In the interests of keeping busy, I made a start on the cover for my sampler book.
I’ve spent a lot of time thinking about how to tackle the cover. I considered various kinds of needlepoint, cross stitch (really didn’t want to do any more of that) and a variety of seams. In the end I went for my usual style of book cover, which is layers of strips laid on a foundation fabric. I used modern, vintage and antique silk and cotton fabrics, mostly hand-dyed.
I really like old lace and ribbon, but I don’t tend to use it much. I thought this was probably a good place for it.
A couple of weeks ago I acquired a few old wooden bobbin reels – more on that later, there are plans afoot – all of which came with very old dusty thread still in place. Most of the thread was unusable, very brittle from age and light damage. But on two of the bobbins, once the outer layer of damaged thread was removed, the rest of it appears to be sound. I’ve dyed some, and have road-tested the finer of the threads on this cover. It breaks quite easily so wouldn’t be any good for sewing seams, but it seems fine for surface decoration.
As with the sampler book itself, I found myself wondering whether Ellen Mahon would like the cover I’ve made. I wanted to make it pretty for her.
I wondered about whether I should label the cover with words, whether I should stitch the words ‘sampler book’ somewhere on it. I decided not, in the end. For one thing I’m not very good at stitching lettering, and for another thing I didn’t think it needed words. I really like the way stitching conveys its own meaning without the need for words as well. I always think hand-stitching is more like writing than drawing. I often find myself recognising artists’ work by their stitching the same way I might recognise the handwriting on an envelope.
I hope Ellen would approve.