Comments on: Borage http://www.plimoth.org/embroidery-blog/2008/07/09/borage/ The blog for Plimoth Plantation's 17 Century embroidered jacket project. Tue, 15 Dec 2009 02:44:23 +0000 http://wordpress.org/?v=2.9 hourly 1 By: Nicole Roussos http://www.plimoth.org/embroidery-blog/2008/07/09/borage/comment-page-1/#comment-1838 Nicole Roussos Mon, 14 Jul 2008 00:13:34 +0000 http://www.plimoth.org/embroidery-blog/2008/07/09/borage/#comment-1838 Okay, okay! I am properly chastened. :-D The sample's in the mail; should get there Tuesdayish. Okay, okay! I am properly chastened. :-D The sample’s in the mail; should get there Tuesdayish.

]]> By: coral-seas http://www.plimoth.org/embroidery-blog/2008/07/09/borage/comment-page-1/#comment-1831 coral-seas Fri, 11 Jul 2008 09:28:22 +0000 http://www.plimoth.org/embroidery-blog/2008/07/09/borage/#comment-1831 Hi Jill, I have nominated this blog for the "Arte y Pico" award. Please do not feel obliged to pass on the award, I simply wanted to acknowledge how inspirational I find this blog, the project and all those who have contributed, even if only through comments on here. CA Hi Jill, I have nominated this blog for the “Arte y Pico” award. Please do not feel obliged to pass on the award, I simply wanted to acknowledge how inspirational I find this blog, the project and all those who have contributed, even if only through comments on here.

CA

]]> By: Robbin Douglas http://www.plimoth.org/embroidery-blog/2008/07/09/borage/comment-page-1/#comment-1825 Robbin Douglas Thu, 10 Jul 2008 00:11:48 +0000 http://www.plimoth.org/embroidery-blog/2008/07/09/borage/#comment-1825 Please, let me agree with Jill that your stitching (or your lace!) is not being judged. Some samples aren't even complete because people didn't like some of the stitches. Tricia has said (and I think she's said it here, she's certainly said it in person) that it's the experienced embroiderers who worry about their work not being good enough. There are people who've worked on the jacket who've never done surface work before! But they've been interested, tried the stitches, and been encouraged to work on the jacket. And they're a lot less afraid of it than some of the most experienced stitchers. Heck, we had to badger Jill into working on the jacket. At the last session this woman was walking around and stitching at the same time on detached pieces and I think it's probably hard to pry that hoop out of her hands by now. In addition, there's really a variety of tension on pieces on the jacket. It even exists within some of the motifs because one person starts something but they might not be the one to finish it. But it doesn't mean it's good or bad, just different. You see it when your nose is up against the work, but when you hold it away from yourself it's not what catches the eye. Everyone's work will be just fine. Add sparking gold braid and other gold bits and gold and silver lace and put it in a case and people are going to be amazed and dazzled by the beauty; they will never see and never say "Hmm, Robbin had really lousy tension on her buttonhole stitch there." (Of course with the gold the consistent tension is much more important because the braid is continuous and really what catches the eye. But the motifs are separate and as Jill said, there are lots of other places the gold will happen, too.) They really do use the samples to see what you do well. I was at the first session and Tricia said to me "You do good ceylon stitch. Here, work on Thistle leaves." Karin really likes the trellis stitch and worked lots of bug bodies. Seeing the samples helps them match your tension to something that might be mirrored on another prominent piece, or decide you would work well to finish a started piece because your tension is similar to someone else who started that piece. But there aren't any awards and no one is going to be booted out. There's just a lot of stitching to do and a wonderful sense of accomplishment when you work on something and look and say "I stitched that" and "I did my small part in making this jacket come into being". It really helps to be there for a few days because you get the rhythm of things and you stitch more confidently. Not to mention there are so many things to be learned from fellow stitchers and the wonderful 'instructors'. And even if you can't come and stitch, send in your sample. They'll be part of the exhibit and a way for people to see how things worked, as well as a permanent part of the Plimoth documentation on the project. If I sound like a fanatic, I'll admit it. I've never enjoyed a project as much as I've enjoyed being part of this. I can't imagine something so unique happening near me again. I spent a wonderful peaceful birthday stitching there last year and as many vacation days as I can dig up. I know I'm lucky that I'm close enough to get there more than once, but believe me, those of us who have come multiple times aren't taking space away from others. There's a lot of stitching and a lot of lace still to be made and you're really missing out on something if you have the opportunity to try this out and pass it up! Robbin Please, let me agree with Jill that your stitching (or your lace!) is not being judged. Some samples aren’t even complete because people didn’t like some of the stitches. Tricia has said (and I think she’s said it here, she’s certainly said it in person) that it’s the experienced embroiderers who worry about their work not being good enough. There are people who’ve worked on the jacket who’ve never done surface work before! But they’ve been interested, tried the stitches, and been encouraged to work on the jacket. And they’re a lot less afraid of it than some of the most experienced stitchers. Heck, we had to badger Jill into working on the jacket. At the last session this woman was walking around and stitching at the same time on detached pieces and I think it’s probably hard to pry that hoop out of her hands by now.

In addition, there’s really a variety of tension on pieces on the jacket. It even exists within some of the motifs because one person starts something but they might not be the one to finish it. But it doesn’t mean it’s good or bad, just different. You see it when your nose is up against the work, but when you hold it away from yourself it’s not what catches the eye. Everyone’s work will be just fine. Add sparking gold braid and other gold bits and gold and silver lace and put it in a case and people are going to be amazed and dazzled by the beauty; they will never see and never say “Hmm, Robbin had really lousy tension on her buttonhole stitch there.” (Of course with the gold the consistent tension is much more important because the braid is continuous and really what catches the eye. But the motifs are separate and as Jill said, there are lots of other places the gold will happen, too.)

They really do use the samples to see what you do well. I was at the first session and Tricia said to me “You do good ceylon stitch. Here, work on Thistle leaves.” Karin really likes the trellis stitch and worked lots of bug bodies. Seeing the samples helps them match your tension to something that might be mirrored on another prominent piece, or decide you would work well to finish a started piece because your tension is similar to someone else who started that piece.

But there aren’t any awards and no one is going to be booted out. There’s just a lot of stitching to do and a wonderful sense of accomplishment when you work on something and look and say “I stitched that” and “I did my small part in making this jacket come into being”. It really helps to be there for a few days because you get the rhythm of things and you stitch more confidently. Not to mention there are so many things to be learned from fellow stitchers and the wonderful ‘instructors’.

And even if you can’t come and stitch, send in your sample. They’ll be part of the exhibit and a way for people to see how things worked, as well as a permanent part of the Plimoth documentation on the project.

If I sound like a fanatic, I’ll admit it. I’ve never enjoyed a project as much as I’ve enjoyed being part of this. I can’t imagine something so unique happening near me again. I spent a wonderful peaceful birthday stitching there last year and as many vacation days as I can dig up. I know I’m lucky that I’m close enough to get there more than once, but believe me, those of us who have come multiple times aren’t taking space away from others. There’s a lot of stitching and a lot of lace still to be made and you’re really missing out on something if you have the opportunity to try this out and pass it up!

Robbin

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