Trestles or Easels Specifications

Trestles or Easels can be made at home if you have the tools. They are an effective support for large sized rectangular or square stitching frames and for slate frames. Mine were made in a long time ago by the staff and patients in a chronic care hospital. At that time, although I knew what I wanted, I could supply neither picture nor measurements but they turned to be perfect. I will add as many photos as possible so that you can see how they are constructed and you can alter the construction as you wish. I was 5'8'' tall at the time, somewhat less now, but the size continues to be satisfactory.

1) The uprights and lower cross bars are 2" square lumber which is the finished size. The edges are bevelled and well sanded.
2) The front post is 29" high and the back post is 31" high. The lower cross bar is 30" long and the lower edge is 9" above the top of the foot.

3) The upper end of the front and back posts have a trough chiselled into them all of which are 2" deep and 3/4" wide. It would be preferable if they were 1" wide in that the upper cross bars would not then be wedged in place.
4) The upper cross bars are placed within these troughs and they support the stitching frame itself. They are made of a wood that does not warp and are 3/4" wide, 3/4" inch deep and 37" long. The sloped surface for the frame is efficient and comfortable for stitching.
5) The feet are each 12" long and 1 1/2" wide. Each of them has two extra pieces of thin wood added to their under surface to lift them off the ground a little and to level them. They are stable on carpet.

6) To return to the upper cross bars, at RSN these were thin pieces of wood like haberdashery yardsticks. The outer ends had holes drilled in them at regular intervals. The sides of the troughs in the uprights also had holes drilled into them. A cotter pin could be placed through the three holes thus allowing for the upper cross bars to be height adjustable. The cotter pins were tied to the trestles with string preventing them from being frequently lost!!

7) The front support for the stitching framed is 3/4" wide, 1/2"deep and 42" long. This is really longer than is necessary and it is likely something shorter would suffice here. Though, if your frame was really wide you would need longer support bars to accommodate the width.
8) The lower cross bars are held in place by a long screw, washers and a wing nut. The wing nuts are on the outside of the frame where there is no question of scraping a leg on them. This means that the frames could be dismantled but I have never done this.
9) The wood has never had any finish put on it. I wipe it with a damp cloth occasionally.
10) Then I added a couple of extra items which I find to be really useful.

The first is the addition of a piece of old lumber that is 8" wide, 3/4" thick and 33" long. I place it across the far end of the trestles/easels where it serves as a shelf and supports the far side of the frame. On it I place a stitching light. I have one with two adjustable arms with a light shade and bulb on each arm. One arm has a Daylight bulb in it and the other has a regular 100 watt bulb. The dual bulbs eradicate shadows and give me a good working light. This light fixture is decades old and you might now need two separate lights for the same benefit.

Supplies and tools can live on this shelf where they are handy but not in the way. It would be even better if the shelf was covered with a non slip surface such as felt.

The second addition is an electric socket attached to one of the upright posts. This means that the cord for the table lights does not get pulled and that I can attach the whole setup to an extension cord. I sit on a comfortable, height adjustable office chair with good back support but without arm rests. A footstool adds to comfort and eases any pressure on the nerves and circulation in the back of the leg. I find this whole set up to be extremely satisfactory and very comfortable. We have cats and they can decide that my stitching frame is a comfortable place for a nap. I place crossed yardsticks on top of the covered (using a towel or sheeting) surface of my stitching. This seems to be an adequate deterrent.

If you would rather purchase trestles/easels already made, Mary Corbet knows of a supplier.

If you visit the following website, the Unbroken Thread by Kathy, you will find an entry in the Older Entries entitled Friends at RSN. The fifth photo in this entry shows the details of modern easels. You will notice that the front posts are high and are drilled to allow for height adjustment. This is not necessary if you will be the only person using the trestles. You will also notice that the frame is placed directly on the side bars without the addition of the far shelf for a light and tools and also without that front bar that supports the edge of the stitching frame that is nearest to you. This means that the width of the setup is controlled by the width of your stitching frame. With the addition of the front bar allows the space to be as wide as you wish or is convenient for you.

http://www.theunbrokenthread.com/blog/

And one final photo which I hope will explain everything!

Have fun and wishing you Happy Stitching.

Please email me if you have questions or comments.

Royal School of Needlework - Part Three

It is more than time to return to my account of being a student in the 1950s at the Royal School of Needlework. Part Two is dated March 25, 2013 and available for you to establish continuity.

On Friday, April 6, 1951, The Times Educational Supplement published a full page article called the Tradition of "Opus Anglicanum". After a brief historical review, the article continues to describe the syllabus and experience of the course and then mentions employment opportunities. A press photographer took some photos and three were published. This first photo was not one of those published but is the only one that I have in my possession. Efforts to obtain better quality prints of the others have been unsuccessful so we have done the best we could with a scan of a 60 year old newspaper page.

This first photo was staged and is thus not a realistic scene. For instance, we did not sit in a row. The first stitcher on the right and the furthest stitcher were older and had started a few months before the other three of us. This is evident in that they are working on the third sampler which was Crewel work. The nearer of the two young ladies stitching their second sampler is Gillian Cox and to her right is Carmel Leibster. The student stitching the sampler loose in her hand is me. And no, I do not recognize myself either! Both Gillian and Carmel are stitching on their own frames while I was given the work of an unidentified student to give the photos more variety. In reality, I was at that time stitching the same sampler as Gillian and Carmel. And we all hated that tedious piece of applique on which we learned to stitch accurately and with totally even spacing. And we also learned to stitch fast. If you watch the videos made by Erica Wilson, you will see how quickly she works. Note that our trestles (or easels) are ancient. We stitched with our work covered (like a surgeon) and not uncovered as is indicated. Carmel's protective cloths are folded and hanging on her trestle. Gillian has hers protecting the edge closest to her which is the part most likely to be snagged by leaning on it. Old white cotton sheeting is ideal for protection cloths. It does not need to have finished edges but it is desirable to launder them occasionally. Gillian now lives in the eastern USA, I am in Canada while Carmel remained in London. The parquet floor and panelled wall are original but the hot water radiator is probably a more recent addition as the house was built in the 1850s.

This is a general view of the classroom. Note that the students are sitting in a random manner, the normal layout. What is not normal and staged for the photographer is that the frames are uncovered. The student on the left is stitching on her goldwork sampler. Note how much larger is the frame and fabric when compared with our beginner samplers. Many types of embroidery can be rolled around the roller bar using extra fabric for padding and protection. Because of the padding within the motives and the desirability of not disturbing the gold thread in any way it is not possible to do this with goldwork hence the frame gets larger and larger.

A closer view of the student working on her goldwork sampler. All students first stitched the three emblems at the top - a pomegranate, crown and fleur de lys. The remaining three to six items on the sampler were our own design. This was a third year project and demanded a lot of time and skill to complete the technically demanding designs that we were inspired to create. Note the size of the frame and fabric when compared with our beginner samplers. She would have stitched the upper three motives with the extra fabric rolled onto the roller bar at the base of project. Having completed these, the fabric would have been unrolled giving access to the middle of the design. When that was completed she would have unrolled the rest of the design. Many types of completed embroidery can be rolled around the roller bar using extra fabric (such as sheeting) for padding and protection. It is not possible to do this with goldwork hence the frame gets larger and larger. Notice, too, that she has two spools of gold thread. Japanese gold is couched down in pairs. Having two spools means that the twist on both threads is the same allowing the gold thread to reflect light in the same way. As goldwork is all about light reflection this is the correct way to do this and it does make a difference to the finished piece. It would appear that she has included some silk shading in this dramatic and ambitious piece. I wish I knew her name.

Goldwork or Metal Thread Embroidery as it is often called, is a wonderful medium in which to work and I am glad that I had just enough time to include this in my studies. I do have my sampler but it is simple compared with the one in this photograph. I had three weeks to complete the whole thing before leaving to move on to college. It had to be simple and manageable in terms of the number of stitches needed. I love teaching goldwork though my students are encouraged to choose designs that are more contemporary than traditional. Even so, we all continue to use the techniques and skills that have been used since medieval times and even before. Goldwork had reached a high standard of technical expertise several centuries ago as is evident in Opus Anglicanum found in the Syon Cope and other works located in such places as Durham Cathedral and museums.

Our principal and senior teacher was Marguerite Randell. She is indicating a detail to the student who is one of our two older stitchers. Note that the protection cloths are hanging on her trestle and that she is stitching with one hand on the top surface and one underneath. Stitching this way is how the professionals do it and it helps with speed and accomplishing the project in a cost effective manner.

Marguerite Randell (1881 - 1955) was a superb teacher. She wrote three very detailed books on stitching: Simple Embroidery, More Simple Embroidery and Plain Sewing. All were published by Cassell and Company, Limited. These small, thin books contain a mass of information with detailed and accurate diagrams. I recommend them to serious stitchers for whom accurate information is more important than beautiful colour photography. I have originals but they have been reprinted and are available through AbeBooks.com. 1952 was her last year of teaching after which she worked in the workroom on commission pieces. She seemed very elderly to us young ones and she certainly did work long after normal retirement age. She was a gentle and gracious lady who knew exactly how to do everything. Erica Wilson acknowledged her as "my first teacher, who knew more about needlework than anyone I’ve ever known - the late Marguerite Randell".

Both Gillian Cox and myself echo this sentiment wholeheartedly.

Creative Use of Stitches

Meet Frances Fordham. Frances is a friend and a neighbour and has embroidered, quilted and rug hooked sort of forever. She always stitches flowers but look at these flowers closely and see the detail and how effectively she has used the stitches.

This first one is Running Stitch and French Knots. Frances finished each piece as a quilting square and then joined them to create a table runner.

The Lilies are stitched with Chain Stitch and variations.

The Pansy is stitched with Stem Stitch and variations, Cross Stitch, Herringbone Stitch and Threaded Back Stitch.

This last one is a Single Dahlia. The stitches are Buttonhole Stitch and variations, Cretan Stitch, Herringbone Stitch, Fly Stitch, Stem Stitch, Chain Stitch, Satin Stitch, Long and Short Stitch, Rumanian and other Leaf Stitches.

The threads Frances used were DMC Coton a Broder and Clarks Anchor Floss with a few extras included as needed.

Accordion Book Stitched On Blue Linen

Judy Eckhardt was a member of our class in Guelph earlier this year. I have pleasure in sharing some of her work with you. Judy teaches machine embroidery and quilting but had not been using hand stitching creatively. This class was an opportunity for her to become acquainted with the huge variety of embroidery stitches.

All her pieces were stitched on fine handkerchief linen which she dyed herself. She used Treenway Silk threads wherever possible adding DMC Floss to add a needed colour. She made her pieces into an accordion book.

Blue is Judy's favourite creative colour and, like Barbara Lee, she chose the challenge of working predominantly with blue on blue plus other colours in a congruent range of tones.

Chain Stitch and Variations plus Sorbello Stitch and Split Stitch

Cross Stitch, Stem Stitch, Outline Stitch and Turkey Work
You can see on this one how Judy finished her pieces and assembled them into a book.

Spider Wheels, Couching and Herringbone Stitch

The back cover of the book features Trellis Work and French Knots

To my surprise, Judy used no machine embroidery anywhere in this project.

Leaves to Love: Part 2

Hi. I’m Barbara Lee. Ann asked me to write up some notes for the next set of my leaves that she has posted. As a realist painter, I have wondered just how to render realistic images in thread using something other than long and short stitch. As I learned the different stitches and how they could be used, I was thrilled to discover I had lots of stitching options to choose from.

Black Willow uses a variety of chain stitches as well as sorbello. I used perle cotton on hand painted fabric. I drew the leaves on the fabric before stitching. However, due to the open nature of zigzag and feather chain, the penciled center vein shows on these leaves. Word to the wise: be careful where you put your lines on your fabric!

Sugar Maple combines fabric and stitch. The leaf itself was cut from hand painted fabric, ironed on with a 2-sided interfacing, and outlined with a running stitch. The wing portion of the maple seed is buttonhole stitch; the seed portion itself is padded satin stitch; and the two sides of the seed are joined with split stitch. Split stitch is also used in the branches and border.

Leaf Collection is made up of a variety of different leaves stitched in various leaf and trellis stitches on hand painted fabric. Stitches include: laid work, fern stitch, fishbone, Roumanian couching, stem stitch, and trellis. The Battlement couching (the multi-coloured trellis leaf) was a lot of fun.

And, last but not least, my just completed piece, Chain Oak. I had a lot of fun with this piece. It’s plain chain stitch but I used a variety of different threads: DMC floss and perle cotton, crochet cotton, Persian yarn, Merino wool, and other wools in both solid and variegated colours. The different weights of the threads made for a very textural piece.

I had a lot of fun with this class. And I have many, many more leaves (and flowers and fish and…) that I would like to stitch using the different techniques I learned this past winter.

Thanks for a wonderful class, Ann!

Leaves to Love: Part 1

Barbara Lee Johnson was a participant in the Creative Use of Stitches class in Guelph, Canada. She chose to use the stitches to portray many different kinds of leaves. Mostly, she stitched green on green. We all know how difficult it is to stitch the same colour fabric and thread. They can result in a camouflage effect but not here. She has already completed eight different samples and has plans for many more. She is as yet undecided on how to present them as a congruent whole. Barbara Lee has a background in art and art history. She does a lot of beading and I was surprised that she did not included beading in this project.

This first one is of Walnut Leaves using Running Stitch and variations with French Knots. The fabric is Quilting Cotton hand painted with Colour Vie pigments. The threads are DMC Floss and Perle Cotton.

The background of this piece is 11 Count Aida Cloth with Running Stitch using variagated Merino Wool leaving the sturdy Oak Leaves as open and negative spaces. The outlines of the leaves are done with Whipped Running Stitch.

Weeping Willow Leaves are portrayed with variations of Stem Stitch and Cross Stitch on painted fabric. The downward flow of a willow branch is most effectively displayed here. These samplers are as yet unpressed and unmounted and this accounts for the wrinkling in the background.

The Maple Leaf is stitched with Buttonhole edging while the body of the leaf is Cretan Stitch. This picture is a photo rather than a scan which is why it has not reproduced so well.

Creative Use of Stitches: Part 4, completed

Here is the completed sampler. It is stretched onto a wooden frame and backed with white felt. A pocket for provenance papers is stitched onto the backing. The completed sampler is large, 31" x 19 ", and that is big. Although I do not think it is beautiful, it does what was intended; it is a sampler of the basic stitches of embroidery and their variations. I will put it away for six months and my eyes will then see it fresh and objectivity becomes possible.
The background details were fun to conceive and stitch. They were essential to bring cohesion to these wildly different siblings.

Here is a Whipped Spider Wheel. The spokes were lengthened with Straight Stitches which also held the cording in place. Then add some beads.

Cabled Stem Stitch: I like it better than Cable Chain.

A Lovers' Knot!

Single Coral Stitch and Chain Stitch, both with two threads in the needle. Coral Stitch is used to couch a circle of sampler fabric and then add some really large French Knots. That used up all of that wool or else I would have used it again elsewhere. It is also included in the Running Stitch sample.

Whenever we are being creative, our imagination and ability take a step forward on the road to creativity. It is a road without end but, for all of us, it does have a sharply defined beginning. For a student working on a project such as this, all will create differently even though the stitches are the same. Their experience comes together with their taste, colour choice and available materials. The world of textile creation is a wonderful one with unending space for creation and with room for everyone no matter where they are on their journey. The next time I teach this project, it is inevitable that all the students, myself included, will produce a totally different creation than anything produced now.

I hope you have enjoyed visiting this project. Next, I will post samplers from my students.

And that, said Pooh, is that.