Welcome readers from the Kreinik Threads Blog!

Thank you for following the link on the Kreinik Threads blog to come and visit me here.  I hope you enjoyed the brief review of the wedding dress panel project that the lovely people over at Kreinik kindly took an interest in, and that you'll find more to stimulate your imagination here today. ☺

As you new visitors are fans of metallic threads and what they can do, here are a few of the projects I've completed over the past decade or so which feature lots of sparkle - often courtesy of good ol' Kreinik.

This first one, a couched dragonfly design was done in the same threads as the wedding dress panel - Kreinik Japan #1, #5 and #7 - only in gold this time.  The blue and black ones are Anchor Marlitt, which is a very shiny, rayon thread and features in this next project too in two pretty purple shades.  The inner silver outlines and gridlines are various Kreinik braids and are couched with their Cord in silver.  The outer, thick thread is a silver goldwork twist thread, and the French knots in the middle are two of DMC's Light Effects range.

Here's something a little more unusual and unexpected - metallics in hardanger!  The centre eyelet and the square filling stitch are in a fine, gold metallic, very probably Kreinik Cord in 002C.  The red hearts were worked in one of Anchor's pearl metallic mixes - basically a red #5 pearl cotton with a red metallic filament mixed in.

This was for a Chinese couple's wedding day as red is their colour of joy and celebration. ♥

The dragonfly and waterlily piece uses a variety of metallic thread brands and types including Kreinik Japan #5 in gold, and #7 (or maybe both #7...) in silver, Coats Reflecta in pink and silver, a Kreinik thread in turquoise, and bright check purl chipping in the centre.  I can't remember what the dragonfly was made out of as it was something I worked back in 2009.

These fish fins and tail are worked in the beautifully fine gauged Kreinik Cord and there's a thicker braid outlining the body - probably Very Fine Braid in 001C or Cable in 001 or similar.  This one is from 2008 too and also includes shiny Anchor Marlitt and some of their cotton threads.

Lastly is a piece I worked just over a year ago and it's some outline lettering in Kreinik Fine Braid 102C, couched with Cord in 102.

I think I've remembered all those details correctly, but you get an idea of how they can be used in all sorts of embroidery styles.

I've been doing some form of embroidery for the last 15 years, progressing from cross stitch through hardanger and various freestyle techniques to raised work.  I love metallic threads and use them wherever I reasonably can.

You'll be able to find lots more projects with and without sparklies of some sort by clicking on some of the subjects under the heading photo and feel free to subscribe to my blog via the e-mail service or any other way that works for you. I'm dealing with some health problems and a variety of other types of chaos (including the fact that I rather need a new laptop and camera) these days, so updates are a little less frequent than I'd like them to be.  However, stick around, I'll be back!

In the meantime, if you'd like to read the full series of seven posts about the wedding dress project, click here. NB. They'll show in reverse order.

If you didn't arrive here from the Kreinik interview article and don't know what I mean, why not make their blog your next stop today? ☺

Text and images © Elizabeth Braun 2017

Wedding Dress Modesty Panel - More details on the silver work

 

Today I'm here with an extra instalment insterted in the dress panel story.  After the last post on the silver threads, Dima from the D1-D2 blog (go and check out her progress on the Alison Cole 'Pearl Butterfly' project, BTW.  It's beautiful!) left a comment asking how I dealt with the thread ends on the back of the panel.

Well, that made me realise that what I'd declared to be 'pretty self explanatory' was really nothing of the sort and that she probably wasn't the only one who was disappointed by my lack of detail.  I plead the excuse of having almost 20 blog posts to write in only 3 or 4 sessions and being a little too eager to get them all done and scheduled.... (blush).  Here I am today to redress the balance and explain how the silver threads were attached and fastened off at the back.  I found a few helpful 'in progress' photos too. ☺

Basically, once I'd gone around the four larger flower motifs, (which were easy to deal with given the heavy embroidery I could fasten off to at the back), there were two ways of dealing with the long stems and smaller motifs: with two pieces of thread running largely in parallel, or with one doubled over the whole length.

These first three photos show part of the process of working a two parallel lengths section.  What that means is that I cut two lengths of Kreinik Japan #7, not necessarily to the same lengths, and worked them alongside each other part of the way, separating for the single lines around any motifs that fell into their paths.

I started by plunging both ends under a large motif where they could be fastened off easily on the back, then couched them down with one stitch across both threads until it was time to diverge them to outline small flower and leaf motifs.

In this third shot you can see the two ends re-converging ready to be couched back down in the original one stitch way and then plunged under the big flower and fastened off there.  I had to use my tweezers quite a lot to help the thread to settle in the right direction.

As you can see from this section, it wasn't always a simple task.  The long diagonal stem, with the motifs under it AND the stem with the heart, the flower it joins into on the right and the snaky-shaped trailing stem end underneath that flower are all one section!  The piece for the lower part needed to be quite a bit longer than the top one as it had to cater for the triple flower and leaf section.

Actually, I can't remember exactly where this piece ends, but it looks like the trailing end was worked with one piece laid double and then continuing out to the heart stem.  I'm thinking the ends are safely couched under either the heart or the flower.  I can't recall at this distance of time - I did this back in November!  It may even have been at the base of the snaky trailing bit, where it joins the flower.  I've no pictures of the back of the work, so I can't check now.

The other way of working the silver outlining was to use one long piece doubled over.  These two segments here were done with this method.

The thread was bent in either half, or as near to half as the diverging motifs allowed and started at an edge on the motif furthest out from the large flower.  On each of these, I probably (or should have!!!) started near the base of the leaf or flower, worked all around it, then begun the one stitch over two threads method until I was able to plunge the ends under a larger motif again.

Basically the same thing applied when working something with a trailing end of stem as in the two sections seen below.  With these, I 'tweezed' the Japan thread closely together and, after putting in one securing stitch over the very end of the fold, set off with the over-two couching stitches.  The right hand motif was done by bending one piece roughly in half, whilst the left hand design needed a rather longer 'lower' part so as to take in the other trailing stem - again worked by doubling up.

I hope that makes some sense at least!  I was flummoxed by some sections and had to think about the best way to do them so as to neither leave any ends showing through the net, nor scratch the poor bride to death!  I also didn't want any doubling over back under the threads as it would probably offend on both counts.

I apologise for the 'cast' on some of the photos.  Much of that came from the fact that there was a layer of reflective water soluble stabilizer underneath and was pretty hard to work around at times, photographically speaking.

The beads and jewel embellishments follow on Friday.  Join me then! ☺

Text and images © Elizabeth Braun 2017

Autumn Leaves Wedding Pillow - Numbering and Metallic Leaf Flecks

This is where we left off in part four of this series, the completed silk thread painting.  Part five takes a brief look at the metallic work.  I say brief as I, sadly, didn't take many WIP photos during this part.

I love metallic touches in my pieces and am a big fan of Kreinik threads.  The numbering was done in copper coloured #8 fine braid in shade 021C, couched down with cord shade 021C.

Numerals complete and time to add a few metallic flecks to the leaves.  These were the threads I chose from my collection of Kreinik Cords:

At this point, the piece is still in the hoop.  Part six, next time, will showcase the completed little cushion/pillow.

Text and images © Elizabeth Braun 2017

Wedding pillow - lettering and finishing up

The final stages of the project coming up today! I managed to transfer some of my mobile phone photos over to the laptop too, so have included one of those shots here as well - one of me working on the lettering!! =)  As you can see, I have an incredibly high-tech, fancy, professional set-up - balancing my plain old embroidery hoop on the edge of my desk!!!

I was working on a lilac and light cappuccino shot silk fabric and so I chose a light gold thread to stand out well against the mid-toned background.  I tried a few metallic shades against it, but this was the one that really stood out - Kreinik Very Fine Braid in 102C couched down with coordinating Kreinik Cord in 102.

This third photo really shows the sheen on the flowers and also the good contrast of the pale gold.

I had originally planned to work the letters and numbers in a sort of solid method, probably by couching in rows, but owing to time limitations and, if I'm totally honest, complete lack of confidence in being able to pull off my first idea (and no time to trial it), made me think that outlining would be best.  I owe that idea to Amber of Ambrosia Stitches who, when I asked for ideas on Instagram, asked me if I was going to outline or fill the shapes, thus planting the idea of simplifying in my mind.

Here's the completed embroidery in the hoop before I removed and trimmed it for finishing.  As you can see, there were two lots of different light when I took these photos as they were done at different times of day and also in two opposite windows.  I've yet to work out the best lighting in our new home!!

Below you can see the completed pillow.  Sadly, I didn't get a very good full frontal shot of it as there was too much light bleaching out one side (as you can see a little here too), and I couldn't wait for a better time as I was about to hand it over!!

The finishing process was fairly simple.  After pressing the backing fabric and as much of the piece as I could (I was most disappointed to see I'd failed to avoid puckering....), I trimmed the surplus fabric away from the work and placed a line of tacking style stitches along the line I'd marked on the front when first transferring the design.  Then I placed the right sides together with a small piece of cotton based fabric (a reject square from one of the baby quilts!!) in between and tacked to the backing to protect both the stitching and the cream backing silk from getting scuffed on the metal work stitches.  They were tacked just next to the marking stitches, leaving the bottom open except for a centimetre or so each side of the corners.  I machine stitched just inside the marking stitches, trimmed off the corner excess and pressed back the edges of the open side.  After removing the tacking and marking stitches and putting some toy stuffing in to make a proper little cushion shape, I slip stitched the bottom edge closed.  Done!

I was delighted to hear that the bridal pair were thrilled with it and this photo was kindly sent by the groom's mum the day before the wedding.

You can also get some idea of the size from this shot too.  It's only a 7"/18cm sided square, so only a souvenir size.

Glad to have a big project done and so it's on to anniversary things for Sir and also making things for the two or three shows I hope to enter this summer.  More on all of those soon.

Text and images © Elizabeth Braun 2016

Needlequest 2014 - March - technique - goldwork

Welcome to the third month of the Needlequest challenge and the second technique: goldwork.  Like all embroidery techniques, goldwork is a huge topic and a month is really only enough time to have a small taste or two, but that's what the challenge is about - sampling something new and seeing if you want to take it further later on.

Goldwork can be done in gold, in silver, in a host of bright, metallic colours and also as a part of a piece alongside silk, rayon, cotton or other threads.  The pieces decorating this post are from my own work with metallic threads in the past.  As you can see, there are some more traditional, entirely gold/metallic pieces and some that are a combination of both glitzy shinies and more everyday materials.

Many goldwork pieces rely on a lot of couching, which can be done with either quite thick and heavy threads or finer threads to achieve more delicate effects.  The body of this fish is couched around, but the fins are created with long straight stitches, (the yellow and orange part is worked in rayon thread - Anchor Marlitt).

If you're interested in books on goldwork, some good titles to consider include:

* Country Bumpkin's 'The A-Z of Goldwork'
* Hazel Everett 'Goldwork - Techniques, Projects and Pure Inspiration'
* Ruth Chamberlain 'Beginners Guide to Goldwork'
* Helen McCook 'RSN Stitch Guide: Goldwork'
There is also a section on goldwork in 'Royal School of Needlework Embroidery Techniques' by Sally Saunders et al.

As ever, there's a good list of tips, techniques and book reviews over on Mary Corbet's Needle and Thread gold work page.

One thing to bear in mind when trying out goldwork is to make sure to cut your metal threads with specially toughened scissors, or even wire cutters if you have nothing else!  Don't use your regular embroidery scissors, unless you want an excuse to buy a new pair...!!=)

Of course, goldwork samples and pieces don't have to be large or complicated.  In fact, for the purposes of our challenge, small and/or simple are probably best.  I plan to work two of the simple butterflies from the Hazel Everett book (more on that in my next update posting) and the design my own small piece, which will go on to be mounted in a card for friends' wedding in mid July.

What about you?  What will you create?


Text and images © Elizabeth Braun 2014

Goldwork viola

And I managed the strings! I didn't think they'd ever work out, but I ended up putting two rows of bright check purls over a small piece of felt to give enough height for the strings to both catch on the bridge and get over the bottom part of the finger board. If you don't look at that part too closely, it's OK!!

The background is now totally done on the narrowboat piece, but as it's not much different from last time, it's not really worth a new picture yet. Hope to show more of that later in the week.

In the meantime, I'm enjoying the sense of accomplishment that came from having finally completed that viola. I started it in Taiwan back in mid February 2010, so it's taken 20 months to get it from re-working the design to completing the stitching! I hope I don't have too many more projects that progress so shakily...


© Elizabeth Braun 2011

Two things actively WIP!

Wow! Two pieces currently being worked on! I've been putting in most of the half stitch sky on the narrowboat cross stitch piece. You mayn't be able to see it very clearly, but it's there in two shades of light blue. Not much further to go on that, and then it's on to the top stitching.

Much to my amazement, I had the urge to get on with the goldwork viola too! I put in this long piece of almost vertical pearl purl #1 and hope to get the other side done over the weekend, and maybe also some other bits. I'm really unsure of how the strings could be worked so that they look realistic, so it may be that I have to omit them. I'd rather leave something out than have that element spoil the whole effect by it's weakness!

I really need to get the slight white flecks (dust??) off this piece before it's finally photographed!

Digging around on YouTube (which I've begun to do too much of lately.....) I found this video, which some may enjoy. Also worth looking up is their 2009 display, which I actually preferred as it has some wonderful caskets, boxes and an album cover as well as a quilt that is a mosaic of a face! Well, head and shoulders really. The reason I've embedded this one though you can see from about 2.19 mins onwards for a while. There you see vertical rows of small square embroideries, probably worked by different members, on the same fabric background. I was struck by the potential of this idea for around the house! Perhaps I could do another piece or two on black silk to go with the viola?? A way to display samples of things and small pieces without having the expense of buying a frame. See what you think:



Hoping to get back to my old, pre-Taiwan posting schedule of bi-weekly WIP updates on Mondays and Thursdays. Perhaps I can accomplish this goal by the end of this year? Let's see! I'm feeling quite enthusiastic at the mo, but next month my umph could be stolen by other interests.....
© Elizabeth Braun 2011

A design's not final 'til the stitching's finished!

This was the design I initially created for friends' Silver Wedding (25th) anniversary card, to be worked in silver goldwork threads and Anchor Marlitt:


The changes started when I went to my LNS only to find that, although they stocked plenty of gold goldwork threads, their supply of silver was very low indeed. I wasn't able to get pearl purl and so had to adapt straight away to twist instead. I managed to get the silver kid leather, but when I tried to cut it out into the inner heart shape, the result was so creased and, frankly, cheap and nasty looking that I couldn't bear to use it. So, that bit got dumped too and I decided to move the trellis from over the purples, to filling the inner (now middle) heart. The tiny heart in the centre was to be filled with silver bright check purl.


However.... I noticed that the silver of the bright check was not as cool as the rest of the silver threads. In fact, it was relatively yellow. That bothered me, so I ditched that idea and decided to fill in the space with French knots in DMC metallic floss.


Above you can see the first stage of the purple shading completed and the second layer underway. The top right hand side ended up so un-even that, when I'd done the lot, I realised that, not only would I have to outline the inside of that section with Kreinik Fine Braid, but that I needed a line of it between the two purples as you can see below:


By this time I'd also decided that I wasn't going to fussing around adding in accents in pink Marlitt either!!

So, much changed from the original design, here is the finished item. It's a little puckered, sadly, but that came from my not getting the silk fabric totally flat on the backing cotton when I was sewing them together - a problem I've had before.=(


And here's a side view. Of course, it isn't possible from this angle for my camera to focus everything perfectly (so I had to cut the bottom section off!!), so the right hand side is a tad blurred, but I hope you like the effect all the same. All that remains now is to decide whether to mount it in a round or square aperture card.


So, although I haven't blogged my work for a fair few weeks, I have been stitching! This isn't all I've been doing either, there's more. I'll post about that in the days to come.

A bit more goldwork

Another rather disappointing photo, (I can't tell you how much better it looks in real life!), but here are the latest two (counting both f holes as one element) additions to the goldwork viola picture. -> I was pleasantly surprised how smoothly these sections went. Next up is the whole fingerboard and neck/scroll area in no.1 pearl purl. The smaller detail will be done in a pearl purl of smaller guage (but I don't know what it actually is), then the nuts will be done in Coats Ophir (like a very fine Jap) - like the f holes have been - and then filled in with bright check. Then I have to think of how to manage a convincing bridge and strings....

Considering that I have a number of time sensitive things to do over this summer, I have actually no idea why I'm concentrating on finishing the two that have no deadlines and are just for our home! I've two cards and, assuming I can find the keyring 'blank', a small monogram to go in it to do for various points in June, the violets/fish cushion and the blackberries pouch to have done by July and another gift for mid August. Hmmm! If anyone's seen my common sense roaming free anywhere, do send it back express!;)

I think I use too many brackets - just looking at my first paragraph! Recently I was reading a book review by someone I know and found it really hard to follow as they had far too many asides and big words in their sentences. Simple, plain, concise. That's the mark of a good teacher/writer. Got it, Lizzie? Good!

Kid it is!

The vote went for a kid leather chinrest on the goldwork viola and, as I agreed with that - even though kid is a beast to stitch through - here it is in a side view to show how raised it ended up (only one layer of padding):


Rotten photo, I'm afraid! My photography seems to be going through a bad patch just now.=) Anyway, there's a border of Kreinik Fine Braid in 102C around the kid. I also finally managed to get that little bit of copper border that had frayed re-done without it going nasty again.

I had hoped to get more done before posting again, but it's been a busy week. A week full of surprises too. The greatest surprise, beating the runner up by a small margin, was going into Sir's study on Friday lunchtime to find him on-line watching live coverage of the Royal Wedding on German TV!!=)

I've managed to get a bit more of the water under the narrowboat done and here it is, pretty much afloat. There's still more to do on that part, then a bridge and small tree etc to fill in on the left hand side. The main stitching must be about 70% done now. LONG gone are the days when I would get something like this finished within two or three weeks.=)


Thanks for the ideas on how to stretch and straighten the giraffe. I'll try that - when I get the necessary things. Might have to use a kitchen shopping board and wash out a cleaning fluid bottle thoroughly to use as a spray as I've nothing that will pass for a plant spray or cork tile at the mo. Will report back on that one once I've had a go at it.

Two finishes. Yes, TWO!

So, I really got going this week and finished two things! No, not the narrowboat - I haven't had that much stitching time.=) In fact, I've only put a little bit of water in on that, so it isn't worth showing, but as I've run out of ideas for 'information posts' for the time being and have got back into my own embroidery work somewhat (could be famous last words.....), I hope to post WIP shots more often instead.=)

The first finish was the giraffe needlepoint that I was given as a 12th birthday present by Nicholas Cook! I remember him explaining why he chose it out of the series (it was the only one with a girl's name, bless him!). I decided not to save it to complete whilst I'm away doing exam work in May, but rather to make use of mum's sewing machine those 3 weeks and get it finished up into the cushion cover I've planned. I'm going to give to a disabled girl (I say 'girl', but she's not much younger than me!!) who likes cushions on her bed. Had I given it to a little girl as I'd originally thought, she would have grown out of it in time, but Georgina won't as she will always have a mental age of around 13, so it's perfect.


As you can see, it's got a bit warped. I know that this wouldn't be a problem had I been planning to frame it as the stretching process would correct it, but I'm going to be using it in a patchwork. Any ideas on how to straighten it up a bit??

Now then, here's the finish of the month, the water violets design! I put the last stitches, the water lines, in on this early yesterday afternoon. I decided to exclude the mayfly after all. It would have looked better, more balanced with it, but I really had had enough by then and just wanted it complete. So, this is it:


This too will be made into a cushion cover and I'll do that at the same time as the giraffe. I'll need to get some backing fabric for it. Oh, the design is in the right hand half of the cushion, in case you're wondering why I was doing such a long, thin cushion.=)

I've also got re-started to some degree on the goldwork viola (don't anyone dare call it a violin!). I put the felt padding on the chinrest yesterday, but I haven't finally decided on what to overlay it with. The options are rough purl and kid leather of which I have silver and gold. I know very little about goldwork, but I have two or three useful books that can help. I'm undecided on many parts of it - what threads to use etc. Anyone with more experience care to comment? Mary? Ruth?


All the best with a dog design, Linda and, go on, start a blog! If you do that kind of work, then I want to see it!=)

© Elizabeth Braun 2010

Goldwork in progress proper

Here's the viola in the hoop and a start made on the stitching. The photo isn't clear (as is to be expected when having to take it in artificial lighting, it doesn't seem to be get very light today), but you might be able to see that I've done the foreground outline in gold twist thread and the outline of the back of the instrument in Kreinik #7 Japan thread in copper. The small bit on the left went rather bad, so I'll be taking that out and re-doing it. I've also just noticed that an angle in the copper outlining on the right hand side doesn't match the gold. Grrrr! Perfectionist, me? Not that you'd notice - if you were blind!!!!=)

I plan to do around the scroll, fingerboard and tailpiece in the pearl purl that came with the kit and was originally meant to go in these places, just putting the scroll detail in in finer Jap thread. The f holes I'll do in Jap thread too and the chinrest I'll probably fill in with Jap thread, kind of in or nue style, but I'm not sure about this yet. I could even be persuaded to do this in kid leather, but I may leave it almost to last. The big issue is how to get the bridge higher than the pearl purl will be so that the strings will look right and not go upwards when they get to the edge of the fingerboard. Sometimes it's easier not to feel such a commitment to getting the details right!=)LOL!

It's absolutely slinging it down here in Taipei and the Gov't issued a cold weather warning on Sunday as temperatures dropped to just under 5C overnight in the very north of the island. That may not be cold for those who have -20C to deal with in the winter, but this is a sub-tropical island with the southern third fully tropical and there is no heating installed in the vast majority of buildings. I just read that about 10000 fish died in Changhua county thanks to the cold! Our two heaters are doing sterling work and we're OK and even getting our washing dried, but it's a bit boring having to waste the whole week's holiday stuck indoors! Nothing much to do but read, study, stitch, watch DVDs and listen to music. We've just braved the rain to get some groceries in, but the local supermarket is v low on fresh produce given that it's still officially New Year's holidays. Thankfully, I stocked up well before the break.=) So, plenty of chance to get on with my embroidery, but I doubt I'll do anymore on this viola today. I'm really dopey at the mo, would prefer to work on the mouse for a bit and, frankly, I forget how monotonous goldwork can be!!!

Re-designing a goldwork kit

This afternoon and evening (in 2 sessions), I made a start on the Benton & Johnson Goldwork String Instrument kit that I'd brought with me. I remember buying this one as part of a real retail therapy session - serious comfort shopping - during the time I was horribly unhappy doing my old teaching job, along with several others. I spent as much at that one stitching show as I would normally do at two or three - a whole year's worth!!

This is the original design of the kit, although the one I bought came with black silk as a background fabric, which is what I wanted.

Anyone who knows much about modern string instruments would see at a glance that this design is far from accurate and, whilst I'm no expert player (yet!!!LOL), I do actually own a viola and so I always intended brushing this design up a bit. Well, a lot actually!! I know it's meant to be a generic sort of stringed instrument, but I wanted my own instrument represented in goldwork, so it needed a chinrest for a start. The body shape also needed refining and the pegs needed to match the strings - 4 strings (very badly placed strings at that) and 6 pegs, since when?? Recently, via the Pin Tangle blog, I came across a blog posting by Kirsty on the 'Feeling Stitchy' team on how to turn a photo into an embroidery outline and so I followed that wonderfully simple and effective process as follows.

Find the photo you want to stitch from. This is one I found via Google images of a viola, complete with chinrest (some are pictured without, some folk even play without one, but I'm not up for that!).

Using Photoshop Elements' 'Filter' tab, select the 'Sketch' type and then pick the one that best suits your needs from the list given. The tutorial I read said 'Pencil Sketch', but my version doesn't have that, but the 'Photocopy' option worked beautifully and, after increasing the contrast to make the outlines really stand out, I was left with this image:

Print it out at the relevant size, take a tracing from it and transfer the design to your background fabric in your preferred way (mine is good old dressmaker's carbon paper in white for dark backgrounds, although yellow would have been good too), the results of which you can see below.

That's it, ready for stitching and not needing to go to all the fuss of drawing it out myself.=) This really is a good method, try it and see for yourself some time.

To my delight, I found that I'd actually brought some of my goldwork threads with me - 3 colours of Bright Check (chips) and a thing of Twist, as well as the Kreinik Japans and other Kreinik cord type metallics, so I can adapt the threads and actual working of the design as well. Haven't got that far yet, will work up a stitching plan tomorrow, but the design is on the silk, which is tacked to the backing fabric ready to go in the hoop for working.=)

Sometimes kits provide the needed inspiration and materials and you can do the rest yourself. Oh, if anyone knows how to get the strong packing crease out of the middle of the fabric, please let me know ASAP!

Last night I added yet more eye candy to my blog sidebar in the shape of some of the 2007 finishes. Putting them all on would have meant that it was ridiculously long, so I dropped some of the cards and monograms. In time, I'll merge all the three years' worth of finishes into a single 'Gallery' bar, but not until I've got something to show for this year. The needlecase isn't considered a finish proper until it's made up. Many, many thanks to Margaret of NZ for kindly offering to send me the needed doctor's flannel (which I didn't see anything like whilst out at the fabric market last Friday), and also to Nic for offering to send more novels. If the postage hadn't made me feel uncomfy, I would have accepted this last offer too, but I just wanted to publically thank you wonderfully kind and generous ladies.=) Mwah! xxx

Editted to add in credits for the transformation method, Friday 11:43 am