Whitework embroidery is something I really love and have loved since I was a teenager doing Hardanger. Today's giveaway is a set of cream silks for someone doing something wonderful in whitework!
If you are interested in the four skeins of Soie Cristale, here is how you can get in on the drawing:
1. Email me at email@example.com
2. CREAM in the subject line
3. Your address in the body of the message so I know where to send it!
Send it by midnight EST Dec 17th.
This January I am starting a session of my 17th Century Whitework Samplers course for 18-months. It is a very comprehensive class looking at all the techniques used in these types of band samplers as well as punta in aria works for collars and cuffs of the period.
The course is a mix of learning techniques, projects and designing your own whitework band sampler. You are given enough materials to work one to three small pieces of linen with trial stitches so you can feel confident with techniques and material choices. Then there are two sampler projects, each with one band of reticella to explore a mixed colored counted work band sampler with the cutwork. One is based on a sampler from the Winterthur Museum collection and the second is inspired from a favorite piece of mine in the collection of the Cooper-Hewitt National Design Museum. This piece is a unique example of colored silk threads being used for reticella and I think it is a unique project that combines ease of sight because of the colored threads but also technical challenges to hide the color changes and thus it provides a master class in this reticella technique on the whole.
The third project is a punta-in-aria length of lace. A fourth project can be worked, a band sampler of your own design based on all the materials we will be looking at, provided patterns, and the real 16th-17th century pattern books. In order to do this, the course is taking on the unique challenge that presented the 17th century teacher/embroiderer - the geometry and math of this type of work. When looking at band samplers, we will find that often the pattern didn’t quite fit the chosen width of the sampler the person had chosen to make and that had consequences that had to be filled in or not. It could make for awkward spots in an otherwise stunning piece. I wanted to solve that and answer the questions of how to scale the patterns, how wide to work the bands, over what count and if you were working all these bands with disparate scales of withdrawn threads, how to make them all fit exactly in the boundaries of the sampler without excess room left over in the band.
The course includes detailed photographs of at least five samplers to illustrate techniques. This will be augmented by Pintrest boards to go with the course as both a general reference and specific references in the course text to illustrate points.