Butterfly Tray !

I've finally taken a photo of something that's always remained special to me & has been in my head for many years - since I was very young in fact. I remember initially seeing it in a relatives' house a long time ago and on occasional child visits, always found it fascinating. Growing up, I never saw it again and forgot about it. Until recently ... when after a relative died, it was given to me and it was just as I remembered!!

Now, looking retrospectively over my work, I've suddenly realised that it actually had an enormous impact on how I design ... my use of colour ... the imagery I like ... my interests. I believe the item to be a holiday memento from Brazil that shows Rio de Janeiro's Sugar Loaf Mountain and is a tray (at least 60 years old) - a label on the reverse states that it is an original hand painting and uses authentic butterfly wings from the area.

The tray (above) is solid mahogany with two handles and an inlaid wood marquetry border surrounding an inner recessed glass section. It measures appx. 52cm x 33cm / 20.5” x 13" with the main ‘picture’ section (38cm x 28.5cm / 15” x 11.25”) under glass. It depicts an evening scene in Rio de Janeiro at Sugarloaf Mountain - skillfully captured using reverse painting predominantly in black and gold with sea and sky (blue, green and white) irridescence from the butterfly wing background. The tray’s reverse is also of solid wood and is screwed onto the main body underneath. A small label states: “We guarantee that this article is handpainted and that the wings used are from genuine South American butterflies.”

I've now found out more about it:

It's an early/mid-20th Century hardwood wood tea tray with central landscape scene of (mainly) water and palm trees and titled 'Brasil'. Originally (& possibly purchased as a holiday memento from South America), these trays (plus other items) were often made specially for the tourist market using Morpho butterflies (left). Found in the South American rain forests, the butterflies are captured by natives & the iridescent wings then displayed under glass. Using a technique called reverse painting, a tint is painted directly onto the back of a piece of glass that is then placed over a butterfly wing background.

The notable mountain shown is a granite peak at the mouth of Guanabara Bay – it is said to resemble the traditional shape of concentrated refined loaf sugar! On a peninsula sticking out into the Atlantic Ocean, Sugarloaf Mountain rises 396 metres (1,299 ft) above the harbour and 2 cable car lines (the earliest built in 1912) take passengers to the mountain peaks. These 2 lines together with a cable car are clearly visible in the landscape scene on this tray.

A New Year Begins ...

and Happy 2010 to everyone who reads this !

Somehow or another time is always just racing along - it would be such a good idea to box it up it so when you need more, you could just get some! This year I shall really be trying to get on top of all those outstanding sewing jobs - many which, I'm sure, will have me wondering just why I'd left them in the first place!

First on the agenda is to complete making a leather apron .... cut out but, as yet, unstitched. Then will be ............ no, first the apron ........

EQUIPMENT: Cutting Board ...

I expect you noticed that the background for some of the crib liner photos (see September - October headed as PINS .... Crib Liner) was a gridded cutting board. It's one of my many pieces of equipment bought over 20 years ago and is still always very useful.

THOROUGHLY RECOMMENDED and a DEFINITE MUST-HAVE!

It’s basically a large piece of (folded) cardboard that opens out to a full size cutting table. Photo at right shows it folded (size appx. 25cm wide x 1.25m depth) - but it can be opened out 6 times more giving you a max. total size of appx. 1.50m x 1.25m (see centre photo below).

It can be placed on the floor, on top of a bed, over a small table as well as on many other pieces of furniture that initially you are unable to use as a cutting table. It has series of pre-marked notations on it (eg. straight lines, curves, scallops, right-angles, measurements) so can be used for a wide variety of uses - including photography !! It's easily folded up so can be stored away simply plus you don’t have to open it out to full size to use it. I often use it over/across) the ironing board if/when I run out of space (fairly often!). Being cardboard, it's really light to carry and move around AND you can trace through any or all of the notations on to pattern paper.

Opened out full-size, it looks like this:

Make a Moses Basket, Crib - Liner & Covers ...

NOTE: If you want to find more about me & what I do,

click here : STITCHERYDOODAA for links into my STITCHERYDOING world !

Here's details for my making of a set of covers and liner for a Moses Basket Crib (an original heirloom dating from 1972) - see left. 

The set I've made (right) is in cream and white embroiderie anglaise fabric (cotton and polyester) and features a range of varied pattern-making and sewing techniques. If you would like to find out about making this in more detail, click here:

Make a Liner & Cover

I also made a small bag full of 'baby goodies' to match the set (below left) and as you may notice, the ribbon ties have a floral trim at their end & match those on the liner (below right).

Sewing Holdall …

One of my most useful pieces of equipment is a small zipped bag - appx. size 30cm x 20cm (see below left).
Inside it has removable loose-leaf style pages - each one having sets of individual zippered pockets. On the outside is a mesh pocket that holds a small pressing cloth and paper towel - ready for any emergency use! I've had it for many years and use it for holding all my separate small sewing 'gadgets' and accessories ... things like pins, marking tools, guides etc. It's ideal for class demonstrations (its always ready filled) as well as being positioned next to my sewing machine for constant use.


Here's the bag opened out showing assorted packets of different pins as well as a few guides and markers. Besides a tin of general glass-headed pins I have constantly on the work-table, there are many others I periodically use. Fine ones for lace, fine and sheer fabrics - long ones for furnishings or thick fabric - ones with large heads for ease of handling (eg. holding fabric in place when draping over a pre-formed shape) - heavy duty ones for denim and similar fabrics - ones with blunt ends for use with knitting.

Broomstick Crochet …

Another fascinating craft is BROOMSTICK crochet. Popular in the 1930s and 1970s, it makes lovely lace-style and delicate fabric for both garments and window furnishings.

BROOMSTICK CROCHET

The photo above, shows 2 ‘Broomstick Pins’ with corresponding crochet hooks below each one. The broomstick pins (large knitting needles, dowel or tubing) can be of any size – the larger the pin/needle, the larger the lace loop.

Simply this form of crochet is another 2-row procedure: Row 1 creates stitches (like knitting) on the broomstick – Row 2 involves using the crochet hook to group these stitches together by forming a crochet row.

It links both crochet and knitting and is ideal for anyone who wants to enhance their craft techniques. It produces a textile that is delicate and lightweight making it also suitable for baby garments and accessories.

An excellent reference book for both this and Tunisian Crochet is the 1987 publication: Exciting Crochet by Murel Kent.

Crochet equipment ...

With craft classes soon starting, I thought that this month I would show you some of the basic 'tools of the trade' ... various equipment that is used to make a wide variety of fabric and thread craft items. I'll try to include a selection of both 'large main' items as well as small and extremely useful 'gadgets'. Some, as you will see, can be used for several crafts across the range of sewing, knitting, crochet and/or embroidery.

The simple CROCHET Hook (above, lower) is used to crochet lace-style edgings, trims, buttons and garments as well as a variety of craft items. BUT some other useful 'hooks' (somewhat difficult to locate these days) can also be used for other crochet-based stitches.


HAIRPIN and TUNISIAN CROCHET

In the photo left, is a metal 'Hairpin Hook' - to the right, 3 'knitting-style needles' known as 'Tunisian or Afghan Needles'. All are used for crochet but for different types of techniques and stitches.

Hairpin Crochet: A Hairpin hook (also used for Knotting or Netting) is used together with a basic crochet or Tunisian hook). A working thread is wound over and round the 'hook arms' to form a series of loops. These are then joined together with a simple crochet slip-stitch to form a continuous looping-style lace. This lace is gradually worked along the central posts and by using the end-bar to hold in place, a long length of 'lace' can be easily made to create fabulous trims, braids, garments or other decorative items.

Tunisian or Afghan Crochet: A Tunisian hook is very similar in appearance and length to a knitting needle except that instead of a point at the end, there is a hook. At the opposite end is a 'knob' like a knitting needle and this prevents stitches falling off. Unlike crochet which has only 1 (or just a few) loop on the hook and is worked 1-row at a time, Tunisian crochet is a 2-row procedure. Simply: row 1 is formed by 'picking up' stitches (like in knitting) - row 2 is made by working back along the row in pairs of stitches, pulling one stitch through another. It is almost a 'cross' between crochet and knitting - ideal for anyone who finds it difficult to crochet (especially if they have a knitting background) or a person who justs wants to enhance their crochet techniques. It produces a textile that is firm and hard-wearing so is suitable for furnishings and similar items as well as practical 'hard-wearing' garments. It's easy to make and its appearance is not unsimilar to a type of rib.

A very good reference book is a 1973 publication: Joan Fisher's Guide to Crochet.