So Where is the Stitching Already?

So where are the embroidered plants already? What’s the hold-up?

Several things are making this a long, slow project rather than a jump-right-in project.

First is a lack of time.  After work there is dinner and housework (ha!) and cats and friends and books.  There’s another blog to work on, and a novel going out in installments, and a herbarium database to improve.  On the weekends, there are errands to run and grass to mow and, and, and…

Then there is the vicious cycle of where to start.  I have an idea of what plants I’d like to include, but the list is far longer than a single design could reasonably include.  I need to actually sit down and sort them into groups.  Lists.  I am good at lists.

I have also needed to study up on how Gerda made her designs—and design as in not just how the plants are drawn or laid out on a chart, but the actual method.  Did she draw on graph paper?  Did she–as some cross stitch designers have been known to do — paint on needlework fabric and then transcribe the colored areas, thread by thread?  Where did she start?

Her method is worthy of a post all to itself, and there will be one, but I now know the bones of how Gerda worked.  The answer, in her own words, is in a book I ordered that has taken forever to arrive.

bookcover

This book is a bit of a sampler.  It includes material that can be found—in English! — in the common Book of Danish Stitchery, along with examples of her different subjects, and a nice selection of charts.

A painter, Gerda always started with a drawing or painting of a plant.  She traced that, adjusting bits and pieces here and there to make the design more clear.  She then placed graph paper over the tracing, fitting the lines of the squares to the drawing.  She then removed the drawing from beneath the graph paper and looked at her charted shapes.  Were the curves graceful?  Could something be better if it were moved over a stitch or two?

method

In the image to the right, she says that her effort B and C is an example of something she was not happy with.  In D and E, she adjusted how the curves broke against the boxes. The resulting shape is much more natural.

violetchart Once the shapes were right, she could choose the colors and create the chart.  This is one for a little tri-colored violet, part of a larger design.  The different symbols tell the stitcher what color each stitch should be.

Now, take a good look at that “tiny” little violet.  It is about one hundred and twenty-five stitches tall!  That is not a small design.  Sure, Gerda designed a lot of very simple designs that were much smaller, but to get the detail that lets one identify the plants to species, there have to be more stitches.  Sometimes many more.  Her very realistic, life-sized designs for some individual plants were more than a meter tall, worked multiple stitches to the centimeter.

And that is really what is holding me up.  I need to decide on size.  The first piece I want to do will be one that features a row of about twenty plants, something similar to the design from which the cover illustration of that book up there was taken.   I actually own a kit of that entire design, and the tallest plants are about 150 stitches tall.  There is a lot of stitching, even in the bits that look simple.  That is a reasonable size, though I might have to increase that to capture enough detail in the smaller plants.  Just how nuts do I want to go?  Do I want these plants life-size?  Bigger?  If I get all the detail I want in the tiny plants, how large does that make the tall ones?  How big is too big?

And then there is the whole complication of fabric.  With charted designs, the size of the finished product depends upon the fabric used–something stitched on a fabric with more stitches to the inch or centimeter or inch is going to be smaller than the same design stitched on coarser fabric.  I need to decide what fabric I want to use.  I have an entire yard  (about 36″ x 56″) of cream-colored, 16-stitches-to-the-inch evenweave coming that has been on backorder since the Pleistocene.  When it arrives, if that’s what I want to use, I’ll have to figure out how much of it I want to use and that will tell me how tall the tallest plants can be.

I think I am going to have to stop spinning my mental wheels, make myself some 11″ x 17″ inch graph paper with 1 mm squares, sketch a few designs, and just play around.  Right now, while the whole project is still in my head, it is  perfect.  The minute I actually start something, that’s when it gets real.  And messy.

And, I suppose, worth doing.

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