Chapter 7: Stitchery from the rubbings

A sample is to be made using threads in one colour in a variety of different thickness and textures.
Two of my images appealed to me equally to work with.
For the purpose of this sample – to work with a range of threads and stitches and build up a variety of texture – I thought the rubbing on page 31 offered a better source.
I made a copy of a section of the rubbing and transferred the main areas on a piece of painted canvas, the same I had used for my previous samples, 16 holes per inch. I laid the canvas on the copy and painted the areas of texture with chinese white. As a lot of canvas shows through the stitches that was not the best idea, so I changed most of the areas to a blue hue later.


During my work on the sample I found I needed a sort of “map” for the different areas to look on and decide what to do as I went along. I had roughly divided the area into three categories of density: the flat areas which appear mainly dark on the copy, the areas with some texture and those with really high relief, mainly the distinct white shapes in the lower half. My “map”, the image above right, is a tracing done in three colours for these different areas. Together with the copy it provided me with a good reference.
For the areas of high texture I prepared a piece of potato net. I inserted the piece and cut away the canvas. The threads are the same I used in my former  samples.
In between I often thought of making scans of the progress, but I always put it off – and now the sample is finished, although I keep thinking I could still add a stitch here or there. But I rather think I should stop now.

The size of the sample is 9x7 inches. I think now I might have kept it smaller, although it was great fun to stitch as long as I remembered to allow myself a little freedom in the interpretation of the surface. It reminds me more of a seashore or an old map than of a stone, but I like it very much all the same. I think the different textures offer an interesting surface.
Here a few detail scans:

	I blocked in the areas with no texture in tent stitch in different directions or in darning with thin threads to let the canvas shine through. I partly worked on this ground and built it up towards the areas with some texture.
	These I worked in more raised stitches and thicker threads. I tried to echo the direction of the markings with the stitches. This was done without much planning apart from the general idea which areas belonged to which degree of texture. The really high areas, spots only, were worked in wool, plastic strips and thick cotton/viscose  knitting yarn. I partly used stitches in thinner yarns to connect the  high spots to their surroundings.

A sample “on the side” based on the tracing on page 21 (see above).

Here I have placed a sandwich of canvas and potato net over a copy of the tracing. I also painted the white areas on the fabric with chinese white. Size of the sample: 6 x 6 inches

I stitched the white areas on the fabric sandwich with thin threads in cotton and linen in different shades and thickness. Where the white background shines through I have already cut the canvas away to leave the potato net in place.

I had not yet made up my mind how to continue, so I had put the sample aside and worked on the main project of the chapter.
Finally here is an example of my working diary. I write a lot, in fact ideas and solutions often come up when I write down what I have done, what I think and what is happening around me. But it is so much I want to keep it apart from my sketchbook. I keep it in my Distant Stitch A4 folder together with the Taster Module, Sians feedback and the student’s handbook. By now I have written 24 A4 pages like this one.