Tulip Slip

When I go away, I like to take a small embroidery project with me – even when I am on a stitching break! I had a couple of Needlework Nibbles not done so took one of those with me to Atlanta. It may have been a little ambitious to think that I could have the energy to do anything on top of the beading and certainly for the first week, I did not even think about stitching in the evenings but during the second week I made a start on the Tulip Slip.

The whole design is outlined with brown silk so I began by stitching that. I have to concentrate hard on counted techniques and even though I counted, recounted and counted again, I managed to create a different outline to the one charted. I decided not to worry about it as my version still looked like a tulip and I figured nobody would be checking my finished piece against the chart.

© Thistle Threads/Carol-Anne Conway

After the outline was complete, I did the details on the petals and leaves one colour at a time until eventually I had only to fill in the spaces with the last colour. It is a while since I have done counted work and I quite enjoyed it. The tulip design is rather sweet and the colours are lovely.

© Thistle Threads/Carol-Anne Conway

© Thistle Threads/Carol-Anne Conway

Then came the finishing! I did not enjoy any part of finishing this other that the fact that the materials were gorgeous. First the stitched slip had to be cut out and appliquéd to the velvet back ground. I had read on Rachel’s blog that the slip had a tendency to creep on the velvet. Fore warned is fore armed, right? I positioned the linen on the velvet with the tulip in the centre and secured it with plenty of pins. I then trimmed away the excess linen a small bit at a time and began trimming away the excess linen, turning the selvedge and stitching the slip in place a little at a time. I did a little bit on the left, then a little bit on the right, and when the central section was secure, bit by bit I worked around the whole slip. It was horrible! The linen frayed, the little sticky-outy bits didn’t want to turn under, and some of the stitching was in danger of unravelling. But I eventually got there and after all of my painstaking care ... the slip had slipped down and to the right some considerable amount! There was no way I was going to redo it so I trimmed the beautiful silk velvet to re-centre the tulip.

The next step was simple enough, I hand stitched the silk backing to the velvet front, right sides together (I nearly got the silk the wrong way round!), turn, stuff and close. And attaching the gorgeous gilt fine Grecian Twist was not difficult except for the decorative corners which I found extremely difficult!

© Thistle Threads/Carol-Anne Conway

All in all I am pleased with my Tulip Slip. It is smaller than it should be, which is a shame and I would have liked to do a better job of the appliqué but this was my first attempt at this technique.

Happy Stitching

The World Nuido Collection - Review

Every four years the Japanese Embroidery Center stage the Nuido World Exhibition, a show case of some of the fabulous embroideries stitched by JEC tutors and students from around the world and by professionals at the Kurenai-kai workshop. In 2007 the Exhibition was held in Cambridge and I was lucky enough to see the exhibition and take part in one of the Special Classes.

The fourth Nuido World Exhibition (2011) was held at two venues; University of Kentucky, USA and OzAsia Festival, Adelaide, Australia. The JEC have now published a book of the Exhibition, "The World Nuido Collection".

© JEC

An important component of the Exhibition, and of the book, is the Fractal Project. When complete the Fractal Project will be a geodesic dome composed of approximately 700 individual pieces designed and created by embroiderers around the world, drawing on the art, history and traditions of each country.

© JEC

The project is a work in progress and will take many years to complete. Three completed hexagons measuring 5 meters high and 4 meters wide and comprising 61 pieces each were displayed at the Exhibition. The Project is explained more fully in “The World Nuido Collection” and over 200 of the currently completed pieces are featured.

© JEC

The book includes some of the Phase pieces and challenge designs stitched students that were exhibited, many of which I have not seen before.

© JEC

The Hoitsu Scrolls and the Konbuin Fukusa, stitched at Kurenai-kai and first exhibited in Cambridge, were again on display at the Exhibition and are included in the book, in brief. These were fully featured on the World Exhibition 2007 CD-ROM.

For those who, like me, were not able to attend the 2011 Nuido World Exhibition this book is the next best thing to being there; for those who were able to attend or those whose work featured in the Exhibition this book would make a wonderful souvenir.

Happy Stitching

Bead Workshop

On the middle Sunday we had a day of rest and by then we needed it! Week two was a six day workshop. During workshop we could work on any previously started bead project. No specific tuition is given but Uematsu-sensei is still on hand to give advice and guidance. I wanted to use this time to continue with my Pouchette. I was beginning to feel better and the break from Pouchette had allowed me to take a step back and consider how I wanted to progress.

I still wanted to emphasis the gold lines but I felt that some of my initial beading was overly fussy. I decided not to take anything out at this point but to continue in a different area; class time is far too precious to spend it reverse stitching!

I wanted to include some moriage in the design and the centre of this paisley seemed a perfect place for it.

© JEC/Carol-Anne Conway

I also wanted to try out my thoughts on beading some flowers in a simpler, less fussy way.

© JEC/Carol-Anne Conway

And I wanted to play around with colour blending with the beads.

© JEC/Carol-Anne Conway

As the week progressed, my health improved and I was becoming more confident about how my piece was progressing. By the end of the second week, which simply flew by, I was beginning to feel a fit of bead-fatigue and I was longing be back home but I was also sorry that the adventure was over. At the end of final class, Sue and I needed to leave immediately for the airport; there was no time for lingering fair wells. One minute we were beading, the next we were on our way home.

I made many new friends in Atlanta. Some I had already ‘met’ on the internet but it was wonderful to meet them in person and spend time together simply beading. I shall always be grateful for all the help and advice I was given while I was an alien in Atlanta and am especially indebted to those who ferried us around and showed us the best places to eat. I’d like to thank Mr and Mrs Tamura, their family and all the JEC staff who worked so hard to make the course run smoothly and to make my visit to the Centre a memorable experience. Last, but very definitely not least, many thanks are due to Uematsu-sensei for her excellent tuition and to Kazumi-san for acting as translator. I had thought that this would be a ‘once in a life time’ trip to the Japanese Embroidery Centre but now that I have been there I want to go again!

Happy Stitching

The Exotic Elegance Pillow

On the fourth day of class we began another project – the Exotic Elegance Pillow. This class was very different from the Phase V class. The pillow is a set design like the earlier phase pieces. At the start of each lesson and periodically throughout the day Uematsu-sensei would instruct the class on which area we were to work on, the beads and the techniques to be used. After all the decision making of the previous three days, my poor aching brain was happy to leave the planning to someone else. The pace of the class was fast and there was plenty of note-taking needed but there was also plenty of time to just bead.

© JEC/Carol-Anne Conway

For the most part, the design uses some of the simpler techniques. The complexity of the design comes from the variety of beads used and blending them to give subtle colour changes along the twisting tendrils. This design includes clear beads lined with real gold – the colour is fantastic – and some gorgeous crystals.

© JEC/Carol-Anne Conway

I really enjoyed the Special Project Class and was really reluctant to put this piece aside after 3 days. This has to be hidden away for the time being because I want to complete my Pouchette before I work on any other beading project.

© JEC/Carol-Anne Conway

Happy Stitching

Beading Class - Pouchette

In early March 2012, we received the devastating news that Matsukawa-san was unwell would not be able to travel to Atlanta for the bead class. Our first concern, of course, was for Matsukawa-san and I am happy to report that her health is improving and we wish her a full and speedy recovery. On a personal level I was so disappointed that I would be denied the opportunity to meet and study with Matsukawa-san. Fortunately, the Center had arranged a substitute tutor so at least the classes could go ahead. Ms Kiyoko Uematsu is an extremely experienced Japanese embroidery professional from the Kurenai-kai workshop who teaches both silk and bead embroidery. We were very fortunate that Uematsu-sensei was able to step in at such short notice and to have her as our tutor.

For Phases I-IV you are supplied with a design outline printed onto plain fabric, a set of beads and a picture of the finished item. Following your tutors instructions and with reference to the picture you basically replicate the original. It is beading to a pattern but the first four phases are designed to teach technique.

Phase V is totally different. Prior to the first class we were offered a choice of five printed fabrics. Two of the fabrics had small floral motifs on a black background. The remaining three fabrics all had paisley type designs. The one that leapt out at me was available in two colour ways; one in lovely, soft shades like a faded tapestry, the other in more vibrant colours on a black background. I am a bit of a ditherer when it comes to making decisions. The small flowers on the first two fabrics reminded me of the smaller motifs on Floral Melody but the paisley designs also reminded me of Floral Melody, for any one of them I could see myself looking to Floral Melody for inspiration. Two fabrics jumped out at me. I thought that choosing one of those would be taking the easy option but in the end that is what I went for. On display in the classroom was a finished bag in one of the fabrics I liked most. It had been exquisitely beaded by Adele and I knew if I chose that fabric I would be sorely tempted to replicate her work so I decided against it. The fabric I finally chose was the one that had leapt out at me in the first place. There were seven students taking Phase V. Six of us chose this fabric; four opting for the black background and 2 going with the beige version.

© JEC/Carol-Anne Conway

There was a sample selection of beads for each fabric design. We could change any or all of the beads if we wanted to. If choosing the fabric was difficult, selecting the beads was 10 times harder for me. I have absolutely no confidence with colour. A couple of beads in the sample pack looked out of place to me but everything I tried to replace them with looked totally wrong or made the palette very flat. In the end I decided to start with the beads as provided and see if any ideas presented themselves as I worked.

It took all morning to make my selections, frame up and stitch transfer the outline to the fabric. I was still feeling unwell and was having trouble sleeping. I was very relieved when we stopped for lunch but I just wanted to BEAD!!!!

Invigorated by some food, a cup of green tea and a walk in the garden I was raring to go.

The main difference between Phase V and the earlier Phases is that the student decides for themselves how to bead the design; which beads and what techniques to use where. It is a very daunting prospect. The main thing that had attracted me to this fabric was all of the swirling gold lines. I decided that I wanted to emphasis those so I began by couching a row of gold lined crystal beads along one of the motifs. This turned out to be a very good starting point. For me, couching is a very relaxing technique so this settled my nerves and allowed me some time to contemplate what I wanted to do next. The problem is, there is no time to plan the overall design. Phase V class is only 3 days so you choose your fabric, you choose your beads and away you go.

Because of the no photography rule at the Center, I took my frame back to the hotel at the end of class. This gave me a chance to take pictures but also to think about what I would work on the following day.

© JEC/Carol-Anne Conway

Phase V class lasted for three days and was very tough. It would have been difficult enough if I had been firing on all cylinders but my sore throat had developed into a hacking cough that conspired with the jet lag to keep me awake for much of the night. I was feeling very under the weather and it took all of my resources to get through the day. I didn’t feel that I had made much progress but at least I liked what I had done.

Happy Stitching

The Japanese Embroidery Center

The Japanese Embroidery Center is located in a very pleasant suburb north of Atlanta. The area is slightly hilly and heavily wooded. There are many lovely and individual properties nestled among the trees but you get a sense that the Center has its own unique character when you see the bamboo grove at the entrance of the driveway.

In the short walk to the front door you are transported from Atlanta to Japan. Like many of its neighbours, the Center is built on a split level. The entrance hall at the front is at ground level. From here you pass through the reception rooms into the classroom at the rear of the building, all on the same level, to find yourself high in tree canopy. Although surprised the close proximity of the forest, I immediately fell in love with this space. The whole of the external wall is floor to ceiling window and the sights and sounds of the forest surround you. The slight downside to this is that the classroom is a bit gloomy and I prefer to work in good natural light.

Lessons begin at 10.00 am and end at 3.30 pm with an hour for lunch but the classroom is open from 9.00 am until 5.00 pm most days. There is no talking during lessons. Talking is discouraged at the Bournemouth class I attend each year so I have become used to this and I prefer it to a noisy classroom. I find it more relaxing and I can focus better without the distraction of conversation. However, there is plenty of conversation during lunch time and this is a good opportunity to become better acquainted with fellow students and the tutors. I had met several people via the internet before the class and it was great to finally meet them in person.

Every day we were severed a culinary treat prepared for us by Mika-san. Some days we enjoyed a sweet desert but my personal favourite were the savoury bamboo dishes she served us. The bamboo shoots came from the garden. I don’t know if every type of bamboo is edible but I think that the thin ornamental bamboo that I have at home would make very slim pickings. Another lunch time treat that I tried to fit in most days was a stroll around the garden. There was a stepping-stone path behind the house, below the classroom windows. Here I waited to spot some of the wild life that makes in home in the garden. The squirrels and chipmonks were very entertaining as they preformed acrobatics amongst the branches. I had spotted a couple of deer from the classroom one morning but they never put in an appearance during my lunchtime strolls. I most enjoyed the birdlife. None of the birds were ones I recognised from home and I have no idea what many of them where but I was able to identify the red cardinals and the bee-eaters both of which were raising chicks.

The first day I spotted some blue-tailed lizards sunbathing on a wall but as it turned cold and grey after that, they were not to be seen again but nearly every day I spent a short time watching a baby bunny nibbling the tender spring shoots.

Even before taking the classes into account, I really enjoyed my time at the Center. It is an idyllic setting for some stitching time. There is inspiration to be had from the lovely garden as well as the exquisite embroideries that adorn the walls and are set into glass topped tables. There were fresh flowers beautifully arranged (I believe by Mika-san), the flowers and foliage taken from the garden and refreshed most days. Unfortunately, photography was not allowed inside the Center so I have no pictures of the interior except for this one, taken with permission, of a flower arrangement in the entrance hall.

Happy Stitching

Gone with the Wind

We had allowed one day between the flight and the first day of class to rejuvenate. One thing that we wanted to do, if we were not too exhausted, was visit the Margaret Mitchell House. This turned into more of an adventure than we had bargained for! I had looked up the location on Google maps and it said that Peachtree Street was a mere 2.8 miles from our hotel. What it failed to say was that there are at least 3 Peachtree Streets in Atlanta!

When our taxi arrived he didn’t know of the Margaret Mitchell House and his sat-nav was not working but he thought that he knew where Peachtree Street was. When we had travelled about 10 miles we asked if he knew where he was going; he assured us he did. After about 20 miles we were very concerned and asked if he was certain he knew where he was going; again he assured us that he did. After 30 miles we asked him to stop the taxi. After some discussion he agreed to telephone the Margaret Mitchell House and confirm that he was headed in the right direction. He said that everything was fine and we would be there soon. Finally we pulled up outside a smoked glass building surrounded by skyscrapers in Downtown Atlanta. Sue and I looked at each other and simultaneously turned to the driver and said this is definitely not the right place. At that point we said just take us back to our hotel, we’d had enough. Dave, the taxi driver, was adamant that this was the right place; he didn’t want to take us back to the hotel and for us to have had a wasted journey. He redialled the house and after a short conversation drove around the block to the back of the smoked glass building. There in the shadow of the skyscrapers was the turn of the century house where Margaret Mitchell had lived and wrote "Gone with the Wind”.

We enjoyed the tour of the house. The guide gave us a great insight to Margaret’s life and her work. I was very interested to learn that Margaret had tried to make the book as historically accurate as possible but also to tell the tale from a female perspective. Women are all too often lost in the retelling of history. Historians, mostly men, have tended to document the battles and politics of history, both of which were dominated by men. I have recently read two books by Philippa Gregory (ok, I’m trying not to get too feminist about this but spell checker does not recognise Philippa as a correctly spelt word, instead it has offered me Phillip, Phillips, Philip, Philips and Philippe – Microsoft please note that WOMEN do exist). I have always enjoyed historical novels, especially those that at least have one foot in reality. "The White Queen" and "The Red Queen" (both by Philippa Gregory) are about the maternal and paternal grandmothers of King Henry VIII, I thoroughly enjoyed both of them. Visiting the house has made me want to read "Gone with the Wind" but looking at the size of that book and knowing how slowly I read, maybe I will just watch the film again.

Happy Stitching