Fortunately for the blog, though, Anna of Talliaferro was kind enough to invite me to dinner!!! I had the most wonderful time! It was fantastic to finally meet in person! And I got to look at ALL of her embroidery Aren’t you so jealous?

I asked for advice on one of the most irritating problems in embroidery for me: how to transfer a design to the fabric. She recommends high quality artist’s tracing paper. It’s carbon paper, but if you get it from an art supply store for professional artists (not advertised for embroiderers) instead of a craft store, it’s higher quality and generally works a whole lot better than the stuff usually advertised for embroidery.

 I took a few photos of her house (only a few! there was a lot more embroidery there – it was a show all by itself!). Here is the Royal Persian Blossom:

And this is La Serenissima, which is the next design in line to be released! Isn’t it gorgeous? Really, the photo doesn’t do it justice.

I got a chance to peek at her works-in-progress and design instructions in the middle of editing. Sneak preview! Here is the cover for the not-yet-released La Serenissima:

Here is the maypole so far. It’s padded for a raised effect (I haven’t quite reached the top yet). I’ve gotta run – I’m visiting the Woodlawn Needlework Exhibition this weekend and I have packing to do! See you later!

I’m working the mouse head from the back towards the nose, so that the stitches lie on top of each other like fur does. I use short little stitches because mice have short little hair. I used longer stitches for the pink ear: see how it looks smoother and less furry? I’m also  trying to make the stitches look random to avoid lines (this mouse is not supposed to have stripes).  I might have to add a few extra stitches near the right eye. I think the color change wasn’t quite random enough, so it looks more striped than blended.

I’ve been working away on the feathers. Maybe the upper layer of feathers could have a vertical pattern, as if they are drooping.

I’m afraid the PhD dissertation takes priority, so I’ve got limited time for embroidery and posting.

I tried a couple of experimental feathers (on the right) before finding an arrangement I liked: solid outline on one side with horizontal lines filling it in, which creates stylized feather shapes. This covers the same blocks that the cross-stitching would, but I find it less irritating to work and more interesting stylistically, while still fitting in with the geometric theme. I am still debating what to do with the row of black feathers above the gold feathers – maybe similar but with a diagonal fill? Something else entirely?

A while ago I worked the April Mouse kit (see the finished result) from Woodland Threads as a present for my cousin’s new baby. There’s another one on the way, so it is time for mouse number two! This one is the May Mouse, and it is dancing around a maypole. Ain’t it cute!

I started work on the blackwork body. I’m glad I chose a darker ground fabric. If I was working the pattern on white I’d consider backing it with something. I think it would be tricky to keep the tails on the back from showing through unless you were very meticulous about it.

I added some running stitch temporary basting lines, partly to better keep count and partly to help sure the waste canvas doesn’t shift. That would be unfortunate!

I’m considering double running stitch for the feathers. But vertical or horizontal? Or diagonal? And how solid would it look on 16 count fabric? Still thinking!

I cross-stitched the gold feathers plus some decorative dots. I’m still thinking about the large black feathers – maybe fill them in with double running stitch over two squares? That would be quicker and easier than cross-stitch, and still fit with the geometric nature of the pattern.

This is going to be a nice big design. I thought about working it at a higher count and therefore smaller, but I decided to go for impressively large. The idea is it will look bold and stylized.

All framed up and entered in the show! The 50th Annual Woodlawn Needlework Exhibition is in Alexandria, Virginia. There are hundreds of pieces on display during March, so if you’re in the area you should go visit!