evestarr1′s collections on Flickr

CLICK ON AN IMAGE TO SEE IT ON FLICKR.  ALL MOSAICS SHOWN HERE ARE AVAILABLE AT THE SAME PAGE WITH ONE CLICK HERE.

evestarr1′s collections on Flickr.

Just a SNEAK PREVIEW of upcoming projects, posts, and patterns!

The top group is recent crewel, cross-stitch, and beaded embroidery that I’ve worked on as STEALTH PROJECTS while I was designing and test-knitting my Sherlock collection of knitting patterns. The little fairy you see is an exception; it’s Tiger Lily from Nora Corbett’s Pixie Couture Series, stitched and gifted by the amazing proprietor of Hidden Treasures Alpacas, “ladyofstitches” on eBay, Debbie. It was a generous and beautiful gift from a fellow enthusiast who knew how much I wanted to make this one.  I’m having fun doing a little extra backstitching, including giving the little pixie a bit of a bustline!  Check out her shop for the rest of Nora’s collection, and everything else you need for top-

quality artisan-level cross stitch.

 

Here are a few of my favorite things! Customized tote bags, luggage, and purses!

These are items that I will take as a custom commission; I love designing specific pockets and other features to make just the right tote, craft organizer, or just plain fun, dramatic bag!

The third mosaic features my shawlettes, some of which are in the process of publication, including (top row, 3rd pic from left) “Reichenbach Texas Shawlette” in red.  It sports a silver-lined beaded waterfall down the center back spine! Part of the Sherlock collection.  Bottom row, 3rd from left: “Spiced Grapefruit Shawlette”, a top-down shawlette with color changes, lace inserts, ruching, and other textured stitches is also due for release soon.  Top row, far left corner: “Moor in Bloom Shawl”, another original slated for late summer.  It also uses texture to break up the slow-repeat painted yarn (Noro’s Cashmere Island, a dk weight single).



 

 

 

Feel free to view my public collections at Flickr.com   I’m evestarr1 there, and it’s easy to navigate most of my photosets. 

I hope you’re enjoying “Vanishing Act Skinny Scarf”! The deluxe version is almost ready.  I’m not charging for the “sneak preview” version, so scroll back a post or two and you’ll find it..  You can also download it through Ravelry.com  You’ll find me as Eve Starr Fiber Arts Design (my shop) and my user name is evestarr. Remember I will be selling the PDF download at my Etsy shop, and hopefully from this website as well.  But until the first week in March, enjoy the pattern at no cost! It’s the plain-Jane version, but it has what you need.  Pics and tutorials are always available here for free.

 

EVE STARR FIBER ARTS STUDIO


Jacobean Crewel: A Quick Little Jaunt to the Bedde, Bath & Beyonde of the Renaissance

Jacobean Crewel: Painting with Wool

“You can get by on charm for about 15 minutes. After that, you better know something!”  I’ve done a lot of research for this topic, just to make sure I wasn’t adding to the pile of misinformation on the internet!

Why “Jacobean”?

There was not a King Jacob; the Latin form of the era of James is Jacobean.  It also denotes a style of architecture, visual arts, decorative arts, and literature. This is when James VI of Scotland (later James I of England) was on the throne, and new influences combined with old themes. Foreign artists and styles began to be more popular than the traditional, local themes.   The East IndiaCompany was bullying its way across the spice routes, bringing back with it exciting warm-weather flora and fruits, as well as artistic themes from the Moors, India, and even China.

Did you know that the potato flower was once a hot decorating trend? Yep,  potatoes were a novelty from the New World, thus it was very chic to sport them on your bed hangings and cushions!  Bed curtains were often a heavy-duty twill made of a linen warp with a cotton weft.  Crewel wool embroidery made them even sturdier and warmer, and gave insomniacs something to count besides sheep! Imagine sleeping in one of those drafty stone houses! Your bed needed to be like a little tent, keeping your body heat contained in a cocoon of tapestries, smelly furs, and maybe even a couple of dogs! (Some houses had sleeping cabinets built into the wall! Some cool woodworking going on there, but not for the claustrophobe!)

Unlike canvas work, the goal of crewel is not to cover the fabric. It’s “free embroidery” in that you’re not using the threads of the fabric as your guide.  The base fabric itself was usually part of the design, factored in from the planning stage.  Linen twill is traditional, and of course that requires a sharp needle, as you’re piercing the fabric, not the spaces between the threads (that would be “counted-thread work”). The shaft of the needle needs to be big enough to make a hole in the fabric that won’t shred your wool, and the eye should be a longer slit than normal to accommodate multiple strands.   Crewel can be as simple as one motif, usually involving a sprig of greenery, like this example:

FROM THE 1600's, A TYPICAL SWIRLED LEAF MOTIF

 

 

 

 

 

 

 

 

 

 

 

 

 

The next example is a classic design from the same era:

PAISLEY FLOWERS, SEED STITCH, NETTING

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The original themes native to English surface design usually revolved around Life’s Great Mysteries, as well as legend and lore. The “Tree of Life” motif is common in Elizabeth’s time; James’ era added pomegranates, arabesques, and paisley-like stylized flowers to the mix, as well as irises, peonies and roses.   You’ll notice lots of curves, swirls, and other sweeping designs in vines, branches, and leaves.  This keeps the eye moving, and gives one lots of poetic license when interpreting flora and fauna. You’ll see animals that are relics from the “Bestiarta”, which was a book explaining the symbolism of different beasts. The hart, or stag, being chased by the evil huntsman represents the struggle of life and death. Also common:  lions and leopards, rabbits, snails (very popular, probably the “cute factor”), and even grubs!  Some scholars think that the riotous colors in the flowers and animals represent a reaction to Puritanism, kind of like the amazing, saturated colors of Amish quilts.

The word “crewel” probably refers to an ancient word describing the curl in the staple (a single hair of the wool itself).  You’ll find it’s usually two-ply, sold in skeins with one to three strands twisted lightly together. Untwist them and recombine the number you plan to use. Paternayan and Appleton are two high-quality brands. Zillions of colors!

NEW TO CREWEL?   I recommend a good-quality kit.  It will usually be a lot cheaper than buying full skeins of the many colors you’ll want to use, and you’ll learn as you go.  I’m just finishing the Bluebird of Happiness crewel kit, and it’s a perfect example of Jacobean crewel. Here you see (in progress) a stylized iris (you can easily see the paisley influence from India), a curled leaf with satin stitch and elongated French knots at the edge, and concentric circles made of simple buttonhole stitch.  This same motif has been observed on bed hangings from the 1600′s!  In the larger view you’ll see pomegranates, stylized almost beyond recognition.

DETAIL OF BUTTONHOLE FLOWERS AND IRIS, LEAF

 

NOTE THE TREE OF LIFE, POMEGRANATES, CURLED LEAVES

Clustered French knots are a great way to add texture, and simple lazy daisy stitch works well for small leaves and flower petals. The fabric has the basic design printed, leaving you free to customize; add beads and metallic thread, or keep it super-simple with lots of satin stitch.  The blending you see on the leaves and the feathers is called long-and-short stitch.  You make jagged satin stitches and then fill in those areas with the next color.

Try a small project first, like embellishing a velvet evening purse.  In general, I find crewel to be a quicker project than needlepoint or cross-stitch.  The open areas can be very large, allowing your fabric to be part of the design.

Like blackwork, Jacobean crewel is a way to connect with the past; great design never goes out of style. Designing knitting patterns is my main focus, but I find that the influences of other fiber arts bring lots of ideas together in a new way.  Below, you’ll see how crewel can be an allover surface design resulting in a stunning art-to-wear piece.  Imagine this on velvet or raw silk.  Wow!!

CREWEL JACKET EARLY 1600's

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In a future post, I’ll share my bluebird picture, completed and framed.  I’ll have a few tips for framing your own needlework and some embellishment ideas with metallic thread, seed beads, and tiny charms.

Hope you enjoyed your little trip into the Bed, Bath and Beyond of the past! Good design never goes out of style!

For more on crewel, see www.gutenberg.org for a terrific book, “Jacobean Embroidery, Its Forms and Fillings, Including the Late Tudor” by Ada Wentworth Fitzwilliam; its a hundred years old but just fantastic.  Make sure you see the version with the illustrations.

For more on the Jacobean era, specifically the 1745 Jacobite uprising, the semi-fictional version by Sir Walter Scott is entitled “Waverley”.

 

 

 

 

EVE STARR FIBER ARTS STUDIO

 

BLACKWORK: from Elizabethan England to 21st Century Cyberspace (a brief digression….)

monograms in combined embroidery techniques

classic monogram with hearts and flowers

 

You don’t have to be a Renaissance Faire kinda gal to be inspired by the Elizabethan era.  If you were royal (or had a royal income) you could decorate yourself into a monument of embellishment! Let your handmaiden do all the drudgery first (hand-sewing miles of seams), and you are  free to put your feet up (on an embellished cushion) and put your gorgeous silks to work.

Blackwork is simple embroidered stitches originally used to decorate sleeves, necklines, bodices, etc.  It utilizes the cross-weave of the fabric itself, the threads being counted to keep the placement of the stitches even.  Anything you can design on a grid can work for blackwork.       Unlike the familiar counted cross stitch, the goal is not to create solid areas of pictures composed of pixels (one cross).  Instead, you use openwork patterns to decorate areas of your motif, or as an all-over meshy look.  For clothing, blackwork  makes sense, since the stitching is not so dense as to cause stiffness or excess weight.

 

Why BLACKwork? At first, it seems this method did employ a single color, usually black. I found this surprising, since black is a difficult dye to keep stable.  Red was notoriously difficult to keep from looking faded as well, but soon, deep red was a popular choice. These days the “rules” have relaxed completely, with more than one color being popular.  I love the look of variegated threads in blackwork too.  There are new patterns that use color very strategically, enhancing the effect as a whole, especially in geometric designs.  Since you’re working with a grid, there is huge potential for geometry, as well as angular designs in black, like wrought iron or Celtic motifs.

Six-strand embroidery floss works well; use the same number of strands that approximates the thickness of one thread of your fabric.   You can use Aida cloth, evenweave embroidery fabric (Wilchelt Jobelan, for example), or linen.  If you’re a beginner, stitck with 14 count Aida; you can identify and count your holes much more easily.  (When counting evenweave, count the threads, not the holes.)

]stylized artichoke for Blackwork

Another thing that sets blackwork apart is the subject matter.  It’s similar to the motifs you find in Jacobean crewelwork: pomegranates, artichokes, paisley-like flowers, thistles, hearts, and Celtic-style knots and weaving.  Many of these had significance beyond their aesthetic beauty, as did herbs and flowers.  Pineapples were so rare and expensive that they symbolized hospitality; if you would offer your guests something so precious and share it with them, you were awesome hosts! They also appear at doorways, and as finials where they could be seen immediately.  (I digress.  The nerdy part of  the brain is taking over. Hold on… okay.  I’m back)

 

 

This example is a border.  The artichoke is upside-down in every other repeat, so that there is no “wrong” way up.  This type of pattern was commonly used on table runners, bed linens, and bed hangings.  The details of the motifs were often worked with metallic gold or silver thread, if you had the money.  Today, it is still common to use “blending filaments” with all colors of metallic fibers along with the main thread to jazz up the details.

 

pea pod blackwork border                                                                                plaited wheat-like border

So, what do you need to get started?  Fabric, at least two to four  inches larger in height and width than the design you choose; smaller projects would require a smaller margin.  (Designs are often measured by the number of stitches the design has at the widest and tallest parts.  This makes sense, since the gauge of the fabric you choose will determine the size of your finished  design.  If in doubt, always have more fabric than you think you’ll need.  You can use the scraps for bookmarks, etc.)

You can use the ubiquitous DMC embroidery floss, or the heavier, rope-like perle cotton (you don’t separate this one into strands; use it whole), linen thread (wait until you’re experienced with linen and metallics.  They can shred if not handled correctly.)  The size and shape of your needle is actually very important.  You need a blunt tapestry needle, because with evenweave and Aida, you’re sliding the needle between the threads of the fabric, NOT piercing them.  The size of the shaft of the needle should be just big enough to slide through the fabric.  Don’t use one so big that it forces the threads to bend out of the way.  This will distort your fabric.  Conversely, a too-small needle will make a space in the fabric that isn’t quite large enough for the floss to slide through without abrasion.  If you’ve ever had your floss shredding and breaking after only a few stitches, that was probably the reason.

Lastly, there’s the question of whether you need to use an embroidery hoop or not.  For the two designs you see here, the pea pods and the airy braid, you may not need one.  Why is that?  Well, if you analyze them you’ll see that they’re open and airy compared to an all-over design of small stitches.  There is much less chance of the fabric being distorted, since there will be less stitching in the final product.  For denser designs on loosely-woven fabric, go with a hoop.  I recommend only one brand: Hardwicke Manor.  They’re a German company, and the hoops are not cheap. (cheap “wooden” hoops are rough on hands and fabric, and run about $3-$10.)  The Hardwicke Manor brands are hardwood, sanded smooth, and available in various depths, up to 1″ wide.  But they are heirloom-quality and wonderful to work with.  Smooth maple, with heavy-duty brass hardware (a real screw you can tighten with a screwdriver!).  I wrapped the inside hoops with bias tape to protect the fabric. They run between $7 and $20.  (For another blog! Lots more on hoops…)

Here’s a cool fact about blackwork!…. It’s usually reversible!! A fantastic advantage on things like scarves, curtains, napkins. The nature of the stitches used (Holbein/double-running stitch, backstitch) makes them the same on both sides!

Most of my books on this art are not exactly new, but there are a few designers stretching the boundaries these days.  The charts I’ve shared here are by Elizabeth Almond, who generously posted them online free of charge.  Her more detailed designs are incredible.  Some are very M.C. Escher, complete with perspective and three-dimensional effects.  I have also seen stars and flowers that are filled with various stitches.

 

In closing, I encourage you to try this type of embroidery if you’re a history buff (look up the ladies of Elizabeth R’s court; their dresses are covered with embroidery), or if you’re rather impatient.  Cross-stitch on 32 count linen with one strand of DMC can take forever; one strand of perle cotton and an open blackwork design can take a couple of evenings, making it a last-minute gift idea.  Or grab your detachable sleeves and stitch on your way to the Faire!

 

Sources:

“The New Cross Stitcher’s Bible” by Jane Greenoff

Elizabeth Almond’s website, “Blackwork Journey”