What would you like to see here? Reader survey, part 2

Thanks to those of you who responded to part 1 of my reader survey. Part 1 is here if you didn't get a chance to respond, or would like to see the responses thus far.

Since I started this blog in March 2007, several types of posts have been featured, including:

• general project progress (making up about 70% or more of the posts)
  
• technique how-tos
• in-depth Stitch Studies
• occasional news in the world of needlework
• and, going way back, some I called "A Stitch in Time", featuring pre-blog projects

For lack of a better description, I'm trying to "build a better blog."  What would you like to see here? (Yes, that means you!) Some of the above posts, or something else? Is looking at my progress enough, or would you prefer more educational material?

I'll have one more "reader survey" post later this week. In the meantime, please take this opportunity to help me provide you with interesting and relevant content.

Thank you!

Can you help restore a piece of history?

On Tuesday, December 3, Christie's auction house sold a piece of an antique jacket, seen above. While advertised as the sleeve of a jacket, this is actually the jacket's back. If you visit Christie's site, you can zoom in on a picture of this exquisite embroidery.

Unfortunately, it appears that somebody has intentionally disassembled this jacket and is selling the pieces individually to maximize profit. According to Tricia Wilson-Nguyen, a collector interested in re-assembling this piece of history purchased the front of the jacket in 2005, but was outbid at Tuesday's auction.

If you know the person who won this auction, please ask them to contact Tricia.

You can read Tricia's blog posts about this jacket here and here.

Cinders is getting there!

Despite getting sidetracked (why does this sound familiar?) with the green ornament, I have made a bit of progress since I last posted about Cinders, designed by Marion Scoular.

I have finally finished the bucket. (Or coal scuttle. Whatever.) After finally finding a stitch that could be shaded nicely to indicate a little pile of coal inside, I used the same dark gray to outline the back edge of the rim. Satin stitch in the darker brown lines the inside of the handle. The rest of the outlines on the bucket are in the same brown.

The rest of the outlines have been finished, also. These included the blue edge of her skirt above the cat's head, and the lower outlines of the hearth.

What's left, you ask? Only two things:

• Adding many more small bricks in the upper half of the wall, although the entire wall will not be filled in.
• Finishing her hair, which is stitched in stem stitch.  This won't be entirely filled in, either, but more strands are needed, especially between her shoulder and the top of her head.

Hopefully we'll all see it completed next week!

Stitching Techniques - Reader Survey, part 1

The comments from Tuesday's post about the conclusion of my month-long WIP list were so varied and interesting!

Jocelyn said, "It drives me to distraction to have several pieces on the go at once. I like to work and work and work on one piece, then when it's finished, move on to the next."

I can understand that. The number of unfinished pieces around here drives me nuts sometimes. However, I often find that stitching on a single project to the exclusion of anything else does become "work and work and work"! Instead, variety (in techniques) keeps it interesting for me, much like it does for Cheryl, who said, "repetition of styles makes one feel like a one trick pony," and Donna, who commented, "I'm with you - I like variety."

Madonna (Front Range Stitcher) commented about "the depth and diversity of [my] stitching tastes."  Thanks! I'm constantly trying new techniques, because I firmly believe that each thing I learn in a given technique improves my stitching in all techniques. I can't think of a specific example, but I will often approach a project in one technique in a untraditional way due to something I learned while stitching something in a completely different technique. That's why my WIPs cover the gamut from stumpwork to counted canvas to hardanger, and then some.

So, what about you? What stitching techniques do you enjoy? Have you tried any new styles in the past year? Why or why not?

I encourage any and all of you to answer in the comments.  I'm attempting to improve the quality of my posts, and it really helps if I understand my audience.

I look forward to the discussion in the comments!

Happy Dance (and stitch guide): Green Ornament

Cross one off of the WIP list. This Kathy Schenkel ornament is done! Here's a stitch guide, if anybody's interested.

Green Areas:
Start with the rows of Bargello stitches. (If you're not familiar with Bargello, Wikipedia surprisingly has a decent overview.) For this ornament, the Bargello is completed with vertical stitches over 4 threads. Begin the bottom Bargello pattern where the lower green area meets the white central band, and just follow the pattern established by the painting. Use of a laying tool is recommended!

• The first (inner-most) row is Kreinik 1/16" ribbon in color 009.
• Below this is a row of Felicity's Garden #016, Evergreen, using two strands.
• The third row is Vineyard Silk Classic #C-146, Cactus, using two strands.
• Repeat this pattern for the subsequent rows.
• When it's time to use the Kreinik ribbon for the third time, lengthen the stitches to cover the bottom of the ornament.

When the lower green section is done, turn the ornament 180 degrees and stitch the top the same way. End with the second row of Felicity's Garden. There's a tiny row of green unstitched, but that actually helps with working the gold top of the ornament.

Gold Ornament Top:
Using Kreinik #8 braid in color 002, fill this area with woven stitch. Work the stitch right over that first row of green intersections. This makes it look a bit like there are holes in the bottom of the ornament top, and the color of the ornament is showing through.

Note: This area is really hard to photograph, due to the gold metallic on top of gold metallic paint, but refer to the enhanced photograph at right to see the detail a bit better.

Central White band:
Using Rainbow Gallery's Patina #PA10 (one strand, right as it comes off the card), work this area in basketweave. Change the direction of the tent stitches in the diagonal areas between the petals of the poinsettias, so the stitches are angled away from the center.

Green lozenges:
Satin stitch the green lozenge-shaped areas with Kreinik 1/16" ribbon #009.

Poinsettias:
Each petal of the poinsettias is stitched in four parallel diagonal stitches over four intersections, using Rainbow Gallery's Petite Frosty Rays #PY072. A black seed bead is used over each of the four black intersections at the center of each flower.

Enjoy!

(Oh, and thanks to all who commented on the previous post. I'll be responding to some of the comments in tomorrow's post.)

WIP-list wrap-up

This past month, I've presented thirty of my works in progress. Aren't you glad that's over? I know I am!

I'm also glad that it was getting harder to find projects to present as the end of the month drew near, and to find that I only have a small handful of WIPs beyond this list. These include the Morning Glories temari and its companions, and SharonG's Tuscan Spring canvas, which is barely started. Other than these, there are only a couple of small pieces started as EGA programs in various techniques.

One of my observations during the course of the month was that I do not have any two WIPs from the same designer, other than my original designs. I think I stick to this because often there is a similarity in feel or technique within a given designer's works. If I get an urge to stitch something from a certain designer, I may just as well work on a piece already started from that designer. The funny thing is that I have nothing in progress from my two favorite designers (can you guess who?), likely because when I start one of their designs, I enjoy it so much that it gets done!

What about you? Do you find that you have multiple projects going from a single designer? Why or why not?