My favorite way to transfer an outline is to wait until the sun comes around to my living-room window, then I tape the paper with the design to the glass and the ground fabric to the paper. I get out a fine-point Pigma pen and in a little while, I’ve got the design on the fabric. But sunlight’s no use when I’ve got to get a design onto a piece of stiff black stuff, so I traced Marie’s design onto a scrap of translucent tracing paper, got out my trusty transfer paper, the tracing wheel I’ve had since my first sewing class back in the Sixties, and promptly shredded the tracing paper because Lacy’s Stuff is stiff, not rigid and thick enough that the little prongs of my tracing wheel penetrated both the transfer and tracing papers without leaving a nice yellow line behind.
Back to the drawing board…where I found the 1.6mm steel crochet hook I use to pick up dropped stitches when I’m knitting socks. I used the smooth steel behind the hook to (carefully) press a (barely) visible yellow line into the black ground.
(The what-if curse struck the next morning when another blog I follow reviewed Sticky Fabri-Solvy (“self-adhesive, fabric-like, water soluble stabilized”) which sounds like the ideal product to use with Lacy’s Stiff Stuff, right? But it’s too late for the Garden Path.)
Once I had the basic design traced, however faintly, onto the stiff stuff, it was time for Step 1:
stitching my name in 15/0 beads. Marie had thoughtfully provided several examples of my name in name in a bold font in various sizes. Unfortunately she’d used the name that appeared on the check I sent her, which is not the name I use in “real life.” But it was easy to recreate the process she’d used. In my word processing program I typed my name in several fonts and sizes, printed the page, then slid my design tracing across the page until I found a favorite font/size combination.
There was no way that my crochet hook technique was going to accurately transfer the tight angles and curves of the alphabet, so I had the bright idea to cut out the lettering and tape it in place on the stiff stuff. Then, following Marie’s instructions for the beading/outline stitch, I stitched through the paper and stiff stuff together.
Overall, I was pleased with how the lettering turned out, though removing the paper was more bothersome than I’d expected. I needed magnification and one of Marion Scoular’s near-lethal burling irons to pluck away all the paper fluff lingering between the beads after I’d torn away the paper.