cross stitch that has been puckered or distorted because they worked it in hand.  I haven't noticed any problem with that.  The wrinkles in the photo are just from handling the linen.  It may be that because I am stab stitching rather than stitching entirely from the top it is easier to maintain the correct tension.  I am sure there are practiced stitchers who get beautiful results that way, but I am not there yet!  But I can say that I am retiring all my frames for the foreseeable future!

Cross Stitch Without a Frame

I am so, so far behind with my blog posts!  I have been busy but disorganized.  Now, though, I am going to start catching up!

I have been going through a cross stitch phase again recently.  Celtic Spring kind of ground to a halt around late February when I filled up my 11" x 17" Q Snap frame and debated the best way to proceed from there.  Up until a week ago it looked like this:

In the past I would have done a large project like this on a scroll frame.  However, when I discovered Q Snap frames I swore I would never go back to scroll frames.  Scroll frames are so heavy, and I am constantly either banging my arm or catching the thread on the knobs.  With my dodgy back I have to lean back in my chair, so I can't use a seat or floor frame comfortably.  This project does fit into a 17" x 20" Q Snap frame, but the frame was so big I couldn't fit my arm around it!  So as an interim measure I put it into this 11" x 17" frame which was easier to manage.

Once I started using the metallic gold thread and I realized how important it was to maintain the crinkles in the thread, I started to worry about what would happen to the gold thread when I had to move the frame over the already stitched areas of the work.  I thought about doing a test patch, but I never got around to it.  While I was dithering about that I decided to work on something easier:

This may well be the first cross stitch pattern I ever bought.  I bought it back in the mid 1990s from June Grigg herself.  She and her husband had come all the way up from Atlanta to Toronto to have a booth at the Creative Sewing & Needlework Festival, which is now called the Creativ Festival.  I remember because they were both very nice.  It seems to me that the festival used to be more fun back then, with a wider range of vendors.  It was before Christmas, and I think it was held in the old Automotive Building at the Ex.  The whole place was strung with white fairy lights above the vendor stalls.  My friend and I went up to the mezzanine where you could look out over the lights and the entire festival - it was quite a sight!

These patterns have always been reasonably high on my cross stitch bucket list, but when I had another look at the leaflet last fall I worried that the large flat areas of colour might be too boring.  Then I realized that sometimes easy is a good thing, so I went ahead and bought the materials.  Another tv project!  I put it into a small Q Snap frame.

What I discovered, though, was that stitching the 18 count aida actually took more concentration than I wanted to give it.  For some reason, when I did my Kittens project on 18 count last fall I didn't notice the concentration needed to make the stitches, probably because I was already concentrating a lot on the counting.  The whole thing was feeling awkward, and I was remembering how much easier my redwork became when I took it out of the hoop, so I took the plunge.

The very dark brown and the green parts here are cross stitches, and the mahogany on the left and pale yellow and green on the right are half cross stitches.  I did the half crosses entirely from the top of the fabric, going down and up in one motion.  With the cross stitches I found it was better to still do stab stitches even with the fabric in hand.  When you look at the mahogany part especially you can see that the stitches are not too even.  However, it is so much faster that I will probably continue that way!  With the cross stitches you cannot see the difference at all between the stitches worked on the frame and the stitches worked in hand.

I have gone on for long enough now, so I'll show you how this worked on the linen evenweave of Celtic Spring tomorrow!

Related Posts:

Tips for stitching with metallic thread

 Redwork out of the hoop

Juin Sampler - February progress

As you can see, I am really starting to gain some traction with this Juin sampler from Bonheur des Dames.  Last month I was just starting the petit point band with the young people and the cherry trees.  Now they are close to finished.  There is still a lot of picky stuff to do, including the micro backstitching which is done over one thread on the petit point sections.  The next section will be cross stitches again.  The row of poppies is also cross stitch, and I had them done in three or four days, so who knows?  I may be finished soon.

It will be great to finish it, because this UFO is about eight years old.  But now that I've figured out how to handle all the ends on the back of the petit point, it has been a lot of fun.  I'm looking forward to the next one!

Stitching with Metallic Threads

The Lavender & Lace Celtic Spring design that I am currently stitching is positively encrusted with gold metallic thread.  The pattern calls for 4 cards of Rainbow Gallery's Petite Treasure Braid:

I have heard many complaints about how difficult it is to stitch with metallic threads, and I thought I would report on what is working best for me.

The main principle is to reduce the drag on the thread as much as possible.  I'll give you the summary first, and then the details:

1. Stitch the metallics first.
2. Pull the thread straight up and straight down.
3. Keep the tension a little looser.
4. Slow down.
5. Use short lengths of thread.

1.  Wherever possible, stitch the metallic stitches before you stitch any adjacent stitches.  If you have already stitched the surrounding stitches, the fabric will be much tighter and there is a lot more pressure on the metallic thread.  On Celtic Spring I left all the gold crosses on the dress until the end, and it is chewing up the thread.  I'm not sure that I had any other choice, though, so I am just using very short lengths.  On the hems, though, I am doing all the gold first, and it works much better.

2.  If you pull the thread to the side when you stitch, there is more drag on the thread.  Eventually it will fray, but even before that the thread gets flattened, or "ironed out," very quickly.  The Treasure Braid gets its sparkle because it is crinkled, a lot like old Christmas tree tinsel.  This is not a great photo, but it gives you the idea:

As soon as the thread gets flattened it loses its sparkle.  So with that in mind,

3.  Keep the tension loose.  The braid has a tendency to spring up, but pulling it too tight to counter that is a bad idea.

4.  Slow down.  While the crinkles in the braid make it sparkle, they also tend to catch on the fabric.  Slowing down your movements decreases the chance that a strand will snap as it catches.

5.  The universal advice that you hear is to keep the thread lengths short.  I usually use an 18" length of cotton floss when I am cross stitching.  I started with a 14" length of braid, but it had already frayed when there was still 8" on the needle.  When I am able to stitch the gold with no surrounding stitches, I find an 11" length works well.  I am using an 11" x 17" Q-snap frame, so I just measure against that.  For the crosses in the dress where I have already stitched the other stitches, I am using just enough to stitch one cross at a time, which is a little painstaking, but worth it to keep the bright gold sparkle against the dark purple dress.

Another common piece of advice for stitching with metallics is to use a thread conditioner.  Right now I am not, and I am coping pretty well.  I'm not sure what a conditioner would do to the crinkles, so I am not in a rush to try it.

The gold thread looks much better in real life than in any photos I have seen.  Even though it may seem daunting, it is well worth a little extra effort!  For me the best thing is to do a little at a time - two or three lengths of gold, and then back to the cotton floss for a while.

Basting Grid Lines before Cross Stitching

Are you a perfectionist?  I admit that I am, somewhat.  I hate to redo anything, but I will take the extra effort to do something right the first time.  I know that is what is delaying my start on Sedona Star, but more on that later.

Many stitchers like to baste the grid lines on their cross stitch fabric before they start a project.  Usually the lines are five or ten stitches apart.  This can make counting much easier, and allow you to skip around to different parts.  However, it can be difficult to get the grid lines out after the project is finished.  For me, this is a deal breaker.  I recently saw a photo of someone's quite large cross stitch project, which would have been several months of work.  It was beautiful, except you could still clearly see the red grid lines even after it was framed.  I would be ill, and I know very well that after a few months of agonizing it would end up in the trash.

One alternative would be to take the basted lines out before you stitch the adjacent stitches.  My approach is to start in the middle and gradually radiate out from there.  Sometimes though, you have to take a leap across the fabric.  I know that once I start counting above 10 I will not be accurate, so I will use a temporary gridline just to count out the space correctly.  It looks like this:

Now you see it...

I count out every four threads (two stitches) with a running stitch - four up, four down.  Each up/down pair is then eight threads, or four cross stitches and four squares on the chart.  In this case I needed to jump 16 cross stitches (16 squares on the chart), which was exactly four of my running stitches.  Once I've placed the new stitches correctly, I can take the basting out right away:

...now you don't!

If I only have to use a grid line here and there where I really need it, I save myself all the prep work of basting the lines beforehand.  But the big bonus is that I will save myself the heartache of having visible grid lines when the piece is finished, and still feel confident that everything will match up at the end.

Even Weave vs. Aida

Last week was pretty much a write-off for me.  We had to get the plumber in, and you know how much of a disruption that can be!  I didn't sit down at my sewing machine once.  The only thing I've been working on is this:

Celtic Spring - Two Weeks

You can see I've got a lot done since last time.  It's actually been hard to stop long enough to take a photo, I keep wanting to do a little more.

I am really loving working on this Cashel linen 28 count fabric.  This is the first time I've used it, and I feel like it is about to become my favourite.  My Juin sampler is also linen, 32 count even weave.  The fabric came with the kit by Bonheur des Dames, but I think it is probably the Permin linen.  It has finer threads and larger spaces, and is stiffer.

I've always loved linen in many different contexts - linen clothes, linen drapes and upholstery, linen tablecloths of course, and even linen knits.  This Cashel linen seems to have more of that natural linen feel than other fabrics I've used, and I am constantly admiring it as I stitch!

I am also finding it easier to stitch.  I know there is great debate in the cross stitch world about even weave versus aida fabric.  Aida is supposed to be easier to stitch, but I disagree.  Aida is easier to count, but it is much easier to make neat stitches on even weave.  With aida it is very easy to accidentally split the thread of the fabric, and you never know it until you come back on the next row and realize the stitch is off.  There is no splitting the thread with even weave.  If you do put the needle in the wrong place, you know right away and it is simple to fix.

So I am finding this piece to be very relaxing over all.  There have been some challenges with the pattern and the metallic threads, which I will talk about in the next posts, but no huge problems.

Celtic Spring

Well, I'm feeling much better now!  I started a new project last night, which has proven to be the ideal thing, AND, my fabric finally arrived today!  Tomorrow I will wash it and take photos for you.  In the meantime, this is what I've been doing:

This is the project, Celtic Spring by Lavender & Lace:

And these are all the gorgeous threads:

This project has been just the ticket to get my energy flowing again!  It is a dream to stitch.  The fabric is 28 count Cashel linen in Willow Green stitched 2 over 2, and after the 18 count aida of my kittens and the 32 count linen of my Juin sampler, the stitches seem positively huge!  Both my other counted thread projects became quite heavy to stitch as the threads built up.  This one has hardly any resistance at all as you stitch through the fabric.

This is my first Lavender & Lace project.  I could see right away that it would be nice to stitch, because the colours flow so logically from one to the next.  There is no "confetti" that requires you to scatter the colours all over.  I can often memorize several rows at once, e.g. "four rows of four," or "three rows of five."  With the kittens piece I had to consult the chart with every row.  I have a feeling this new piece is going to go very quickly!  Yes, there will be three more seasons after this one...  You can see them here.

As a rule, purple is not my most favourite colour.  I never go into the fabric store and see a purple fabric that I "have to have."  But I really am loving the beautiful purples in this project.  When you see them in real life they are mouth watering!

Juin Sampler

I very nearly started a new project yesterday!  Wouldn't that be just what I need.  I was still in the hand sewing mood after my unplugged Sunday, but my yoyo project is on hold.  I decided to use a different binding for the yoyo quilt - instead of Kaffe Fassett's red Kirman fabric I will use the orange.  I think it will show up better.  I want to make a few yoyos from it as well, so now I am waiting for fabric. 

That is how UFOs happen, isn't it?  You change gears and pick up something else, and lo!  A new UFO.  But, rather than the new English paper piecing project that I am really dying to start, I convinced myself to work on this instead:

Juin Sampler

This cross stitch and petit point kit is from Le Bonheur des Dames in France.  If you look you will see they have a ton of tempting projects!  This one is from a series of twelve monthly samplers.  Although this is the first one I have started, the other eleven are in my stash!

This is a UFO that I began some time around 2003-4, but the fine stitching was just beyond me at that point.  It is 32 count even weave.  The cross stitch is over two threads, and the petit point over one.  I picked it up again last year, during my Year of the UFO, and it was much easier.  I've been working it on and off ever since.  Now that it is my only counted thread project, I have a feeling it will go faster!

At least until my fabrics arrive...

Kitten Reflections

I am love, love, loving my new "day of rest" each weekend!  My plan is to turn off everything from 6 pm Saturday to 6 pm Sunday and just do quiet activities like hand work along with some meditation.  By Friday last week I was already looking forward to it!  I am now wondering about adding a half day on Wednesday - I will think about that!

With this weekend's hand sewing I was finally able to finish this cross stitch kit from Dimensions Gold Petites, Kitten Reflections:

Kitten Reflections

This was intended to be a quick, two month project, but instead it took me five full months.  Although it is only 5" x 7", it is 18 count aida and there is a lot of stitching.  It's true that I was distracted by the yoyos, but also, I think I have had my fill of cross stitch for a while.  For the past year and a half I have been cross stitching almost continuously, but now I really want to be quilting.

I promised myself that I would take a break from cross stitch for a while after I finished the kittens. Just this week, though, I decided to take down some old bookshelves, and it occured to me that my lighthouse cross stitches would look great on that wall.  The catch is that only one is done:

Cliffside Beacon

The lighthouses are also Dimensions Gold Petites, and this one did go faster than the kittens, but I am still not sure if I want to commit to them now.  There would be two more.  It used to be that when I finished a cross stitch project I would have the next one on the frame within an hour, but for now I am going to take a breather.  It may be a while before I get rid of those shelves any way!