Catching up with Jean Dix
… after the conversation ended, I continued doodling on my paper
Mary Will Follow Along with Photos
submitted by Mary Wahl I have lived in Canmore, Alberta (about an hour west of Calgary in the Rocky Mountains) for almost five years. Before that, I lived in Toronto and was a devoted member of the Toronto Guild of Stitchery for many years. I remain a member of EAC/ACB. I was one of the lucky ones to receive an issue of Giuliana Ricama magazine. I have been thoroughly enjoying the pictures of beautiful embroideries with photographic instructions in the issue. I have had some difficulty understanding the written instructions. This includes materials lists where I could not translate fabrics and thread requirements to the supplies readily available here. However, I can do a lot with pictures. I love the little Italian dolls. I am a cloth doll maker and may allow them to inspire me in the not too distant future. It was easy for me to relate to the article by Kiyoko Miyagoshi, which featured the chrysanthemum pattern for temari balls. That was the first pattern that I learned how to do with EAC/ACB member Peggy Kimble years ago. Since then, I have made many different patterns, most quite complicated. I have included some in my photograph. I purchased a Japanese book of temari patterns in Matsumoto, Japan, where temari balls are sold in the castle and are featured in the sidewalk grates! I cannot read the book but all I have to do is look at the pictures. I prefer using Styrofoam balls in order to have fairly perfect spheres. The size of the balls does not matter – everything is proportional. I fit them with quilt batting or something soft before winding on the background colour thread. The Japanese like to use all sorts of bits, fabric and otherwise, to form their balls.
Michele Would Choose Casalguidi
My name is Michele Young and I live in southern Ontario. I was delighted to be a winner of a copy of this high-quality needlework magazine, Giuliana Ricama. The contributors’ works are displayed in such a way that I immediately want to find a needle and thread and begin working on all of the projects. The pictures are gorgeous and the instructions and traceable designs make this magazine a fantastic resource and a treasure. It was hard to choose a favourite project, but I decided upon the Casalguidi centrepiece with tassels because it contained many traditional, but new to me, stitches I will enjoy learning. The project I am working on in the photo is an Alison Cole goldwork and stumpwork design, both new techniques for me, until I took her class at the EAC/ACB seminar in 2018. I will enjoy sharing this magazine with the members of my guild but will take careful note of who borrows it because I will definitely want it back. Thank you for the prize and for the opportunity to review Giuliana Ricama.
Lexa’s Thoughts on Giuliana Ricama Magazine
submitted by Lexa Shaw, Embroiderers’ Guild of Victoria I was quite surprised to win a copy of Giuliana Ricama magazine. Another member of my guild was also a winner. She is now looking into the possibility of ordering the magazine as a group rate. I took the issue to my stitch group to show them. I am sitting at the end of the table and the others are some of the group which meets on a weekly basis. This is an interesting magazine. It is organized quite differently from the North American/British ones I am used to. There are multiple examples of how each of the “projects” could be done. The explanations then give a very basic description of the pattern needed. There are also a couple of techniques that are described in detail. The articles are very interesting and informative. There appears to be many more “schools” teaching traditional embroidery than here. Overall, this is a lovely magazine that is aimed at the confident stitcher. The diagrams are clear and easy to follow. My favourite item to stitch would be the Colours of Versilia used in the African women project. This magazine will now be circulated in the guild for other stitchers to peruse.
Under the Old Oak Tree
submitted by: Carol Gordon, Membership, Vancouver Guild of Embroiderers We’re calling our summer stitching group Under the Old Oak Tree. Just thought I would show you what our Vancouver Guild does during a very hot day (every second Tuesday) and safe-distancing during the Corona virus. Bring your lunch, a chair and some stitching. What a way to live in glorious Vancouver (not that we’re bragging or anything). So we now have our meetings figured out until the weather changes. We only wish we’d thought to do this during the summer years ago. And what a great way to encourage stitching and encourage friendship! Find out more about what the Vancouver Guild of Embroiderers is up to on their website.
Adele Tells Us about Giuliana Ricama
submitted by Adele Mandryk My name is Adele Mandryk and I live in western Canada in the city of Edmonton, Alberta. What a delightful surprise to learn that I had won a copy of Giuliana Ricama. So far, I have read the magazine twice and was thoroughly entertained both times. I particularly enjoyed reading the article on Casalguidi embroidery as I have often wondered what exactly it is that makes this form of whitework, ‘Casalguidi.’ Aside from explaining the history and characteristics of this very old technique, the article illustrated the particular stitches used and then a companion piece showed how various Italian embroidery clubs are modernizing this traditional technique. A bracelet, a purse and a pair of shoes featuring black Casalguidi embellishments on ecru ground fabric were stunning. I was also quite taken by a pair of curtains stitched using coloured threads and the Caterina de’ Medici embroidery technique, a form of counted work on very fine linen fabric that I had not heard of before. This magazine is translated from Italian to English and poses a bit of a challenge in understanding some embroidery terminology used in project instructions. For instance, in one article, ‘cord’ was used for the more commonly used word ‘thread’ which was a bit confusing until I realized my mental picture was ‘off.’ However, there was a certain amount of satisfaction in ‘googling’ unfamiliar stitch names and finding, in one case, that it was merely the buttonhole stitch ‘dressed up’ as the festoon stitch. I very much enjoyed the gentle mental exercise required and the excellent close-up photography helped. This magazine is more than just a project magazine. It offers historical context and insight into modern-day Italian embroiderers. In the photo, I am holding my first attempt at counted needlepoint embellished with silk ribbon embroidery. The project, called ‘Fuchsias and Champagne,’ was designed and taught by Merrilyn Heazlewood through the Embroiderers’ Association of Canada/Association Canadienne de Broderie. I plan to finish it as a bell pull and gift it to my Mother on her birthday. Thank you to EAC/ACB and the publishers of Giuliana Ricama for the opportunity to add a beautiful embroidery magazine to my library that I know I will come back to many times.
Meeting During Covid-19
Semiahmoo Guild of Needle Arts met regularly on the 1st and 3rd Monday of each month at the White Rock Public Library. When the library closed due to Covid-19, we felt a loss in our lives that was quite profound. Our last get- together was February 17, 2020. We met once after that at one of the members’ homes before the full lockdown came into effect. We kept in touch with occasional emails; however, it wasn’t until two of the members started to meet for coffee, and the restrictions were loosening, that we realized we could actually meet as a group, with proper social distancing. A local park had lots of flat, open space and trees for shade. It seemed like a perfect solution to our dilemma. A sunny day was chosen, a time set, a “what to bring” list sent and then it all fell into place. Eight of us showed up and we had a lovely time! Many brought stitching to work on, and while not a lot of that was done, works in progress were shared for everyone to see. For the most part, our morning was used to catch up with each other. Talk abounded about what we were doing with our time, books read, TV shows watched, cooking and baking accomplishments shared. We watched a group doing a Tai Chi class nearby. There was some talk about politics of course, but mostly we talked about our lives. We have scheduled another park get together, and this time some stitching may actually take place. It is a way of convening that felt safe for everyone involved. It was a wonderful way to stay connected with people who love stitching but don’t always schedule time in their days to do it. This kind of meeting gave us the social connections that we were missing, as well as time to create.
Issue 33 of Giuliana Ricama
submitted by Joyce Gill I was really pleased when I heard that Giuliana Ricama was going to be produced in English. I have several past issues in Italian that I love to browse. The projects are inspirational, and I feel that I could accomplish some of them using the diagrams, even though I do not know the language. Issue 33 in English does not disappoint. The millefiori flowers are exquisite. The Springtime Easter Eggs are really lovely. The Reticella project opens up new worlds to me. So far, I’ve only browsed and dreamed, but I know that one of these three will be on my to-do list very soon. Italy is halfway around the world from my home in Atlantic Canada, but the magazine is a doorway to the artistry of a new fellowship of needleworkers.
Wearable Art: Town Clock Stitchers
submitted by Jean Hughes, Town Clock Stitchers, Halifax, Nova Scotia There was a time when embroidery on clothing was all done by hand. Today we frame our work, create wall hangings, cushions, needle books and many other “things.” Wouldn’t it be nice to create something special that we can wear? Town Clock Stitchers is a group of talented stitchers with different skills and interests. We challenged each member to create something with only one requirement – it must be wearable. It could be a piece of clothing, a bag, a hat, shoes, etc. Members brought clothing ideas to our meeting and we shared ideas and the process of transferring the design. An excellent source of ideas was our collection of Inspirations magazines. Janet: My project is a monogrammed nightshirt. It is a design from Mary Corbet’s book, Stitch Sampler Alphabet. It uses DMC cotton floss and a variety of surface stitches. A very special nightshirt! Beverly: The little pink handbag is totally hand made, except for the pretty flower button. The body is done in the stocking stitch, and the handle is a double I cord made. The lining inside is hand-stitched. A little girl could wear her purse over her shoulder, or her Mum could wear it on her arm. Marie: The embroidery patterns on my hat are from the book Patchwork Loves Embroidery by Gail Pan. The embroidery floss is by Jenny Hart at Sublime Stitching. Annemarie: I got the idea to do an apron from one I inherited that has machine embroidery on the band, pockets, and along the bottom. In searching the Internet for pattern and design ideas, I came across a cute white apron with red applique. I also found the free blackwork heart pattern in an article by Karen Creftor. Karen added a contemporary twist by working with red instead of black. I thought, why not do white with blue, like the Delft blue pottery my family brought with us when we immigrated to Canada in 1957? And with that came the thought to cover my apron with blue hearts. In keeping with the notion of creating something from supplies on hand, I used various blue threads saved from previous projects. Once I completed the blackwork heart, I moved on, designing as I went along. For each heart, I used a different stitch. The band is covered with hearts in a single cross stitch, also known as a sampler stitch, using variegated threads. The second pocket heart is covered with a detached stitch, more commonly known as the lazy daisy stitch, in three blue tones. The same blue tones were used for the hearts along the bottom. From left to right, they are covered with: triangle filling stitch, double blanket stitch, upright cross stitch, star stitch, woven cloud filling stitch, chain and line stitches, and a square laid filling or trellis stitch. Overall, designing my own pattern was a very satisfying experience. Melissa: I have always liked Macintosh roses, and it’s been in the back of my mind to stitch something for a while. The wearable art project gave me the incentive to finally settle on a design. I searched Pinterest for Macintosh style roses and found a line drawing to trace. I printed the design onto Sticky Fabri-Solvy and adhered it onto a plain white t-shirt I picked up at Michaels. This allowed me to put the t-shirt in a hoop. I used a chain stitch throughout, and when I finished the stitching with DMC floss, I decided to sew on green sequins I had in my stash. Jean: The bead embroidery on the vest is my own design and just grew from a table covered with beads. I started with a cabochon and stitched a peyote bezel around it. I added rounds of beads using a beaded backstitch, adding two beads at a time. There are crystals, fire polish faceted beads and seed beads. The fringe is a simple fringe stitch with a repeating pattern. It looked a little bare, so I added the groupings of a single round bead surrounded by seed beads. Lisa: I really enjoyed the whole experience involved with making my slippers. It was part of a history course I took at Dalhousie, and so I learned a lot about indigenous textiles and women’s history together, which was very interesting. Dr. Lisa Binkley was the instructor and is Anisshnabe herself. I chose the sun, moon and star motifs because I learned how important the role of the cosmos played in the spiritual and cultural life of Indigenous peoples all across North America. Traditionally the moccasin felt “vamps,” as they are called, were just beaded, and the instructor provided the class with a floral pattern to follow, but I saw these as a natural vehicle to also include embroidery, so I asked her if it was okay if I tried something of my own design. I made up the sun design with glass seed beads and a Kreinik Japan variegated gold metallic thread as I went. Portuguese knotted stem stitch for the embroidery outlining the sun and the centre part of the rays. The moon and stars are loosely based on a pattern I saw in Inspirations magazine, Moon Dance, designed by Susan O’Connor, Victoria, Australia. I used what materials I happened to have in my own stash. Moon and stars are glass and silver Miyuki beads, bugle beads, silver Kreinik metallic braid, and Portuguese knotted stem to outline the moon. The slippers are made from moose hide, sinew, felt vamps (not wool), polyester fleece lining, and rabbit fur edging. The hide, sinew, and fur came from Dr. Lisa Binkley’s Anisshnabe home reservation in Ontario. Group Tote: Looking forward to Seminar 2020 to be held in Halifax, we were anxious to create something unique that we could take to workshops that would represent Town Clock Stitchers. The perfect solution was a tote bag with our logo. The bag is based on a pattern by Gina Allen at Ginabean
Who has a Giuliana Ricama Magazine?
Thank you to the publishers for contacting EAC/ACB to help with their launch of the new English version of this beautiful magazine! Check the Giuliana Ricama website for more information. Ten lucky EAC/ACB members’ names were drawn to receive a copy of Giuliana Ricama. We only wish that we had enough copies for all who entered. Joyce Gill – Lady’s Slipper Needle Arts Terri Briggs – York Chatelaines Lexa Shaw – Embroiderers’ Guild of Victoria Mary Wahl – National Member Elizabeth Naculich – International Member Sheila Anstey – St. John’s Guild of Embroiderers Marnie Sholdice – Calgary Guild of Needle & Fibre Arts Adele Mandryk – Edmonton Needlecraft Guild and Virtual Threads Bonnie-Lynne Ceriko – Embroiderers’ Guild of Victoria Michele Young – Toronto Guild of Stitchery Sheila says, “I was so pleased to be one of the winners of this beautiful magazine. It is a lovely, well-photographed magazine, and one I will enjoy doing projects from. I have already started one of the eggs, and hope to do the other egg designs. The little bags and the floral embroidery on the curtains and table runner are all designs I really would like to try in the future.” You can stitch the eggs just like Sheila. You can find free charts for the four eggs and a few other charts on the Guiliana Ricama website. Have fun Sheila!
2020-21 Board Meetings
The dates of the upcoming board meetings have been set. Any member is welcome to attend. Sunday, September 13, 2020 – 2 pm eastern time Sunday, November 15, 2020 – 2 pm eastern time Sunday, February 7, 2021 – 2 pm eastern time May 17 and 18, 2021 – Richmond, BC If you’d like to attend, please email the president for your invitation.