Schwalm whitework embroidery is often used to adorn tablecloths, table runners, and household linens of various kinds. Besides the beautiful and lace-like embroidery featured on Schwalm pieces, Schwalm work often depends upon the finishing of the embroidered piece with a fancy hem. A couple months ago, I introduced you to Luzine Happel's thorough book on Schwalm embroidery - Basic Principles of Schwalm Whitework - which was newly translated into English. Today, I want to show you her latest book translated into English, Fancy Hems.

Fancy Hems is a book that any needleworker interested in drawn thread embroidery or whitework would find interesting, informative, and useful. It is not merely for folks interested in Schwalm embroidery in particular. The techniques explained in the book are suited to any kind of drawn thread work, really.



Like Luzine's Basic Principles of Schwalm Whitework, Fancy Hems is a self-published book.



Within its pages, you will find step-by-step instructions for creating the fancy openwork and drawn thread hems that often accompany Schwalm embroidery.



The instructions are cleary photographed, so that you can follow each step of embroidery. And the English text is clear and precise.



The book begins with simpler fancy hems and works its way slowly to more complex hems.



Featured throughout the book are pictures of magnificent embroidery that has been "finished" with the addition of a beautiful hem. Each type of hem is thoroughly explained and demonstrated in the book.



Watching the intricate designs of the hems unfold before your eyes, though the photos, is amazing - Luzine makes it look so simple! And because her instructions are good, creating a unqiue and intricate embellished hem area does become relatively simple.



All the basics are discussed, by the way, before venturing into the more complex embellishment. So, if working something like the above drawn thread bars featured in the text, you not only learn how to embellish the bars, but you learn the basics of how to create the bars in the first place - a nice tidbit of instruction for those interested in drawn thread work in general.



The types of hems featured in the book range from narrower bars to composite hems, made up of a variety of different "bars" stacked together, as in this magificent piece below:



Wouldn't it be something to finish the edge of a tea cloth like this? It's amazing, isn't it?

In the most recent issue of Piecework Magazine (Sept. / Oct. 2009), a one-page article focus on an embroidery guild group in Canada who began working through the Fancy Hems book, each creating their own fancily-hemmed cloth. I think that would be a fun and challenging group project - to take a book like this and have each person compile their own "stack" of hemming motifs. I was glad to see that article in Piecework.

But even more than that, I was so happy to see Luzine's newly-translated book, which will certainly become The Definitive Guide to drawn-thread fancy hems.

If you're interested in obtaining a copy of this book, feel free to contact Luzine via e-mail. She takes Paypal, which makes ordering from Germany very easy.

I have to thank Luzine for sending me the book, which was quickly followed by a real treasure chest of Schwalm related instructional and inspirational books - and some linen! Oh, linen! How I love linen! Thank you, Luzine!

Luzine has actually self-published a whole slew of books in German on Schwalm embroidery, and I do eventually want to show you all of them. They are amazing - and So Thorough! A few are in English, but most are in German. Still, the step-by-step photos make the books accessible even for those of us who don't speak or read German. In the meantime, though, if you are looking for books on filling stitches for Schwalm work or drawn thread embroidery, you can ask Luzine what she has available. One of her books instructs on 175 (yes, 175! - that's a LOT!) filling patterns. It's amazing!

She also has a really nice book of Schwalm patterns for a variety of projects. I'm really looking forward to making use of it. The more I look at Schwalm work, the more I fall in love with it! And she's got some really pretty patterns in this book. I'll review that one a bit later, in detail, so you can see what it looks like. And she included some little books from the Schwalm Museum in Germany - they're full of clear black and white photos of various Schwalm pieces. Oh, if I could just reproduce them for you here! I think you'd be in awe of the work!

The thing that really attracts me about Schwalm whitework is that, though it is predominantly whitework, the techniques involved spill over into so many other areas of surface embroidery, while at the same time integrating extensive drawn thread and pulled thread techniques. I think that's why I had so much fun with my Schwalm chicken and pomegranate on my whitework sampler.

And what about my Schwalm project that's currently underway (taken from Luzine's Basic Principles of Schwalm Whitework)? Well, I did indeed make the switch from another project so that I can focus on the Schwalm project during my 15-minute sessions, and I have enjoyed working on it in spurts. I actually accomplished a good bit of stitching on Wednesday afternoon of this week, which was nice for a change! I've finished the buttonhole stitching on one motif, and I'm ready to move on to the chain stitching, before starting the filling. I'm having fun with it - I'll update you with progress photos soon!

In the meantime, if you're interested in any of Luzine's books, drop her an e-mail.

Have a terrific Friday!

Labels: book review, drawn thread embroidery, Schwalm, whitework

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Posted By: Mary Corbet on Friday, October 02, 2009
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Drawn thread embroidery is not relegated solely to even-weave linen. Today, we generally associate drawn thread techniques with even-weave, and it's true that it's possibly easier and more precise when it is worked on even-weave. But in the past, drawn thread embroidery was worked on all kinds of fabrics, including fine, high-count cottons and plain-weave linens.

A couple months ago, Laurie LaTour of Future Christian Homemakers contacted me about some chicken scratch (embroidery on gingham) aprons that she had collected, with a question on an embroidery stitch employed on one of the aprons. We've been exchanging interesting e-mails ever since, and wow - some of the chicken scratch aprons she's collected are really nice! One in particular caught my eye - a chicken scratch apron worked on cotton, with double drawn thread strips worked on the apron's front and the pockets. Laurie has this drawn-thread-on-gingham apron (PDF) in her gallery on her website - do check it out. It's meticulously worked and really pretty!

Discussing the different stitches with Laurie led me to working up a tutorial for drawn thread on gingham, to show how to twist groups of threads together for a decorative border.



I began with a simple gingham dish towel. This particular towel is available in different colors from All About Blanks. It's a soft cotton towel and hems are squared up with the gingham, so it's perfect for this kind of work. I've washed it once already, and you can see that the colors didn't run, which is great! It's a good towel!



When I first started, I was going to make the drawn thread area only as high as one row of checks on the towel, so I began by cutting a slit right next to the side hem, abotu six rows of checks up on the towel. (Later, I decided to make the drawn thread area twice as high, which you'll see below...)



About every three or four checks, I cut a vertical slit between two vertical threads, so that I wouldn't have to draw out long horizontal threads. When you cut your horizontal threads, you want to use nice sharp, small scissors. Fold the fabric over the blade of the scissors to that you can see the horizontal threads you are cutting and so that you avoid accidentally cutting any vertical threads.

With this weave, it was very easy to draw out the horizontal threads. I used a tweezer and just picked them out. Though it takes a little bit of time, it's not labor-intensive or stressful - the horizontal threads just pull right out, and removing the threads actually goes very quickly.



Once I was finished drawing out the threads, I hemstitched the base of the strip using a #5 white perle cotton, and dividing the threads into two groups per check on the fabric. I didn't count the threads - I just estimated the center of each check, which worked fine.

If you don't know how to hemstitch, check out my photo tutorial for the hemstitch. This is the exact technique I used, and it's really simple. I was working in hand (no hoop or anything) for this, and it went very quickly.



After getting to the end of the first row of hemstitching, at the base of the drawn thread area, I decided to go ahead and increase the height of the drawn thread area by removing the horizontal threads from the row of checks above. Then, I turned the work 180 degrees and hemstitched across the top of the area.



This is what the towel looked like with all the hemstitching done. You can see the two groups of threads for each check - two red, two white, two red, etc.



After I finished hemstitching, I decided to go ahead and buttonhole the edge of the hemstitched area. Up to this point, I had not done so, because the edge was on the seam and I didn't think it was really necessary. It probably isn't absolutely necessary, but in case it would fray, I figured I might as well finish the edge. I don't really like this buttonholing here. It's rather thickish and lumpy, but since the towel has a bit of a "rustic" look, it's ok. If I did this again, I'd probably finish the edges with a simple overcast stitch (like the satin stitch bars you can see in the hemstitch tutorial), and maybe even in a finer thread.



Now it's time to start twisting the groups of threads. This part is really easy, and it goes really fast! There's nothing to it.

First, you'll want to cut a length of thread about 5 or 6 inches longer than the width of the towel. Thread your needle (I'm using a tapestry needle with a large enough eye to accommodate the perle cotton), and then anchor your thread by running it under the stitches on the back of the buttonhole bar. You want your thread to emerge right in the middle of the drawn thread area, which is conveniently marked by the edge of the two checks.

The direction I'm working here is right to left, but to twist the thread groups, I'm taking my needle under the second group of threads from the edge, pointing back towards the edge. The needle goes under the second group and over the first group (which is the thread group right next to the edge.



Once the needle is in position - under the second group and over the first, pointing towards the edge - you're going to flip the needle so that the eye is now next to the edge, and the point is pointing down towards the far left edge of the towel. When you flip the needle, make sure you push the first group of threads underneath the second group.



Now you see that the needle is pointing in the direction that you're working - that is, from right to left. The twist is held in place right now by the needle...



... but once you pull your thread all the way through, the twist will be held in place by the thread.



Continue down the line in the same manner, pointing the needle backwards, under the second group of threads, then over the first, flipping the needle and pushing the first group under the second, then pulling the thread through.

When you get to the end of the drawn thread strip, take your needle to the back of the buttonhole bars right in the center, and anchor your thread by running it under the bars a couple times.



And that's what the finished towel will look like.



I like the way it turned out!

Now, on the apron that I mentioned above, the stitcher used each check as a group of threads, so that the twists were made up of two colors. You can do the same thing, or you can still divide the checks into two groups (using hemstitching) and alternate the twists to make a kind of diamond pattern, as I did below:



First, on this time around, I thought I'd try doing the twisting part with a bit of tension, to see if it made any difference. I used a Q-Snap frame, but left one edge "unsnapped."



Using the same method as above, I anchored my thread in the buttonhole bar and brought it to the front, working from right to left.



Because I wanted to use alternate colors, I had to anchor the first (out of two) group of red threads to the side of the towel. Then I proceeded to twist the threads as described above, but using one white group and one red group.

Pointing back towards the edge, the needle went under the first white group of threads, over the remaining red group...



... and then I flipped the needle to reverse its direction, pushing the red group under the white group with the tip of the needle.



I continued in that manner down the strip, ending by anchoring the last red group of threads against the edge of the towel.



This worked ok, and made an overlapping diamond pattern in the drawn thread area. But guess what? After trying that, I took it out and worked the first method on the towel again. I like the finished look of the first method better, personally. But at least you can see that there are options in the way you go about bunching and twisting your threads.

Concerning tension and hooping and so forth, I found this project very easy to work in hand, without a hoop or frame. For the twisting part, if you can lay your fabric down on a surface and smooth it out, you can work easily without a hoop. You just want to be careful that you pull the center thread firmly enough to keep things from sagging, but not too firmly to where it pulls on the end and makes the towel pucker. In fact, if you lay it out on a cloth surface - like an ironing-board cover (or the top of a footstool, like I did!), or even on your self-healing cutting matter, the friction will help hold the fabric in place (better than working on a slick surface!).

Now, if you really wanted to, you could decorate the towel further with other embroidery. But I like the simple drawn thread area, and I think it would be really nice on a summer picnic tablecloth, with matching napkins. In fact, wouldn't that make a great gift? A matching picnic set and hamper, or something? Hmmm.... I'm thinking summer wedding presents... summer birthdays... just something nice for the family gatherings...

Enjoy!

Labels: drawn thread embroidery, Embroidery for the Home, needlework pictures, needlework tutorials, pictures

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Posted By: Mary Corbet on Wednesday, May 27, 2009
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Last time I was playing with my whitework embroidery sampler, I was beginning the cutwork motif. Here, I've got the pattern for you AND the incredible progress I've made on the cutwork motif! How exciting!

Well, I already feel bad about saying that - not a fib; rather an exaggerated jest: I have made very little progress on the cutwork motif. Still, every little bit counts, right?

Here's the design for you, in case you ever want to use it for cutwork - or for any other kind of embroidery or craft usage, for that matter. You can click on it for a slightly larger image (and a larger file size!).



And, if you want, here's a PDF version:

Cutwork Design for Hand Embroidery

You can size the pattern up or down if you want. If you size it up, it may take more time, but you could also work with heavier threads to cover more ground a little faster.

Here's my progress on the cutwork design so far:



Oh. I know you're impressed!

Actually, I was debating whether or not I should put progress photos up at all - it practically seems pointless! But, still, there it is!

I transferred the design using the tissue-paper-and-tacking-stitches method, which has worked well so far with this design.



There it is, up close. I was debating about whether or not I would go with fine bars. Sometimes, the attaching bars on cutwork are mere threads, you see... and that lends to a very delicate, lacy look - absolutely beautiful on fine white linen. But given that this fabric is a little coarser than normal (for most fine cutwork, that is), I decided to go with a heavier look on the bars and on the overcasting around the edges of the design.

I plan to get some photo tutorials up on cutwork eventually, once I make a little more progress on this piece.

Now, to step backwards a bit, remember the monogram I set up for the sampler? The plan on that seems to be taking a different direction in my head. Initially, I wanted to do some trailing (which is super-raised satin stitch, over a bunch of cords), but I'm thinking about another technique right now - something... something a bit odd. On the wide parts of the letter, what think you of a raised stem stitch? Or casalguidi? I was kind of thinking it might be fun to do something not-quite-as-typical-of-whitework, and with a bit of texture. Anyway, that idea's ripening right now. We'll see what it develops into... If I keep plugging away at the cutwork, it'll have plenty of time to ripen, that's certain!

Funny thing is, while I was working the bars in that tiny bit there, I had the sudden desire to finish up the Schwalm pomegranate right below the cutwork motif. If I had students bouncing around like this, I'd tell them to settle down, take a deep breath, and FOCUS! Physician, heal thyself!

I suppose the next time we come back to the whitework sampler, we'll all be surprised at what transpired!

Enjoy the pattern - hope you find it useful!

Labels: cutwork, drawn thread embroidery, free embroidery patterns, needlework pictures, pictures, sampler, Schwalm, whitework

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Posted By: Mary Corbet on Wednesday, March 25, 2009
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Here's a really simple drawn thread embroidery treatment that you can work with coral knots. Once you've bunched up threads this way, there are further possibilities of embellishment, too, so this is just a basic treatment which can be further expanded with other embellishment.

The coral knot stitch in drawn thread embroidery is often used to bunch together threads. If you haven't looked at the photo tutorial for the coral knot, you may wish to, since this basic treatment depends on the coral knot.



Beginning with a relatively wide strip with threads withdrawn, anchor your working thread in the satin stitch bars on the right. Take the working thread up from this central point to the top of the vertical threads. You can work as many coral knots across the top as you'd like - it depends on how many bunches of vertical threads you want to group together. Here, I'm grouping together four bunches of vertical threads, so I'm working four coral knots, one around each bunch.

Then, move your thread down to the bottom of the area of withdrawn threads, and work an equal number of coral knots around the bunches. Move back up to the top, and group together the same number of bunches. Continue across the whole strip, then anchor the working thread behind the satin stitch bars at the middle point of the edge (exactly opposite where you began in the right side satin stitch bars).



Return to the right side of the piece, and anchor your working thread in the same place behind the satin stitch bars.

Now, work down then up with your coral knot bunches, so that your working thread crosses over the thread of the previous journey, to form an "X" between the groups of coral knot bunches.

Continue this across to the left side of the area, then anchor the working thread behind the satin stitch bars where you anchored your previous thread.



Now you have a simple "canvas" for further embellishment, if you like. Or, you can leave it as it is. I decided to try some woven wheels around the "X" between the coral knot groups...



But, to tell you the truth, it is my least favorite motif on the sampler. The wheels are not quite even, they look "heavy" compared to the rest of the work around them, and I don't like the vertical white threads. But - live and learn! That's the whole point of a sampler!

Next time I work this basic motif, I'm going to work an opened diamond in the middle of the coral knot groups. I think that'll look nice... When I get to that point, I'll show you how to do it!

For further information:

More Drawn Thread and Whitework Embroidery

Drawn Thread - Securing Edges with Re-Weaving
Drawn Thread - Securing Edges with Satin Stitch
Drawn Thread - Hemstitch Tutorial
Drawn Thread - Chain Loop Bunches
Sampler Update with Schwalm Embroidery
Online Book on Drawn Thread Techniques
Diamond Stitch in Drawn Thread Work
Coral Knot Bunches in Drawn Thread Embroidery
Zig-Zags in Drawn Thread Embroidery
All Whitework Articles on Needle 'n Thread

You can find more tips and tricks for hand embroidery - including all the above tutorials - indexed on my Tips and Tricks for Hand Embroidery page.

Labels: drawn thread embroidery, needlework pictures, needlework tutorials, pictures, sampler, Schwalm, whitework

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Posted By: Mary Corbet on Tuesday, March 24, 2009
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Last night, I was enthusiastically starting into the cutwork motif on my whitework sampler. I finished transferring the cutwork design and picking off all the paper and was super-eager to start stitching on it, just to see how it would go. So I started stitching, and to celebrate the occasion, I made a rather bumbling and obvious mistake!

Cutwork is a kind of whitework embroidery where the design is stitched along the edges, usually with little attached bars of sorts between different design elements, and then the background fabric in parts of the design is cut away. Here's an example from an old post on whitework, where I reviewed the A-Z of Whitework, Book One:



Here, you can see that the outline around the cutwork area and the bars between the outline's lines are all about the same size, and the cutwork looks kind of "squarish."



Here, it's slightly different - the "bars" are not as bar looking, but look more like long web-like strands.

In both examples above, the main elements of the design have been stitched around the edges with overcast stitch, which is simply satin stitch worked in a very narrow line all around the outline. The way it works is this: you have your design. You stitch a running stitch around the area to be cut out. Then, the first thing you stitch are the bars, by the passing the thread back and forth wherever you want the bars, and then either overcasting them or buttonholing them on the return journey. Then, you stitch the edges, either with overcast stitch or buttonhole stitch. I'll show you up-close how it's done... eventually!

Well, I was very enthusiastic to get started on my cutwork motif after getting the design down. Funny. After transferring the monogram, I was keen to start on it, to the detriment of finishing the drawn threadwork, which I was eager to start on to the detriment of finishing the Schwalm pomegranate. I can't keep doing this!



But can you blame me, really? Doesn't that just look fun?

This is the cutwork motif. I like it a LOT. I LOVE IT! If I can do it justice, I will really be thrilled with it. So far, I think it's my favorite bit on this sampler - but I know it's also going to be the most tedious bit!

When you realize how much I love the design, can you forgive me for jumping around so sporadically and inconsistently?!

Anyway, my plan with this particular design was to use a cord underneath the overcast stitch along the edges, to make those stitches stand up. I want a bit of "relief" on the design - some height and definition in the outlines. One of the reasons is because of the relative roughness of the fabric. Mostly, you see cutwork worked on high count, firmly woven linen. This is rather not the stuff of cutwork, but it'll still work...



For the "cord" that I'm stitching over, I'm using DMC Cebelia #10.



I began the overcasting with enthusiasm! For the overcast stitching, I'm using #30 coton a broder.



Stitching over the cord really lifts the stitches nicely. I like it so far.



The design has a kind of "double" outline around each cutwork area - that's one of the reasons I like the design so much. So, here I am, starting back on the double line... this line is the line that directly outlines the cut out area. Stitching along, stitching along... very happy. Liking the whole thing a lot... dum dee doo... having fun....

Suddenly realizing...

?

What?

I'm getting kind of tired of these head-slapping moments.

I complete forgot to the put the bars in. Ugh.

Yes, well, the monogram's looking pretty good! Maybe I'll stitch on that tonight. Who needs this cutwork stuff, anyway?!?!

Labels: cutwork, drawn thread embroidery, embroidery tips and tricks, needlework pictures, pictures, sampler, Schwalm, whitework

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Posted By: Mary Corbet on Thursday, March 19, 2009
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Here's a little update on my whitework embroidery sampler. I haven't gotten tooooo far, but I did manage some stitching last weekend. I'm still working on my 15 minute sessions, and I haven't forgotten the goldwork iris, either! Juggling two projects at a time has its drawbacks - but more on that later!

The last time we visited this project, I was doing some drawn thread embroidery in the scrolls, in a 15-minute session. I haven't finished the scrolls. Come to think of it, I haven't finished the Schwalm pomegranate motif, either. Don't worry! I will. That's part of the fun, perhaps, of a sporadic embroidery sampler - you can pick up and leave off different parts, moving around hither and thither as the creative spirit moves you, reinvigorating your interest in the piece if need be.

So, this past weekend, I placed a monogram:



It's a large monogram. I chose the "M" for unusual reasons, actually! It has nothing to do with the letter itself - I would have chosen any letter that fit my plan. See the last downward stroke on the "M" on the right? It's perfect for demonstrating a satin stitch technique called trailing. Hence, the "M."

I like this monogram style, by the way. I think it's really pretty. It's from an early 20th century ladies' magazine, too, so eventually, I'll clean up this set and share them with you. (First, I will finish the Celtic monograms, though!!)

To transfer the design, I'm using tacking stitches and tissue paper, as I demonstrated before with a photo tutorial. I would like to have used regular tissue paper - the kind you use for wrapping gifts - but I didn't have any on hand, so I stuck with this yellowish stuff.

After using large stitches around the monogram to hold the tracing paper in place, I turned the frame around to work the tacking stitches.



It was easier to reach the top of the design that way. I suppose I could have re-adjusted my frame and stand, but I didn't. I just turned the frame... After stitching the tacking stitches all over the design, I took a sharp needle and ran it over all the stitches to split the paper and make it easier to remove. It came off great!



So, here's the transfer. It's nice and clear. This time, I worked the stitches in white (rather than green, as in the tutorial on transferring patterns this way.) MUCH better in white, methinks. Whatever possessed me to use the green, I shall not know. Anyway, the white worked great, and I don't have any worries, in case I can't remove some of the tacking stitches. They'll work right in to the embroidery.



Farther away, you can't see it so well, but you can get a hint of the size of the monogram placed on the sampler. You can also see all the little bits I haven't finished!!

I've found a nice cutwork design from another early 20th century magazine, too. It's a fairly complex design, but complete in itself (not the edge of a tablecloth or runner or anything). It's not too big - perhaps 4.5 inches tall and about 3.5 inches wide. I'll be transferring that on, right above the Schwalm pomegranate somewhere. Those will be the last two "large" motifs on the sampler, and everything else I do will fit between and around everything that's there, I think... though there is that upper left corner that could accommodate something a bit larger. Hmmmm...

So, that's where I am. Keep your fingers crossed that I can squeeze in some 15(0)-minute sessions and make some progress on this thing, will you?

Have a terrific Wednesday! (Halfway there!)

Here's my "further information" blurb:

More Drawn Thread and Whitework Embroidery

Drawn Thread - Securing Edges with Re-Weaving
Drawn Thread - Securing Edges with Satin Stitch
Drawn Thread - Hemstitch Tutorial
Drawn Thread - Chain Loop Bunches
Sampler Update with Schwalm Embroidery
Online Book on Drawn Thread Techniques
Diamond Stitch in Drawn Thread Work
Coral Knot Bunches in Drawn Thread Embroidery
Zig-Zags in Drawn Thread Embroidery
All Whitework Articles on Needle 'n Thread

You can find more tips and tricks for hand embroidery - including all the above tutorials - indexed on my Tips and Tricks for Hand Embroidery page.

Labels: drawn thread embroidery, embroidery tips and tricks, monograms, needlework pictures, pictures, sampler, whitework

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Posted By: Mary Corbet on Wednesday, March 18, 2009
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Have you noticed that weekends are a lot shorter than the work week? This tends to cramp my "embroidering style," but I can't seem to figure out how to do anything about it! I can never get as much embroidery done on the weekend as I want to, and during the work week, I can hardly get anything done! So, I'm enjoying my 15 minutes with my needle and thread.

A couple weeks ago, I introduced the topic of setting aside 15-minute needlework sessions, grabbed here and there during the day, to at least make some progress on embroidery (or other) projects. My point, I suppose, was that you can actually get a lot done in 15 minutes, and those 15-minute sessions do add up to real progress!

Admittedly, sometimes those 15-minute sessions can be a bit of a wash, like my last 15 minutes with my goldwork iris! Argh. I still haven't recovered from that one! But at least I learned something!

Here's a 15 minute session with my whitework sampler.



I mentioned the story behind these large curly things on my whitework sampler the other day. So, here, I am finishing the filling work inside this curl. The stitch is an un-named mistake, but would be called reversed wave stitch, if I had done it correctly! Heh heh.

So, I set the timer, and with great enthusiasm, I picked up my camera, snapped the above photo, and then grabbed my needle, and the race was on!

Wait! Wait!!

Stop!

Racing won't do!!

I found I have a tendancy to want to race in these 15-minute sessions. "How much can I accomplish in 15 minutes?!" But that's not the point. The point is 15 minutes of regular stitching, not rushed stitching! Besides, when rushed and feeling pressured, mistakes are sometimes more likely!

So, I snapped a picture, took a deep breath, sat back, picked up my needle, propped my feet up (on the couch!) and just ... sttiiiiitched with nice, normal pacing until the timer turned off.

In the back my head, I was sure I could finish filling in this curl, and, while I was controlling the urge to really rush, I still figured I had it in the bag. Surely I could finish this filling...



But alas! No! I was just beginning to stitch the first stitch on the bottom of the second to the last row there, when the timer went off. Oh... I could've cheated. I could've kept going! I wanted to, that's for sure! But with other things pressing (like my first class starting in 10 minutes!), I thought it wise to stop!

So there's a 15-minute session. As usual, I was excited and fired up to get home and finish the filling! But as luck would have it, I haven't had a chance to get back to it yet! (Maybe tonight?!) I'll let you know!

Labels: 15 minutes, drawn thread embroidery, needlework pictures, pictures, whitework

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Posted By: Mary Corbet on Thursday, March 12, 2009
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Not a whole lot to show you on the whitework and drawn thread sampler, but at least I did manage a wee bit of stitching. This is the progress so far...

As a short background, my purpose in this project is to explore a variety of whitework and whitework-related techniques. I'm working on a 36 count natural colored linen. It's an even-weave linen, meaning that the warp and weft threads are approximately the same size, so that one can count horizontally or vertically approximately 36 threads in an inch. It's not the ideal ground for some whitework techniques, but it works great for drawn thread, pulled thread, and Schwalm embroidery.

Normally, whitework is worked white-on-white, but I chose a darker background fabric for the sake of the photos.

As I've been working on the sampler - which is totally random, just doing "whatever" whenever and wherever (this is probably going to be a bit of a mistake!), I keep thinking ahead to the next thing I want to do on it. I'm contemplating the difficulties of good satin stitching on this fabric. I generally like working satin stitch on a higher count fabric that isn't necessarily even-weave (though it can be). Anyway, I think I can manage it on this fabric, as long as I use a crewel needle or similar, with a sharp point. With tapestry needles that have a blunt point, it is difficult to stitch into the fabric threads, but with satin stitching, to get a smooth edge, I know I'm going to have to split fabric threads.

Looking ahead to some satin stitching, I'm trying to decide precisely what I want to satin stitch. The logical choice would be a monogram, since they are very often the subject of whitework. I want to demonstrate a technique called trailing, though, so if I select a monogram, it will probably be the best letter to demonstrate the technique of trailing. It will need to be flowy, with narrower and wider parts. I'm thinking an "S". But why would I want something embroidered with an "S" on it??! So we'll see about that!

In the meantime, this is what I've been doing on the sampler. Now, I know it's kinda weird-looking! But let me tell you how it developed before you chalk it up as too bizarre and unfitting for the rest of the sampler so far!!



See those big curls. Weird. But back to that in a bit... The last time we visited the whitework sampler, I had not yet worked the motif directly below the insanely large curly things. In that drawn thread patch, I attempted to mimic a variation that I saw in Therese Dillmont's book, Drawn Thread Work, which I reviewed a few weeks ago. I'm not satisfied with the results. I think it looks bizarre. But, it was interesting, and at least it was something to learn. The wheels in the middle (the big white dots) are made by weaving the thread around the intersections of the the coral knot threads traveling up and down from one bunch of threads to the next. In Dillmont's illustration, she doesn't have the vertical white threads working up to the wheels, but I put them in there because I didn't do the wheels as I went, while working the coral knot "waves." Those vertical lines make the whole thing look kind of strange!



Now, about these chunky curly things. They were completely spontaneous. I wanted to work a variety of drawn thread and pulled thread fillings, but I didn't want to keep working in squares. I thought about circles (and I still might do some!) but I ended up doing these scrolly things instead. They're worked in chain stitch, using a #16 coton a broder.

Inside the curlies, I withdrew some threads so that I could work some filling techniques.



And here's the first attempt. Hilariously enough (I'm not really laughing! Ok, actually, now I am!), my first filling was going to be a reverse wave stitch, which I was going to photograph upclose for tutorial. (You can see the reverse wave stitch in the crown on top of the Schwalm pomogranate.) Oh, golly! I started going, and realized I was not really doing the reverse wave stitch. I had run amuck somehow. But since it was working out (more or less), I left it.

Notice that in this particular curl, the drawn thread areas get closer together towards the top. You see, originally I was taking out two threads from the fabric and leaving three in. As I worked higher on the curl, I took out two threads and left only two in between the drawn thread areas. I thought that this would help give a "shaded" look (just an experiment!) to the curl, because the white stitches would be closer together. But once I got going, I realized it isn't the white stitches that show - it's the gaping holes. They get closer together, but it isn't that noticeable!



So, this is where I am, working out the fillings in the big fat curls. I'm planning on working some more decorative stitching outside the curls - different sized scallops or something. We'll see how that develops!

And then, once I finish these elements, I'll move on to... well, something else in the sampler. I was thinking of going straight into satin stitch at first, but the more I look at the sampler right now, the more I think I'll add some filling. But then on the other hand, if I don't break away from this drawn thread stuff soon, I fear the whole sampler will end up dedicated to drawn thread, with a bit o' Schwalm thrown in!

What think you? Any ideas for future elements of the sampler? I'm all ears!

More Drawn Thread and Whitework Embroidery

Drawn Thread - Securing Edges with Re-Weaving
Drawn Thread - Securing Edges with Satin Stitch
Drawn Thread - Hemstitch Tutorial
Drawn Thread - Chain Loop Bunches
Sampler Update with Schwalm Embroidery
Online Book on Drawn Thread Techniques
Diamond Stitch in Drawn Thread Work
Coral Knot Bunches in Drawn Thread Embroidery
Zig-Zags in Drawn Thread Embroidery
All Whitework Articles on Needle 'n Thread

You can find more tips and tricks for hand embroidery - including all the above tutorials - indexed on my Tips and Tricks for Hand Embroidery page.

Labels: drawn thread embroidery, needlework pictures, pictures, sampler, Schwalm, whitework

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Posted By: Mary Corbet on Tuesday, March 10, 2009
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Today, I'd like to show you how to make zig-zag bundles in your drawn thread work. It helps to understand basic hemstitch before moving on to zig-zags, so you might want to check out that tutorial if you're just getting started with drawn thread embroidery.

When you work zig-zags in drawn thread, you're hemstitching the top and bottom of a row of stitches that have had several horizontal (or vertical - depending on the direction you're stitching) removed.



In this little tutorial, I'm working around a box, so I've removed threads horizontally on the top and bottom rows that comprise the outside of the box (indicated by "A" in the photo above), and vertically on the sides of the box (indicated by "B" in the photo above).

I'm using satin stitch bars to secure the edges (see the arrow in the photo above). Note that they are secured around the corner, for both the vertical and horizontal removal of thread.

I'm working in groups of four threads. This technique requires an even amount of threads, so that the bundles can be divided correctly. So, if you're working with four threads, you want to count off a multiple of four for the width and height of your box.



When you work your initial hemstitching on the outside of the box edge, on the first group next to the satin stitch bars, you want to pick up only two vertical threads. Then, for the subsequent groupings, pick up four vertical threads....



... until you come to the end of the row, where you'll only have two threads leftover.



To begin the hemstitching around the inside of the box, use a waste knot to start your thread. Now, you'll be working in groups of four threads, hemstitching around the first bunch of two, and picking up two from the next bunch of four.



For the next bunch, pick up the two left in the bunch, plus the first two of the next bunch.



Work this way all the way to the corner - you can see the zig-zag pattern developing.



When you come to the corner, you'll work the wrapping stitch of the hemstitch around the last four threads (two from the bundle you're in, and the last two bundled threads). When you take your needle down after the wrap, you'll bring it up in the second bundle around the corner, so that you can now wrap the first four threads around the corner.



To complete this corner hemstitch, take your needle down into the corner to form the wrap and bring it up in the fabric to form the wrap and put your needle in position for the next hemstitch.

Work the next inside row over four threads, splitting the bundles as you did in the first row, and then proceed around the rest of the corners of the box in the same manner.



When you come to the end of your last inside row, to anchor the thread, slide it underneath the hemstitching on the inside row. Don't cross over to the outside of the box, or your thread will show behind the drawn thread areas.

And there you have zig-zags in drawn thread, around the outside of a box!

More Drawn Thread and Whitework Embroidery

Drawn Thread - Securing Edges with Re-Weaving
Drawn Thread - Securing Edges with Satin Stitch
Drawn Thread - Hemstitch Tutorial
Drawn Thread - Chain Loop Bunches
Sampler Update with Schwalm Embroidery
Online Book on Drawn Thread Techniques
Diamond Stitch in Drawn Thread Work
Coral Knot Bunches in Drawn Thread Embroidery

You can find more tips and tricks for hand embroidery - including all the above tutorials - indexed on my Tips and Tricks for Hand Embroidery page.

Labels: drawn thread embroidery, needlework pictures, needlework tutorials, pictures, sampler, Schwalm, whitework

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Posted By: Mary Corbet on Friday, February 27, 2009
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Bunching threads together in different ways and embroidering over the threads using knots and so forth is what makes drawn thread embroidery pretty. It's the bunching of the threads that gives it a lacy look. One of the most common (and I think most attractive) ways to achieve a nice bunch of threads in drawn thread work is by using the coral knot. So here's a little photo tutorial to show you how that's done.

The coral knot in drawn thread embroidery is not that different from the coral stitch used in regular surface embroidery. Essentially, the movements of the stitch are the same. The difference is, of course, that you don't have a regular ground fabric in drawn thread work, so the line created by your working thread doesn't come out looking "couched." Instead, it looks like a thread with knots in it that hold together bunches of vertical fabric threads.

To begin, I've already finished my edges using satin stitch and withdrawn the vertical threads. I've also hemstitched the bottom of the drawn thread area over two threads. At the top of this piece, I've worked Diamond Stitch, grouping together every other four threads.



Anchoring my thread in the satin stitch bars on the side, I brought it up on the right side of the drawn thread area right where I wanted the line of coral knots to run. With the needle and thread at the front of the fabric right next to the satin stitch bars, I brought the needle down behind four vertical fabric threads (that's two groups of two hemstitched threads) and back up again, underneath my working thread and inside the loop formed by it. (The working thread is looped over, then under, the needle.)



Pull the needle and working thread through the loop, pulling the loop firmly so that the fabric threads bunch together. I find that it helps to pull the working thread forward and upward rather than simply forward on top of your fabric, in order to get the knot to situate itself in the middle of the bunch.



Moving on to the next coral knot, take the needle to the back of the next group of four threads and to the front again (in one motion - "sewing" rather than taking your hand to the back of your work!). Come up underneath the working thread again, and inside the loop.

The stitch requires you to come up from the back, then wrap your working thread up over the top of your needle, then down underneath your needle, to form this loop. It's easier, though, if you simply leave your working thread looped forward on your fabric and you pass underneath the working thread then up into the loop.

Again, pull the stitch tight by pulling forward and upwards on your working thread.



To keep the line of knots straight, you can use your needle and nudge the knots up or down on the vertical threads, so that you situate them right where you want them.



Work all the way across to the other edge of your drawn thread area, then take your thread to the back and anchor it under the satin stitch bars.



On this piece, I worked a line of coral knots at the top and bottom of the drawn thread area. As tempting as it would be to slide your working thread up under the satin stitch bars to begin the coral knots going from left to right (on the return journey at the top), don't. The knots in the lower row are moving in the same direction - if you switch the direction of your stitch (and you're still working with your right hand), the knots will look different.

For left-handers, the stitch is worked from left to right, and the looping of the working thread is the same.

That's the coral knot! Have fun with it!

More Drawn Thread and Whitework Embroidery

Drawn Thread - Securing Edges with Re-Weaving
Drawn Thread - Securing Edges with Satin Stitch
Drawn Thread - Hemstitch Tutorial
Drawn Thread - Chain Loop Bunches
Sampler Update with Schwalm Embroidery
Online Book on Drawn Thread Techniques
Diamond Stitch in Drawn Thread Work

You can find more tips and tricks for hand embroidery - including all the above tutorials - indexed on my Tips and Tricks for Hand Embroidery page.

Labels: drawn thread embroidery, needlework pictures, needlework tutorials, pictures, sampler, Schwalm, whitework

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Posted By: Mary Corbet on Sunday, February 22, 2009
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Still continuing with the whitework techniques sampler, I'm messing around a little more with drawn thread embroidery. It's kind of fun to experiment with the different stitches, and although I'm not 100% pleased with the location of this next little bit of drawn thread work, I still think it's coming out ok. Today, I want to show you how to do the diamond stitch, which can be used in pulled thread work or drawn thread work.

When used in drawn thread work, the diamond stitch serves to bunch together some of the vertical threads. This is how I'm using it in the motif I'm working on now, anyway. In pulled thread work, you would simply pull the threads together to leave little holes in the fabric. It's the same concept, but you aren't working without horizontal threads. Hmmm..... that would be better explained in photos, methinks!

But here, I'm working with drawn threads, so please allow me to demonstrate the diamond stitch with drawn thread.



First, here's the area I'm working on. It's a three-tiered section of drawn threads, and in between each section of drawn threads, I've left four horizontal threads intact. I'm still working in multiples of four here. I'm working the diamond stitch at the top of the lower section, over the area where I left four horizontal threads.



The working thread is anchored on the back, by running it under the satin stitches that secure the edge of the drawn thread area. After you've anchored your thread, you want to position your emerging point two threads up in the four thread area, and count in four vertical threads. Basically, you're stitching over four vertical threads on the half-way line in the four-thread area.



Next, take your needle down four threads to the right, along the same line, and back up through the first hole from which you emerged. Basically, you're wrapping the working thread around four vertical fabric threads along the same line. Pull the working thread through and pull firmly to tighten the stitch.



Now, take your needle down, directly under the point you just emerged, in the drawn thread area, and up again four threads later.



Then, take your needle back around the group of four threads, and emerge again to the left of the fourth thread. Here again, you're basically just wrapping your working thread around that group of four threads.



Moving straight up from the point you just emerged, following the vertical threads (so you're just above them again, in the four-thread area), take your needle down along the same line as the first stitch in the four thread area, and bring it up again four threads later. Now, you're just going to repeat the stitches.



Pull your working thread through, wrap it back around the four threads, and pull the stitch tight.



Continue working down the line in this manner, until you have completed the bottom of the diamond design.



Now, it's just a matter of reversing the direction of the stitch and returning along the line, to form the top of the diamonds. Instead of going down into the drawn thread area, you're just going up into it. The stitches in the four-thread area are all in the same holes (so that there are two stitches over the same four threads on the return journey). Pull tight whenever you're working the middle stitches, so that you get a nice little pulled effect with little holes in the middle of that four-thread area. This will increase the lacy look of the finished area.

So that's the diamond stitch. Notice that it bunches together every other group of four threads, and leaves the groups in between straight. That's ok! For the next step of this section, I'll work coral knots over the bunches and then through the middle to make a diamond pattern using the drawn threads....

I'll show you how to do that next time I visit the sampler.

Up later this week - a GIVE-AWAY! Don't miss the February give-away. I'll be including some patterns and fibers for you and little fun embellishments. I really need to go through my cabinets and straighten things out again. Whenever I organize, I come up with some pretty good stuff that makes for good stash-building. So stay tuned for that!

Also, I've got some reader's embroidery to show you, a few tutorials, a pattern, and a couple other interesting tidbits from the craft blog-o-sphere. I'm perusing a few books right now, too, so I'd like to review those for you.

Feel free to leave a comment below if you have any questions or input on this technique! Thanks!

More Drawn Thread and Whitework Embroidery

Drawn Thread - Securing Edges with Re-Weaving
Drawn Thread - Securing Edges with Satin Stitch
Drawn Thread - Hemstitch Tutorial
Drawn Thread - Chain Loop Bunches
Sampler Update with Schwalm Embroidery
Online Book on Drawn Thread Techniques

Labels: drawn thread embroidery, needlework pictures, needlework tutorials, pictures, Schwalm, whitework

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Posted By: Mary Corbet on Wednesday, February 18, 2009
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Since I've been playing around with drawn thread embroidery on my whitework technique sampler, I thought it worthwhile to look around online for some good resources for technique and design ideas. As usual, one of my first stops when looking for needlework instructional books online is Antique Pattern Library. I love this website! And I could spend many long, lingering hours there!

I was happy to find Therese Dillmont's Drawn Thread Work (DMC Library). Typipcal of these Therese Dillmont books (there's a whole list of them on Antique Pattern Library), there's heaps of information, diagrams, and so forth in the book.

While many of the Dillmont books listed on the APL index are in French, the drawn thread book is in English. No matter what language you speak, though, the diagrams are clear enough to follow, if you have at least a little understanding of drawn thread embroidery.



I like the choice of colors in the project on the front cover!



The book is in PDF format, in two parts. The first part addresses mostly the different types of drawn thread work, with pictures of how to work out different bunching techniques, as well as decorative corners, needle lace accents, and so forth.



The second part features some really beautiful ideas for drawn thread projects.

If you're looking for some inspiration for your own drawn thread embroidery, do check out Therese Dillmont's book:

Part I - Drawn Thread Embroidery by Therese Dillmont (PDF)

Part II - Drawn Thread Embroidery by Therese Dillmont

And if you're just longing to spend some time browsing some old needlework books, pop in at the Antique Pattern Library and enjoy lingering for hours over some of the wonderful books available there!

Labels: book review, drawn thread embroidery, embroidery books, embroidery resources, online needlework books, whitework

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Posted By: Mary Corbet on Monday, February 16, 2009
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Ok, here 'tis. This is the only needlework project I've really had going lately. It's not a high-pressure-type project, which is nice. Basically, it's just an exploratory, experimental kind of project. I'm playing with whitework techniques, and this is what I've done so far.

The techniques I plan to dabble in on this sampler include drawn thread, Schwalm, Hardanger, Ukrainian drawn thread embroidery, surface techniques (such as trailing and satin stitch and so forth), pulled thread, and whatever else happens to come to mind.

So far, it's been a fun experiment, and I've learned a lot of things along the way. Today, I'll just give you a couple shots of what I've done so far. Later on, I want to go into various motifs and show you mistakes (yes, I make mistakes!) and corrections, and other points of learning.

Here's the sampler so far:



This is the lower left-hand corner of the fabric. The area is quite dominated by an incomplete Schwalm chicken. I wasn't going to do this guy at first, but on a whim, I stuck him on there. For a chicken, compared to everything else on the sampler, he's somewhat large - but, gosh, I love this guy! He's the same motif I used on my Christmas Chicken embroidered card.



And this is the lower right-hand corner of the fabric so far. You can tell that I jump around between motifs a bit. The Schwalm work pomegranate here isn't finished - I still have to work the pinecone on the right and the little spray below it. The chicken above isn't finished, either, and in the middle of the fabric, you can see a larger blank rectangle that's marked out - and it's not finished, either!



Here's the chicken close-up. Check out those chicken legs. There are some flaws on this fellow, and some troubleshooting I had to go through when choosing threads, but we'll come back to that down the road.



And here's the crown of the pomegranate. This is perhaps my favorite thing I've worked so far on this! It was a bit challenging here and there, which was nice. Yeah, the eyelets aren't so great, and - yes! - they are on crooked. The right side is higher than the left side!

We'll go back to that later, too.



I like this little section of drawn thread, which utilizes the coral knot to bunch things together. The other day I showed you how to do what I call a chain loop to bunch threads, but the method I prefer is this coral knot.



And, here's the whole panel in perspective. See what I mean about the dominating chicken??!!

That's my progress so far - it's really one of the more relaxing projects I've ever worked on, I suppose because it isn't for anyone else, it's purely exploratory, and I can do whatever I want! Kinda fun!

Anyone else out there working on anything fun or interesting? Feel free to leave a comment below with a link to your current project! Or, if you've finished something recently and want to share it with us, you can contact me, and I'll send you my e-mail address so you can send photos!

Have a great Monday!

Labels: drawn thread embroidery, needlework pictures, pictures, sampler, Schwalm, whitework

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Posted By: Mary Corbet on Monday, February 16, 2009
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One of the most interesting aspects of drawn thread embroidery is the way the remaining threads are grouped together for decorative effects. There are heaps of ways to group together threads! And I'm not even sure all books agree on the names of the techniques. On one drawn thread area on my whitework techniques sampler, I worked a line of what I call chain loops. They're a kind of half chain stitch that holds the bunches together. This isn't to be confused with the coral knot used in drawn thread work, which is sometimes just called "knotting."

This is a simple way to bunch together groups of threads in drawn thread embroidery - and the result is a very basic "decoration."



Notice that there's no knot in the thread that's running through the bunches. Rather, there's just a kind of "hook" that looks a bit like a chain stitch.

This method is an ok way to bunch threads together on an item that is not utilitarian. If you're practicing bunching threads for a sampler or something that will be framed, then this is fine. If you're making a pillow or some other utilitarian item that will eventually need to be laundered, I wouldn't use this method of thread bunching, personally. Without an actual knot in the thread, I don't know that the loops will hold up and keep their proper tension.

For bunches to look good in drawn thread work, they need to be even. In the row pictured above, I began by hemstitching the top and bottom of the row, grouping together two vertical threads. Since I'm bunching up groups of 4 (each group made up of 2 vertical threads), before I started, I made sure I had enough vertical threads. I withdrew horizontal threads over a number divisible by 8. If I only wanted to work three bunches of two together, the number of vertical threads left would be divisible by 6.

I really don't like the whole counting aspect of drawn thread work, and it's true that you can hedge a bit on some of it, depending on your project, but when you're working a sampler where the stitches and bunches and so forth are all very visible, it's a good idea to count accurately.



Once the hemstitching is complete, you'll start with a new thread. Anchor the thread on the right side of your strip, so that it emerges at the half-way point on the right side. Then, take the needle under the bunch of threads you want to pull together, and take it over the working thread, just as you would do with a chain stitch in regular surface embroidery.



Pull the needle forward through the loop along with all of the working thread, pulling tightly enough to bunch together the vertical thread groups in the fabric.



Continue down the row in the same manner, until you finish the last chain loop over the last bunch. Take your thread to the back at the half-way point of the edge, and weave it under your edging to secure it.



And that's pretty much it. It's not the most decorative way of bunching threads together, but it works ok for a simple effect. I prefer (personally) using a coral knot, but for getting started, this is an easy way to get an idea of bunching threads. Don't worry - I'll show you the coral knot (or "knotting") in an upcoming article.

In the meantime, I'm still just messing around with the whitework techniques on this sampler. I've played a bit with Schwalm - just enough to make a few mistakes and learn a few useful things. I'll be sure to show you what I mean this coming week!

And phew! I'm glad it's Saturday! I'm playing catch-up this weekend, which is not always fun after a rat-race-week. I hope you're able to get some stitching in and that you enjoy the weekend!

Labels: drawn thread embroidery, embroidery tips and tricks, needlework pictures, needlework tutorials, pictures, Schwalm, whitework

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Posted By: Mary Corbet on Saturday, February 14, 2009
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The hemstitch is commonly used in drawn thread work. While adding a decorative edge to a drawn thread area, it bunches together the remaining threads. These bunches of threads can then be further embellished or arranged.

Now, hemstitch is a strange name for the stitch, you might think, but before drawn thread work was done for mere decoration, the hemstitch served a very practical purpose. It... hemmed. By withdrawing one thread from a piece of linen near the edge of the fabric, the sewer could turn up the remaining bit of linen and catch it in the hemstitching, which was pulled slightly to create a small decorative edge above the hem, thus accomplishing the utilitarian aspect of hemming and the decorative aspect of pulled thread. Sometimes, no thread would be withdrawn from the fabric - the hemstitcher would rely on the pull of the hemstitching to create a small pulled thread line just above the hem.

Hemstitch is an easy stitch! Before delving into it with drawn thread work, you need to secure your edges of the drawn thread area, either by re-weaving them or by using satin stitching, and you need to withdraw the horizontal threads from the band. Then, you're ready to hemstitch.

In the following photos, I'm using #25 coton a broder on 36 count linen, with a size 24 tapestry needle.



Begin by bringing your needle up in the fabric two threads down below the last empty line next to your satin stitch band or your re-woven edge. You're one space over from the edge and two threads down.



If you're grouping two threads together, you'll take your needle behind the two threads and out again to the front.



Pull the thread through...



Then take your needle back behind the same two threads (so that your working thread wraps around the two threads), angle the needle down, and bring it up into the fabric two threads down from the edge, positioning the needle for the next stitch.



Pull the needle through, and tighten the stitch around the bunch of fabric threads. You can see here that I switched to a photo of four threads being bunched together, to give you a better idea of bunching. If you do not pull the thread firmly, you won't get nice bunches, which is what you want.

Now, continue working the hemstitch towards the end of the band, then run your needle and thread under the satin stitching at the end of the band to secure it.

Ta dum! You did it. Simple, isn't it?

If you are hemstitching around a square, as I was in the last piece where I'm bunching four threads together, when you get to the end of the band, don't end your thread. Instead, do this:



Turn your work over... (the photo above is the back of the work). Take your needle under the satin stitch band that runs horizontal, like the line of hemstitch you just finished...



... then up through the next satin stitch edge, which positions you to continue hemstitching along the next side of your square.

And that is the hemstitch. It's a very simple stitch, don't you think? There are other variations of hemstitch, actually, but this is the basic hemstitch, most commonly used in this type of embroidery.

I hope you try it, and I hope you like it!

Enjoy!

Labels: drawn thread embroidery, embroidery tips and tricks, needlework pictures, needlework tutorials, pictures, sampler, whitework

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Posted By: Mary Corbet on Monday, February 09, 2009
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I think I may have made a mistake. (Shock! Horror!) This is a fabric mistake, and actually, it's not very surprising. I tend to make mistakes, and I tend to especially make mistakes when I settle for one thing, knowing deep down I should just waaaaaiiiiiit. This is the problem: I received an order of fabric today!

Receiving a fabric order isn't the worst problem in the world. In fact, I was happy to see the package arrive! But it had this fabric in it - this 36 count natural Edinburgh linen, which is exackitackily the color I wanted to work my whitework sampler on.

Now do you see the problem?

Let me show you the difference...



The linen I'm presently using is a 32 count Belfast linen in flax (that's the color). The new linen I recently ordered is 36 count Edinburgh linen in natural. It's the top linen in the photo above.

The natural Edinburgh linen is definitely darker than the flax Belfast linen, and it's the color I had in mind when I set about contemplating the whitework sampler. But, see, I had the Belfast linen. And I didn't know what the difference would be in the two colors - I actually thought the natural would be lighter. But in my head, the color I wanted was the color that arrived this morning!



Now, you may be tempted to ask what the heck? What's the big difference? And, to a degree, you're right. But there are some pros and cons to switching fabrics...

The advantages of switching to the darker fabric:

1. Better photos - it'll be much easier to see the white threads and the patterns they form, etc., on the darker fabric.
2. Higher count and smoother hand - the Edinburgh linen seems to have a smoother hand, and it definitely has a higher count thread, which is good for non-counted, non-drawn-thread whitework techniques, such as regular surface embroidery. The higher the count, the easier (I think) it is to work trailing designs, satin stitching, and so forth.

The disadvantages of switching:

1. OHHHH - it's SWITCHING!!! I probably don't need to explain this one!! I've already made some progress, I'd have to rinse and iron and re-frame the fabric... you know the drill. Argh! We could almost include wasting the other fabric in here, but I don't really consider it a waste, and it isn't that much fabric. UGH! The set-up of a project is not my favorite part, needless to say!

2. The higher thread count also poses a con, when working drawn thread techniques. It's just downright easier to do drawn thread work on a lower count fabric. Also, in the Ukranian drawn thread stuff, I wonder if 36 count might be a wee bit too high? I'll have to contact Yvette on that one....

So ---- HELP!!!

Whadyareckon? What are your thoughts? What should I do?

To switch, or not to switch - that is the question!
Whether 'tis nobler to suffer with discontent of color,
Or to take scissors against this framed-up pale stuff,
And by cutting and unframing, end it?

Labels: drawn thread embroidery, fabric for embroidery, linen, miscellaneous embroidery musings, pictures, whitework

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Posted By: Mary Corbet on Thursday, February 05, 2009
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The weekend has come and gone! I made little progress (almost none) on any embroidery this weekend, though I did manage to do two embroidery-related things. I'll tell you about those and show you some photos of a little bit of drawn thread embroidery that I worked last week.

First, the embroidery-related things I managed to accomplish:

1. I played quite a bit with the plaited braid stitch. This does not by any stretch of the imagination mean I created anything beautiful with it. In fact, what I have to show for any efforts along these lines is just a mess. I simply worked with it. I'll tell you about that when I can take better photos.

2. I managed to film ONE video for my video library of hand embroidery stitches, and actually put it together, though it's not edited completely and there's no sound on it yet. I've got some delightful bronchial sore throat thing going on, so I sound like a frog.... and yes, Marian - it's for Turkey Work. (I think it was Marian??!)

I don't know about you all, but does it seem as if the weekends go faster the more you look forward to them? I've determined to stop looking forward to weekends, in the hopes that they will last longer if I don't anticipate them! Sheesh. I accomplished no "real" stitching this weekend.

But here are a few photos of some drawn thread stuff I managed playing around with last week.



Actually, all I really got done was the inside of that top piece. The rest was finished weekend before last!



I kind of like the inside of this - it was spontaneous, and it just happened to work out evenly spaced. I counted off threads in the fabric as I went, and decided to add one more little eyelet here or there to make it even. I'm using #20 coton a broder, and the fabric is 32 count linen.



Besides the inside square eyelets up there (it's actually Algerian Eye stitch, pulled tight to open the middle hole), I stitched one edge on what will be a Ukranian drawn thread motif.

I'm working this little bit straight from Yvette Stanton's Ukranian Drawn Thread embroidery book. Wow. Talk about a good book! If you're at all interested in Drawn Thread embroidery, you should look this one up! Her instructions are so precise - I don't think I've seen their equal in any other needlework book. She takes you step-by-step (with photos and diagrams) through each practice motif. So I'm going to work one of her little practice motifs here.

And that, my friends, is all I have to show for this past weekend! Maybe the week will go better? Let's hope so!

Don't forget to sign up for my January stash give-away, if you haven't done so already. Read the original post carefully, follow the directions in answering the question, and leave a comment on the original post!

Have a great Monday!!

Labels: drawn thread embroidery, needlework pictures, pictures, whitework

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Posted By: Mary Corbet on Monday, February 02, 2009
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Last week, I showed you how to re-weave the threads withdrawn from the fabric in order to produce a "clean" edge for drawn thread embroidery techniques. Here's a little easier way to finish the edge of a drawn thread area.

This is perhaps the most commonly used technique for making an edge around a drawn thread area or an area of cutwork in embroidery. At the edge of the area where you want to withdraw threads, satin stitch over three or four threads to block the threads from being able to unravel from the fabric.



For the satin stitching, you want to use a thread that covers well. If the thread's too thin, the fabric will show between the stitching and the edge will look really ratty. If it's too thick, it'll end up distorting the fabric. Here, I'm using a #12 perle cotton in 32 count linen. It worked ok.



Your satin stitches should be worked one stitch beyond the withdrawn threads. In the photo above, the arrows point to the hole after the last thread along with the withdrawn area.



If you're withdrawing horizontal threads, your satin stitch blocker will be vertical. If you're withdrawing vertical threads, your satin stitch blocker with be horizontal. If you're withdrawing both horizontal and vertical threads, you work the satin stitches on a corner, as shown above.



Once you have your blockers stitched, you cut the threads heading into the blocker, right next to it, using a pair of fine, sharp scissors. You can cut the threads at the opposite blocker and withdraw straight across the strip, but I prefer to cut in the middle of the strip as well, to shorten the threads that will be withdrawn. It's just easier to withdraw shorter pieces of thread!



In fact, if the threads are short enough and loose enough in the fabric, you can simply grab each thread individually with a pair of needlework tweezers and pull it straight out of the fabric without having to pry the thread at each weave. It makes a nice zipping sound, and, in a wink of an eye, it's done!

The little fuzzy ends of the cut thread that are sticking out can be "wiggled" into the satin stitch area by running your needle under the satin stitching and moving it back and forth. I kind of "roll" the stitches towards the edge, and that helps pull the little cut edges in.

The advantages to satin stitching the edges like this are several:

1. Golly, it's easy compared to re-weaving the threads! It takes a lot less time.

2. There's something decorative about it.

3. The satin stitch blockers provide a great place to run your threads under for anchoring.

Now you've learned two ways to finish the edges for drawn thread work - re-weaving the drawn threads or using satin stitch blockers. Either way works. Which one you use depends, I suppose, on the look you want.

Enjoy!

Labels: drawn thread embroidery, embroidery tips and tricks, needlework pictures, needlework tutorials, pictures, whitework

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Posted By: Mary Corbet on Wednesday, January 28, 2009
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Posted By: Mary Corbet on Monday, January 26, 2009
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Drawn thread embroidery involves removing threads from the ground fabric (drawing them out - hence the name) and stitching around the remaining threads in an endless variety of decorative ways to create a kind of lace-like effect. Drawn thread is not necessarily categorized as soley whitework, but it is typically seen in whitework, and many types of whitework involve drawn thread techniques. I started my whitework sampler very simply, then, by drawing out threads...

A little information on this whitework sampler: it isn't a "planned" sampler. I have some ideas in my head concerning where I want to go with it, but there's no grid or design I'm going by. My point is to work out various whitework techniques and photograph them along the way. Different types of whitework techniques may seem rather daunting, but I want to wipe away that idea and hopefully pique people's interest in trying out new embroidery techniques.

For the sampler, I'm using a 32-count Belfast linen in a natural color, cut 18" x 20", and mounted on an Evertite stretcher bar frame.

Concerning the count of the linen, for newbies to certain techniques, it might be best to start with a lower count, such as 28 or even lower. For most of these techniques, Aida fabric (commonly used for counted cross stitch) is not really a choice. Linen is the fabric of choice for most whitework, though there are some decent linen blends or cotton that can also be used.

For threads, I have a line-up of quite a variety of white threads in various types and sizes: coton a broder, perle cotton, cordonnet, cebelia, floche, some silk (soie 100/3, soie perlee, soie gobelin, soie d'alger), Mountmellick threads, and regular stranded white DMC cotton... and I've probably forgotten some. Seems like a mish-mashy sort of mix, and it is! You don't need this variety to undertake any of these techniques! Some perle cotton #8 and #12, along with white floss, will serve fine for starters.

For tools, I've got my tiny Dovo scissors (they're 3.5 inches, by the way, for those of you who asked), tweezers, a tiny crochet hook (#12 - I find this handy when withdrawing threads), a needle threader, and several sizes of tapestry needles.

Drawn Thread Work - Reweaving the Edge

The first step in this sampler is to work with some drawn thread techniques, so I began by withdrawing some threads and re-weaving the withdrawn threads back into the fabric so that I would have a clean edge. This process is a bit more complicated than other ways of finishing the edge of drawn thread work, but I figured I'd at least do it once to show you.

To make the whole drawn thread process easier, think ahead. To keep it simple, I started with an even number of vertical threads to work over, since I'll be bunching my threads either in groups of two or four. So I wanted my first drawn thread strip to be over an even number of vertical threads divisible by 4. I picked 80.

I basted in blue around a strip on my fabric that was 80 threads wide and 8 threads high - or 2.5 inches long and a quarter inch high.

Basting should never be underestimated in drawn thread work - it can save you from accidentally cutting threads that will take you ten forevers to repair. So do baste!

Once my first strip was basted, I starting cutting and drawing out threads. Here we go:



You can see where I basted off my strip for withdrawing the threads.

First, snip the top two horizontal threads inside your drawn thread area, at about the half-way point in the strip. I'm going to re-weave the second thread into the holes left by the first beyond the edge of the basting, so it's easiest to work with a pair of threads at a time, rather than to cut all the horizontal threads at once.

Second, withdraw your first thread to about an inch past your basting line.

Third, withdraw the second thread up to the basting line.



To withdraw the threads, you snip the horizontal threads at the halfway point in the strip or area you're withdrawing from. Then, using a tapestry needle (they have a blunt tip), run it under the thread you're withdrawing and pull the thread out of the weave. Try to be careful with the threads - you don't want to fray them up too much - but keep in mind that they will soften as you take them out of the weave.



Here you have the first two threads withdrawn to the place they should be. Now, to re-weave...



Take your tapestry needle and weave it in and out of the spaces where the first thread was withdrawn. Make sure you are following the same path the first thread took, alternating up and down over the threads. Once you have the tapestry needle worked into the fabric correctly, use a needle threader to pull the second withdrawn thread into the eye of the tapestry needle.



Now pull the tapestry needle through, so that the second thread fills up the empty path of the first withdrawn thread.



Thread the first withdrawn thread into your tapestry needle, then take it to the back so that the weave matches.



Continue working with the threads, two at a time, in this manner until all the drawn threads are rewoven and sunk to the back.

Then... move over to the other side of your drawn thread area, and do the same thing there!

Securing and Finishing Rewoven Threads

Methods of re-weaving drawn threads vary from book to book. For example, in the old Reader's Digest Complete Guide to Needlework (I have the 1979 edition that I picked up at a used book sale many years ago, and I love it!), they show every thread rewoven (not every other thread as I showed you above). This creates a rather crammed, tight look on the edge of the drawn thread area. I prefer re-weaving every other thread because of this. In Beginner's Guide to Drawn Thread Embroidery by Patricia Bage, the author demonstrates the every-other-thread method. But in neither book do they go into detail about how to secure your threads after re-weaving. They basically just say "trim the threads on the back."

Well, I do secure my threads, in a way, before trimming them on the back. This is what I do.



To demonstrate here, I picked the first thread back out again (kind of messy!). You can see the first thread in the photo above (I have a magnet holding it back for photo purposes) and you can see where the second thread (already rewoven) ends. There's a little gap there, with a vertical thread still in place. The first drawn thread needs to pass over that vertical thread, then back down into the fabric, for it to look finished.



Take your tapestry needle, and, working from left to right (from the first thread towards the second re-woven thread) weave the needle over the one vertical thread that's showing, under the next vertical thread, and then over the next thread (now you're working into the end of the second withdrawn thread) and to the back of the fabric. You will have one intersection of fabric threads that has two horizontal threads in it, but it won't be noticeable.



This isn't the best photo in the world, I suppose, but the arrow points to the finished area for this thread. It's very fuzzy because I over-worked the first withdrawn thread in order to get the photos! But notice in the red circled area below the arrow. This is where the other threads were rewoven, and it looks fine.



The photo above is of the back of the work. Turn your work over, and you will find a long, hairy mass of thread on the back of your fabric where all the threads have been sunk. Trim them.

.... And that's how you secure and finish the threads on the back.



There's the strip with only the vertical threads remaining. It doesn't look too impressive, does it? But if you patiently worked that far, you did a good job! The sides are a bit fuzzy from working with the withdrawn threads, but that cleans up significantly once the stitching is started.

Withdrawing and re-weaving threads in this manner to get ready for the fun part (decorative stitching and bunching of the remaining threads) is, admittedly, somewhat tedious. But it is the only way to provide a finished fabric edge on your drawn thread work. I'll show you other ways of securing the edges later, but they involve a patch of stitching on the edge, whereas this technique gives you a clean edge that matches the rest of the fabric.

So, after the first venture in drawing out threads and getting into this project, I've noticed a couple things: 1. Natural colored linen - it's a bit darker than a golden wheaty color - doesn't photograph well, either. I should have picked something darker, like the oatmeal color of my monogrammed towels; 2. an 18 x 20 piece of linen might be a bit too adventurous, if I'm really planning on filling the whole thing up....!

Actually, I'm having fun so far - I've managed to stitch a few areas of drawn thread work, which I'll share with you (along with how-to's) in upcoming days!

Labels: drawn thread embroidery, embroidery tips and tricks, needlework pictures, needlework tutorials, pictures, whitework

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Posted By: Mary Corbet on Saturday, January 24, 2009
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