Here's a wee word worked on my hand embroidered lettering sampler. I'm working in stem stitch, and since we've already covered the ins and outs of embroidering letters with stem stitch, today I'll just show you an update on the sampler with this new addition.

If you've not read the tutorial on working with stem stitch on hand embroidered lettering, you might want to check that out. All the principles apply here, even when working the S. The trick is just to turn your hoop as you work, to keep the stitch going in right direction.



This is one of the little "extra" words floating at the top of the sampler. I stitched it in a deep red cotton floche. I really like floche!

Remember, as you work around tight curves, shorten up your stitches so that they take the curve well. Actually, when you're stitching letters this small (about half an inch high), all your stitches will be pretty small!



And here's the sampler so far!

You can catch up on all these tutorials by visiting the complete list of hand embroidered lettering and text tutorials.

If you have any questions, feel free to leave a comment below!

Labels: embroidery lessons, hand embroidered lettering, needlework pictures, needlework tutorials, pictures, tips'

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Posted By: Mary Corbet on Friday, December 18, 2009
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For the next word on my hand embroidered lettering sampler, I'm using a wonderful silk by Treenway Silk out of Canada, and I'm revisiting the whipped backstitch for the letters, because I like the resulting chunky-twistiness of it when worked with this silk.

In the fifth lesson of this series of tutorials on hand embroidered lettering, I addressed the whipped backstitch for producing a fine, tiny line for little letters. If you change your thread to something a bit heavier, though, you can change the look of the whipped backstitch considerably!



Treenway silk "cord" (I don't know why they call it that) is similar to about a #8 pearl cotton. It reminds me a lot of some silk buttonhole twists, but I think it actually may be slightly heavier, and perhaps slightly softer in its twist.



Anyway, whatever the case, it's a beautiful thread. It's a bit boingy, though, so you might straighten it before stitching. I like to do this over the spout of a whistling tea kettle. Just hold the silk in both hands, pulling slightly, and move it back and forth in the steam. It'll relax the kinks almost immediately. As far as "kinks" go, though, this thread isn't too bad - if you don't do anything to it to help it relax, you can solve any twisting problems as you stitch by letting your needle dangle so the thread can untwist itself. None of this is said to intimidate you from trying this thread, though - like I said, it's a beautiful thread!



I'm working on the large "Quick" on the top right corner of the sampler. I wanted to use a thread that's somewhat dark, since this is the boundary of the piece. Since the letters are large, and since this thread is a somewhat heavier thread, the whipped backstitch makes a nice bold letter here. And I like the way the thread twists and untwists with the stitch. I like the very-slightly-wiggly-look.



To keep your thread twisting in the same direction, you might have to turn your hoop and work upside down now and then. All of this is explained in Lesson 5 of this series of tutorials. You can also read my notes about the importance of stitch direction with whipped stitches, if you are curious about stitch direction.



There's a little nubby thing going on with the U there, and I'll probably have to pick that out. With thicker threads, it's sometimes difficult to join the intersections in the letters smoothly. But I didn't notice that, really, until just now!



And here's the sampler so far!

If you're looking for Treenway Silk, you can find it at Nordic Needle, where you'll find the thread accompanied by gorgeous overdyed silk ribbon that matches the various colors. Well, you already know I'm a sucker for threads - but when I see this beautiful thread paired with its ribbon counterpart, I melt! It is Really Pretty.

If you're looking for more tutorials on hand embroidered lettering and text, you can visit the index for this series of tutorials, where you'll find all 12 previous articles on the topic, full of step-by-step directions on how to write with your needle and thread!

Labels: beginner embroidery, embroidery lessons, embroidery resources, hand embroidered lettering, Hand embroidery stitches, needlework pictures, needlework tutorials, pictures, silk

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Posted By: Mary Corbet on Wednesday, December 16, 2009
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Coral stitch is one of my favorite embroidery stitches, when I'm in the mood for it. When I'm not in the mood for it, it quickly slides to the bottom of the list! You can do a lot with the coral stitch - you can create nubby lines and curves, or you can even fill spaces by working lines and alternating the placement of the knots that the stitch produces. In this little example on my lettering sampler, I'm stitching some small letters - the word "dogs" - with coral stitch to create nubby letters.

If you're just joining in here, you may wish to go through the other tutorials in this series on hand embroidered lettering. At this point in the series, the basics of stitching letters have already been covered, and you can find them in the earlier tutorials.

If you want to know how to work the coral stitch - or any other stitch used in this series, as a matter of fact - you can visit my video library of hand embroidery stitches. That's where you'll find instructions on individual stitches.



On this lettering sampler, I'm stitching the word "dogs" in the lower left corner of the sampler. The red circle in the photo above indicates where this word is on the sampler, though you'll probably notice that there's no S on the end of the word! When I originally wrote out the text for this series, I wrote it incorrectly - it should read "The quick brown fox jumps over the lazy dog." Since I left the S out, I'm trying to work in a few of them after "dog" here and there.



I'm going to use a reddish-orange cotton floche for this word, and you can see in the photo above (circled in black) that I've penciled in an S.



I ran into two difficulties with coral stitch on this word:

1. I've got my project set up in a bound hoop, with the fabric stretched taut in the hoop. This is not the easiest way to stitch coral stitches - it's much easier to work coral stitch in hand, without a hoop, because you can manipulate the fabric. Since I'm working in a hoop, I resorted to the "stab" method of stitching. That is, I'm stabbing into the fabric and taking my needle and working thread all the way to the back of the fabric and then again to the front of the fabric, with every step of the stitch. Normally, with coral stitch, it's easier to "scoop" your needle back and front again (the "sewing method" of hand embroidery), without actually taking your hand to the back of your fabric to pull the needle through. Still, stabbing works, and that's how I worked the stitch on these letters.

2. The letters are small and relatively curvy. They are no more than half an inch high, which makes the curves in them just a bit tight. And this goes back to point #1 - if I were working in hand rather than in a hoop, it would be easier to maneuver around these curves. The stab method of stitching made it possible to get around the curves.



When "stabbing" instead of "sewing," you have to make sure you're bringing your needle up into the loop of thread, in order to make the knot. Sometimes, I end up with very exaggerated loops!



At the beginning of the top of the D, my stitches are a bit too crowded, so I started spacing them out a bit as I worked down the D.



Coral stitch looks better when the knots are evenly spaced. Still, on such little letters, the overall outcome of the uneven stitches wasn't that disturbing. They ended up looking ok overall.



When you work around the O in the coral stitch, try to space your knots so that your last knot lands in the right spot, so that the beginning and ending point are not noticeable.



The D and the O. DO.



And then the G. DOG.



And finally, the straggling S, which was the most difficult letter to stitch because of the tight curves on an S only half an inch high. I admit it got a little sloppy there!



But, overall, it worked out ok. Here's the sampler so far.

As you can see, I'm starting to stitch the extra words now. Most of the extras will be stitched in many of the same stitches we've already covered in this series of tutorials, but now we can have some fun testing new threads and seeing how the stitches and letters work out, depending on the threads we use. The sampler's turning out to be fairly colorful, and at this point, I've really enjoyed the stitching.

But there's a word coming up, stitched in a thread that was new to me, that I really (REALLY) didn't like, so it'll be fun showing you that word. Wow. It was about the most unpleasant stitching experience I've had, and the reason, I have no doubt, goes back to the materials used.

And that brings me around to a subject I want to write about in some upcoming posts: the whole question of the materials we choose to embroider with. Is this a subject you would be interested in hearing my take on? Or do you get quite enough of that from me already? What think you?

Despite the busy time of year, don't forget to relax a bit this weekend and get some stitching in! It'll keep you sane!

Enjoy the weekend!

Labels: beginner embroidery, embroidery lessons, embroidery tips and tricks, hand embroidered lettering, needlework tutorials, threads

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Posted By: Mary Corbet on Saturday, December 12, 2009
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This is a brief exercise in the Hand Embroidered Lettering series here on Needle 'n Thread. The word is short - "The" - and I'm using a fairly easy stitch for it (the heavy chain stitch). I'll tell you why I chose this stitch, show you the thread I'm using, and give you a look at the lettering sampler so far.

The word "The" on this lettering sampler needed to be embroidered with a fairly fine thread, as the letters are small and a little loopy, but I didn't want the word itself to be so finely stitched that it got lost in the sampler.



I selected this Gloriana twisted silk, overdyed in pinks and yellows, because it's a pretty thread, kind of like a buttonhole silk, only finer.



In fact, it's a beautiful thread! With the lighter colors of the thread, I wanted a stitch heavier than a stem stitch or a chain stitch, so that the word would show up next to the bolder colors around it. Hence, I settled on the heavy chain stitch. If you don't know how to work this stitch, check out the video tutorial for the heavy chain stitch - it will get you started.



I began at the base of the vertical line of the T, and worked up and around the loop on the right, then crossed over the top of the vertical line.



I began the H at the top loop, worked around the loop, and headed down the vertical spine of the letter, crossing over any embroidered paths in the way.



When I got to the end of the vertical spine, I jumped up to the hump of the H, beginning with my anchor stitch to hold the first chain loop. This is a little different from the instructions in the video, but obviously, you can get the same results with heavy chain stitch by stitching the anchor stitch first, then passing both loops through it to start the line. In fact, I've become accustomed to stitching the anchor stitch first, then stitching the loops. The effect is the same.



And then I followed through to the end of the word, crossing over any embroidered lines as I came to them.

It's not the most exciting word on the sampler, I suppose, but I really Really Like the heavy chain stitch for lettering. It makes a bold, even, smooth line and looks really good on lettering.



Here's the sampler so far.

This particular tutorial doesn't go into a lot of detail on the actual stitching of the word, because we've pretty much covered all the basics in previous tutorials. If you want to catch up on the basics that got us to this point in the sampler, you should go back to the previous lessons in this series of tutorials on hand embroidered lettering and text. There, you'll find all the hints, tricks, and tips on writing with your needle and thread.

Labels: beginner embroidery, embroidery lessons, embroidery tips and tricks, hand embroidered lettering, needlework pictures, needlework tutorials, pictures

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Posted By: Mary Corbet on Wednesday, December 09, 2009
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Split stitch is a perfect stitch for hand embroidering lettering and text. In this tutorial, we'll talk a little bit about threads and take a look at using the split stitch to embroider words. We'll also look at stitching an isolated French knot.

If you're just joining in on these hand embroidery tutorials for writing with your needle and thread, you might want to take a look at the index of lessons so far in this series. In previous lessons, I've covered subjects such as starting and ending threads, traveling threads on the back of your work so that they are invisible from the front, and combining stitches.

Before venturing into this tutorial, you also might want to check out my split stitch video tutorial, especially if you're not quite sure of how to do the split stitch.



In this tutorial, I'm embroidering the word "jumped" using the split stitch. I'm using cotton floche in a coral color. (I love this color, by the way!)

Floche is a four-ply cotton thread with a very nice shine. It is relatively softly twisted, and it is one single strand - it is not normally strandable. That is, you don't normally separate floche into smaller strands to stitch with.

I chose floche because it's a beautiful thread for split stitch. I prefer working split stitch in a single-strand thread, rather than working it with two strands of cotton or silk. Why is that? Because I think you achieve a better looking split stitch with a single strand of thread. Using two strands of floss, the split falls between the two strands and separates them so much that you don't get the close "hugging" of the fibers around the working thread. This close "hugging" makes a solid-looking split stitch.

If you don't have floche, try a perle cotton #8, or, if that's not available, a #5 will also do, but it will be slightly thicker.



When working the split stitch, the key to getting a nice looking stitch is to split the thread in the middle. With floche, the thread is thick enough that it's pretty easy to see. It is more difficult to find the middle of a single strand of DMC cotton floss, because it is much finer than floche. Because of this, it's hard to split the thread right in the middle. With floche, the middle split is not so difficult.

To split the thread easily, make sure that your straight stitches (before splitting them) are pulled firmly so that they hug against the fabric. If they are loose and bulging up from the fabric, it's harder to split them in the middle.



So in the photos above, you can see that I began at the top of the J using the same method of starting my thread discussed in earlier tutorials. Then I just worked the split stitch straight down the letter. As the tail curved, I didn't really have to turn my work, because the split stitch doesn't depend on stitch direction. But if it's easier for you to turn you work, then by all means, turn it!



To end the thread, turn the work over and whip the backstitches that were formed on the back of the fabric, anchoring the thread under these stitches.



I'm going to use a French knot to dot the J. To dot the J (it's lower case), begin in the same manner as discussed in the article on dotting I's. Stitch three anchoring threads very close together, over only one thread of fabric, stitching each stitch into the stitch before. This will require you to stitch perpendicular stitches. I didn't do that in the photo above - but it will work better if you do it that way!



Now all you have to do is work your French knot over your anchoring stitches, making sure that the knot is fat enough to cover the anchoring stitches. I used three wraps on my needle for this knot.

Turn your fabric over and hitch your working thread under the stitches behind the knot. Then cut your thread.



The U is split stitched just like the J.



In working the M, when you come to the point where the direction changes, end your split stitch line and then begin the next split stitch line.



Instead of taking a straight stitch forward, notice that I brought my needle up a stitch length away from where I wanted my line to start, and took a stitch length backwards. Then continue split stitching as normal.



Keep your stitches relatively small when working around tight curves. This is the M, finished.



Here you have the P and the E finished. Pick a starting point on each letter that makes sense, so that you can follow the flow of the letter easily. With the P, I started at the base and worked up. With the E, I started in the middle of the letter, worked around the loop and down the tail.



With the D, I started at the top of the tail and worked down around the loop.



And here's the sampler so far! I still need to add an "S" or two to the text! This word is supposed to be "jumps" rather than "jumped." That's what I get for relying on my foggy memories of junior high typing class!

If you're practicing on text yourself and have a blog, feel free to leave a link so we can check out your progress. You're also welcome to post photos in my Needle 'n Thread group on Flickr, if you like. If you do post any, drop back by and let me know, so I can check them out!

Enjoy the tutorial! If you have any questions or comments, feel free to leave them below!

Labels: beginner embroidery, embroidery lessons, embroidery tips and tricks, hand embroidered lettering, needlework pictures, needlework tutorials, pictures

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Posted By: Mary Corbet on Tuesday, November 17, 2009
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The Long and Short Stitch Shading Lessons here on Needle 'n Thread are drawing to a close! Lesson 9 is the final lesson for the sampler, featuring a shaded leaf with a turned tip.

For those just joining in, you can find the rest of these lessons listed under Long and Short Stitch Lessons in the "Editor's Floss" in the right hand column.

I've really enjoyed putting together this series, but I have to admit, this last lesson is not everything I wanted it to be. My stitching skills seem to be a bit "off" lately, and I feel as if I'm rushing everything I do. Long and short stitch is a technique that shouldn't be rushed. This leaf demonstrates this point really well!

So I'd like to encourage you to play a bit with the shading. You don't have to follow my instructions to the letter. If you've been following along here for the last eight lessons, then you are ready to play a bit with shading, to try to get the effect you want.

All that being said, let's move on to the lesson!

Materials: You'll need your sampler in a hoop or frame, focusing on the center section of the left side of the square, where you'll find element #8, a leaf with a turned-up tip. Small, sharp scissors are a must in all hand embroidery, and you'll probably want a pencil nearby, too, for drawing in your stitch direction lines. For needles, use #9 or #10 crewel, and finally, you will need the following colors of DMC stranded cotton: 469 (dk green); 471 (med. green); 472 (med-lt green); and 613 (pale green).



Begin by marking in your stitch direction lines. Just as we did with the other leaf lessons, your stitch direction points to the "growth point" on the leaf, towards the base of the leaf (which is at the top of the image) and the stem.



Split stitch only around the sides of the leaf using 613, leaving the turn-over part alone for now. Don't outline any part of the turn-over at all at this point. Then work long and short stitch on the right side of the leaf, using 613. Notice that, at the base of the leaf, by the stem, a larger area is filled in with long and short stitch. I've actually worked two layers of L&S stitches in that area, using 613.



Using 472, fill in a small area of medium-light green at the base of the leaf, working into the layers of color already there. Notice that I haven't taken the medium-light green all the way up the side of the leaf - it fills part of the base, and ends about half way up the side of the leaf.



Switch to the medium green (471), and continue filling the leaf. Work the color into the 472 layer, and up to the center vein. Then moving up the side of the leaf, work a layer of the color into the palest green (613).



You can see here how the medium green (471) fills the remaining area at the base of the leaf, near the stem, up to the central vein, and then works into the pale green at the top of the leaf, leaving some space towards the center vein.



Now work the darkest green (469) into that empty space on the right side of the leaf, filling to the center vein of the leaf. Fanning the stitches around to keep your stitch direction consistent, continue filling with the dark green across the base line on the turn-over.



At this point, I switched back to the medium green (471), and began to fill the left side of the leaf.

Here's where you can play a bit with your shading. If you want, you can mirror the other side of the leaf, keeping the layers of color the same on both sides of the leaf. You could also continue with the darkest green on the left side of the leaf, and then work a layer of medium, then light. Be adventurous!



After stitching that much of the medium green on the left side of the leaf, I began to notice that I did not much care for my color placement. However, the only way to overhaul the whole leaf would be to take much of what I had already done out. I decided not to do that.

Still, in looking at the leaf at this point, I could see that there was one spot where I could make a minor adjustment without much effort - the corner area on the right side of the leaf, just under the turn-over. I did not like the drastic change from pale green to dark green, and I didn't like the pale green covering that corner.

What to do?



I brought the dark green up, just outside the corner of the turnover, and just beyond the end of the pale green stitching.



Angling my needle very low, so as to slide under the stitches already there, I put it between the stitches there, and drew it through. The needle was almost lying down directly on the fabric - just about horizontal to it - so that the thread would slide into the fabric at a long angle, rather than simply going straight down into the fabric and stitches already there, which would be very noticeable.



In this way, I took the dark green around the corner below the turnover, on the right side of the leaf. You can't really tell which are the properly done long and short stitches here and which are the "tucked in" stitches in dark green, can you?



After that was corrected, I moved back over the left side of the leaf and finished the medium green. (In the photo above, I have the leaf turned, so it actually looks like the right side of the leaf....)



Next, I switched to 472, and layered in some medium-light green.



Finally, I filled the rest of this side of the leaf with 613, the pale green.



Taking the darkest green (469), I worked a stem stitch vein down the middle of the leaf, and along the right side of the stem. Again, above, my work was turned so that the right side of the leaf is actually in the lower part of the picture.



I left the stem at that point, to finish it up later. Now, let's turn our attention to the turn-over.

The turn-over is going to be satin stitched, using the medium-light green (472). Begin by split-stitching all around the turn-over. You can also draw in your stitch direction lines if you wish. The stitches are going to span the width of the turn-over, just slightly pointing down towards the leaf, as you can see in the photo above.



After outlining the turn-over with split stitch, fill in the center with some long straight stitches, going perpendicular to your stitch direction lines. This will serve as a very light padding under the satin stitch, and will help to lift the turn-over up above the rest of the leaf.



Beginning in the center of the turn-over, satin stitch over the split stitch outline, from the center to the right side (towards the leaf).



Then move back to the center of the turn-over, and satin stitch up to the tip of the turn-over.



I finished the stem with medium green (471), filling in the remaining area of the stem with stem stitch.



Then, picking up the dark green (469) again, I worked a small straight stitch at theh tip of each of the little points on the sides of the leaf.



You can see the dark green straight stitch tucked under the points on the left side of the leaf...



... and also on the right side of the leaf.



Congratulations! You've finished the final element on the Long and Short Stitch sampler!



This is the finished sampler, as far as the long and short stitch elements are concerned.

If this is a sampler you want to keep, you could stitch around each box in your favorite line stitch, and then fill the center area with your own long and short stitch motif. How about a monogram? The first monogram alphabet on this page would look terrific in long and short stitch!

If you're looking for the rest of the long and short stitch lessons, please check the index for them. They're all listed there!

You can find the PDF for this particular lesson here:

Long and Short Stitch Shading, Lesson 9: Leaf with a Turned Tip

I hope you've enjoyed this series on long and short stitch shading! Now... any suggestions for a new series?!

Labels: embroidery lessons, Hand embroidery stitches, long and short stitch, needlepainting, needlework tutorials, stitch along, stitchalong lessons

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Posted By: Mary Corbet on Friday, September 25, 2009
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