To hand embroider relatively small letters, I like to use whipped backstitch. The letters I'm embroidering in this tutorial are approximately half an inch high. Whipped backstitch works really well with them because it provides a fairly smooth, very precise line without much extra bulk.

If you don't know how to backstitch, feel free to check out my video tutorial for backstitch. Then you can check out the whipped backstitch video tutorial.

I'm working the word "Brown" on my lettering sampler in one strand of DMC floss. "Brown" is smaller than the other words so far on the lettering sampler - with the exception of the "B," the letters are just less than half an inch tall.

I should be using a #10 embroidery (or crewel) needle, and I think, in most of these photos, I am. But towards the end of stitching the word, after one of those unavoidable interruptions, I couldn't find my #10 needle, so I switched to a #9. I suggest a #10 - or, if you have one, a #11.



I began by backstitching up the spine of the B. When I finished covering the pencil line with the backstitch, I brought my needle up in the fabric right at the top of the line of stitches.



Working back down the line towards me, I whipped the backstitches by sliding my needle from right to left under each backstitch, all the way down the line.

Now, since I started whipping my stitches from right to left and down the line towards me, I made sure that, as I stitched each letter, I kept the same direction. Yesterday's article demonstrates the importance of consistent stitch direction. If you haven't read it yet, you might want to check it out so that you can see the distinct differences between stitching in different directions.



After whipping down the line, I jumped over to the base of the B and backstitched the lower bump. For some reason unbeknownst to me at this moment, I did not finish backstitching up the top bump. You can, of course - it will save you time and having to travel your thread on the back of the fabric to get to your next starting point.



I turned my work so that I was whipping the backstitches (again, from right to left) down the stitches towards me. To keep everything going correctly in the same direction and avoid confusion, just turn your hoop as you stitch.



So there's the first bump of the B, done.



To get to the next bump without carrying a loose thread across the back of my stitching, I turned my work over so I could run my thread under the backs of the stitches and move up to the next bump.



The backstitching on the second bump of the B is whipped in the same was as it was on the first bump of the B.



And there you have the B...



The R is stitched in the same manner. I began with the spine first and backstitched up it, then whipped the backstitches, moving from right to left, coming down the spine.



Then, turning my work over and running my working thread under the back of the stitches, I moved back up to the top of the R and backstitched the bump and the tail. See where the arrow points? I left a tiny space at the top of the tail, just below the bump, because this is where I will sink my thread after whipping the tail of the R.



Then I brought my needle up where the bump comes in contact with the spine in the middle of the letter.

My backstitching brought me to the base of the tail. In order to keep the stitching direction correct, I turned my hoop so that the letters were upside-down, and I whipped the backstitches on the tail, sinking the thread in the tiny space next to the bump.



Then I moved over next to the spine, brought my needle up, and whip stitched the bump of the R, turning the hoop as necessary to keep the stitching in the right direction.



And there you have the B and the R complete.



Now, it's time to work on the O. Remember that, because these letters are not connected, each time a new letter is started, you have to start the thread again. In the first two stitching tutorials of this series, I discussed how to start your threads with each letter.

Once the O was backstitched, I brought my needle up inside the O, ready to whip the stitches.



Again, to keep the stitch direction correct, I turned my hoop so that the letters were upside-down.



While stitching around the O, just keep turning the hoop to keep the direction.



The black arrow in the photo above indicates where I started whipping the backstitches. As I finished the circle, I sunk my needle on the outside of the O (indicated by the red arrow), opposite to where I started.



I'm sure you're getting the hang of this by now! So let's move quickly through the rest of the letters. Backstitch the complete W, then whip the backstitches down the last leg, towards you, working your needle from right to left.



For the next leg, turn your hoop around so the letters are upside-down again, and whip the next leg, then turn the hoop again, whip the next leg, then turn the hoop one more time to whip the last backstitched line of the W. As you finish whipping the backstitches in each line, you sink your thread to make a sharp finish, then bring your needle up at the top of the next line.



The finished W...



Work the N just as you did the W, backstitching the whole thing first, then whipping the backstitches and turning your hoop as you need to. As you finish whipping each line of the backstitching, remember to sink your thread and start the next line new, to keep the angles sharp.



And here is the finished word, and the lettering sampler so far!

We've now covered plain backstitch lettering, which also focused on how to travel your threads on the back of the fabric to make sure you don't leave loose threads; we've covered stem stitch on lettering, making sure that the stitch direction is kept consistent; we've seen how to dot an I in hand embroidery; and now we've seen whipped backstitch, which is a nice stitch for small lettering.

The next tutorial will cover combining two stitches - buttonhole and stem stitch - on letters that are thick in some parts and thin in others.

All these tutorials are easily accessible under Tips and Tricks for Hand Embroidery in the Editor's Floss located at the top of the right column of the website, and also directly at the Index of Tutorials for Hand Embroidered Lettering.

If you have any questions, comments, or suggestions, don't hesitate to leave them in the comment section below!

Enjoy!

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

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Posted By: Mary Corbet on Thursday, November 05, 2009
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Before venturing a bit further on the hand embroidered lettering tutorials, I wanted to show you how the direction in which you stitch can make a difference in the look of your stitches. Here, I'm focusing on whipped backstitch, but the concept applies to any whipped stitch.

I'm starting with a small backstitched line, which I've stitched from the top of my fabric down towards the base.



The arrow in the above photo indicates the direction I stitched the line. This part really doesn't make that much of a difference, but you can see that, from the base of the line, I'm beginning to whip the back stitches from right to left, going back UP the line.



I'm going to whip each stitch, going in the same direction - up the line - and working my needle in the same direction, from right to left, as the curved arrows indicatel



After whipping the first line of backstitch, I stitched another line right next to it, and as you can see in the photo above, I began whipping the backstitch at the top of the line, working DOWN towards me, and still whipping the stitches from right to left. The difference here is the direction in which I am traveling, which is down the line instead of up it, as I did with the first line.



Though the whipping of the stitch is done in the same direction (from right to left under the backstitches), the direction in which I stitched (from the base to the top on the left line, and from the top to the base on the right line) makes a difference in the way the two lines look when they are whipped. The left line is smoother looking, and the right line is a little chunkier looking. This is because, when I worked the left line, the working thread was untwisting while I whipped the stitches, and when I worked the right line, the working thread was twisting itself as I whipped the stitches.

My point here is not to say that one way of whipping the stitches is better than the other. Rather, the idea is that, when you are working a whipped stitch, if you want all your stitching to look the same, you have to be consistent in two ways: 1. in the direction your stitching is traveling (here, up the line or down the line); and 2. in the direction in which you whip the stitch (from right to left or left to right).

It helps to work two parallel practice lines before you start whipping your stitches, to see what look you like better, so that you can be consistent in whipping your stitches in the same direction.

SO - when we move on to the next hand embroidered lettering tutorial (tomorrow's post), you'll see that I made an effort to be consistent with the direction of my stitching and the direction in which I moved my needle to whip the stitches.

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

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Posted By: Mary Corbet on Wednesday, November 04, 2009
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Ilke, a reader from the UK, worked the following piece in order to compare different types of flat silk. She has written a comprehensive comparison between five flat (or "semi-flat" - if that's an acceptible term!) silks available on today's market: Eterna, Au Ver a Soie's Soie Ovale, Piper's (which is also the same as Helen Stevens's True Embroideries Sleave Silk), JEC flat silk from the Japanese Embroidery Center, and House of Embroidery's Fine Flat Silk. She also includes Pearsall's Filofloss, which has been discontinued. For her impressions of these different silks, and a close-up look at them stitched, read on...

First, we'll begin with the stitched piece that Ilke uses to demonstrate the various silks she is comparing in this "experiment." I've left the photo rather large so that you can click on it and look at the stitches fairly close.



Now, I'm going to let Ilke tell you all about her experiment. You'll find some very useful and thorough information here - I hope you enjoy it as much as I did!

This is a comparison experiment between the flat silks I've got. There are quite a few, but for the moment I will ignore the ones which either come in very few shades (like Erawan Thai silk), or which come in variegated shades only (like Stef Francis), because they aren't suitable if you want to build up a collection with a good range of shades for ordinary charts (as opposed to monochrome designs, blackwork, Assisi designs or charts which are specifically designed for variegated threads).

Five flat silks remain: Eterna Stranded (ES), Au Ver á Soie Soie Ovale (SO), Pipers 90 Floss Silk (P), JEC Flat Silk (JEC), and House of Embroidery Fine Flat Silk (HE) (which is strictly speaking variegated, but has quite a few shades which are only very softly shaded). I've added a sixth silk, Pearsall's Filofloss (PF) – it's a flat silk which came in many different colours, but it has unfortunately been discontinued and replaced with Filoselle, which is a twisted silk.

All six silks are filament (reeled) silk (with the possible exception of HE); this means that the very fine filaments that make up the thread were reeled in one continuous strand from the silk moth's cocoon, and not spun from short pieces and leftover odds and ends. Because filament silks are built up out of continuous filaments, they are stronger and less prone to fuzziness than spun silks. On the other hand, they do tend to snag quite easily, on anything that isn't smooth – the edge of your fabric, rough skin, anything. Fortunately, it is also easily smoothed back into shape again, and can then be used again without looking any the worse for it.

ES and PF are stranded silks, 12 and 6 strands respectively, but because ES strands are so fine, the threads come to roughly the same thickness. ES strands are about 1/2a strand of DMC, PF strands are a little heavier than a strand of DMC.
SO, P, JEC and HE are single-stranded silks. SO is about 2 strands of DMC, JEC a little less than 2 strands, HE about 1 strand, P is about 1/2 a strand. SO and JEC, being thicker than the others, are a little less versatile in playing with different amounts of coverage, although they can be divided by very carefully separating the filaments (up to 16) which make up the threads – this is rather a fiddly job, though.
Each of these flat silks actually seem to give better coverage than their thickness would make you expect, because the silk lies flat and has a higher lustre than stranded cotton.

ES comes in 545 shades, in 5m skeins at $1.05
SO comes in about 50 shades, in 15m reels at $2.20
P comes in 224 shades, in 80m or 150m reels at $1 or £1.65
JEC comes in about 250 shades, in 60m reels at $7 or £4.70
HE comes in about 100 shades, in 30m card bobbins at £2.25 (100m reels are available direct from H of E, but I don't know the price)
PF is no longer available; I don't know how many shades it came in.

The amount of "coverage" you get per skein or reel compared to DMC stranded cotton is approximately as follows:
ES equals about 5m of DMC ($0.21/m)
SO equals about 5m of DMC ($0.44/m)
P equals about 6 1/2 or 12m of DMC (£0.15/m or £0.14/m)
JEC equals about 18m of DMC ($0.39/m or £0.26/m)
HE equals about 5m of DMC (£0.45/m)

Of these, I have read that only JEC is a truly flat silk. In practice there is little difference with P and OS, but ES, HE and PF are indeed a little less flat. In the case of ES and PF this may be because they are stranded, and have a slight twist to combine the strands, even though the strands themselves are flat. P and HE will usually have to be combined to get the required thickness, and so need occasional smoothing with the needle to get it to lie fully flat when stitched.

The project is stitched on burgundy 28ct Lugana over two.

I started with Eterna Stranded (the darker part of the rose). For good coverage, 5 strands are required. The strands lie quite flat without much help, although occasionally it needs a little smoothing with the needle. The silk snags fairly easily, but is as easily smoothed back into shape again. On the whole it is quite easy to work with, and it has a strong lustre. Drawbacks to this silk are that occasionally a skein may have some unevenness in some of the strands which cannot be smoothed out, and sometimes even broken strands; there are also occasional irregularities in the dyeing, leaving white spots. Even when this happens, however, only a very small part of the skein is rendered unusable, and as it is one of the cheapest flat silks around it is no great burden to buy a little more than you need, just in case.

The second part was stitched with JEC Flat Silk (the lighter part of the rose). In order to experiment with coverage, I stitched the left-hand petals using one thread, and the right-hand ones using a double thread. For good coverage, the double thread is needed; a single thread gives a more lacy effect. The thread lies perfectly flat without any assistance, but it does snag on absolutely everything, so it is essential to make sure that the edges of your fabric are smooth. As with the Eterna silk, however, this snagging has no lasting effect on its smoothness or its lustre, which is very strong with a slight haziness to the shine. In spite of the snagging, I found this a lovely silk to work with simply because it feels so smooth and looks lovely the moment you've laid a stitch; the sheen is very visible even when only one thread is used, but even stronger with a double thread (as there is more surface).

I then used House of Embroidery Fine Flat Silk for the top left-hand leaf. This silk surprised me, as it looks as though it has a very slight twist which might affect its sheen, but it stitches up beautifully with a lovely strong lustre. A double thread gives good coverage, and it is easy to work with, hardly snagging at all. It feels a little more springy than the other silks, and needs good tension and railroading to lie nice and flat.

The next leaf down is done in Pearsall's FiloFloss. Two strands give very good coverage, and apart from some slight snagging it is easy to work with, although it does need "dangling" occasionally to make sure it doesn't tangle, something none of the other silks seems to need a lot. This has a moderate lustre, and when stitched does show a slight twist, although only when compared to other flat silks.

The top right-hand leaf and the stem are stitched in Pipers 90 denier Silk Floss. This is the thinnest of the silks, and needs four threads to get satisfactory coverage; in some cases five or six threads may be needed. Although it is a bit fiddly to cut all the threads to the same length and smooth them together into one thread, once you're stitching with it, it behaves beautifully. It needs a bit of smoothing and/or railroading to lie flat, but it doesn't snag, and it has a good lustre.

Finally the lower right-hand leaf was done in Soie Ovale - the left-hand "leaflet" using a double thread, the other two using a single. On the reel, SO and JEC look very much the same thickness, but when stitched there is a clear difference, with SO giving much better coverage; so much so that the double thread was really a bit too chunky for my taste on this 28ct. This silk is the worst for snagging after the JEC, but it is also one of the flattest, and lies flat without needing much encouragement beyond an occasional smoothing stroke of the needle. It has a strong but subtle lustre with the same slight haziness that JEC has - both are reminiscent of vintage silk in their look.

So which is the best silk? It's very difficult to say because so much of it is a matter of taste, and it will also vary with the project you are choosing your silk for. Personally, I like the strong but soft lustre of the absolutely flat silks Soie Ovale and JEC. The difficulty with both is the snagging, which can get a little frustrating if you've been too impatient to bind your fabric and haven't been looking after your hands so they're all rough :oops:... Simple care for the fabric and the hands should reduce the snagging greatly, though, so no real reason to steer clear of them. Another slight disadvantage is that for finer work, or for more control over the thickness of your thread, you have to separate the actual filaments, which can be done but is a bit fiddly. JEC beats SO here because it is a little thinner and so separating threads should only be necessary for things like miniature embroidery. JEC also wins hands down when you compare the two in range of colour and price.

So what of the next flattest silk, Pipers 90 Silk Floss? I liked this more than I though I would - it is so thin I feared it wouldn't "gel" into a nice plump thread with a smooth surface, but it did; it also snagged very little. Other advantages are that it comes in a wide range of colours, is relatively cheap, and because of its thinness it is easy to combine into whatever thickness of thread you need. The combining is a little fiddly, even when you use a loop start and so have to cut only half the number of required threads, but I think you would quickly get used to it. One disadvantage is that the delivery times can be quite long, and emails don't always seem to get through, although when you actually call them and speak to them they are very helpful indeed.

Then the two "odd ones out" - FiloFloss because it is no longer available, and House of Embroidery because it comes in shaded rather than solid colours. Both are easy to work with, and HE actually had a much flatter look than I expected from the reel. HE is a good choice if you like the effect of subtle colour variation without going for full-blown variegated (although they do those as well). Most of the other silks which come in shaded colours (like some of the Dinky Dyes, Gloriana, Waterlilies, Belle Soie and so on) are not flat silks, and Stef Francis' flat silk tends to be bolder in its colour variations.

And finally the first flat silk I ever tried, Eterna Stranded. This has an awful lot going for it: it is inexpensive (even with a weak pound only Pipers comes close), comes in a staggering range of colours, and divides into thin strands so can easily be combined to any thickness. For snagging, it is average - better-behaved than SO and JEC, worse than P, HE and PF. For flatness and lustre, again average - it does not lie so naturally flat as SO and JEC, but needs less encouragement than P, HE and PF. The irregularities in the silk and the dyeing are a definite disadvantage, but this is compensated for by the price.

Final verdict:
For special projects I would go for SO (if the colours were available) or JEC, but they are too pricey and labour-intensive for "everyday" use. P is a very good alternative, although being so thin they are a pain to wind on bobbins (voice of experience there ...). I will certainly be expanding my collection of them over time. But if you want to use a flat silk almost in the way you would use your ordinary cottons, ES is probably the best choice because it has the widest colour range, is the least fiddly, and comes at an affordable price. HE are lovely for flat silk projects that need a little colour variation.

Thank you SO MUCH, Ilke, for this informative article! I'm eager to try House of Embroidery's thread - I haven't tried their silk! And I'm really grateful for your insight to the rest of these threads!

Labels: embroidery tips and tricks, needlework pictures, pictures, silk, threads

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Posted By: Mary Corbet on Monday, November 02, 2009
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Laurie Latour of Future Christian Homemakers is quite an enthusiast when it comes to hand embroidery on gingham. If you have not seen her Gingham Museum on her website, it is worth taking a look at, especially if you are interested in elaborate "chicken scratch" embroidery that is unique and really beautiful. She has quite a collection of embroidered aprons, and they're all detailed with close-up photos and commentary.

Laurie's been experimenting with gingham lately, coming up with several Christmas designs that are really attractive. I especially like this series of Christmas trees she's been working on, so I was very happy when she said I could share them with you.

Traditionally, embroidery on gingham is worked in white or in the color of the darkest square on the fabric. Laurie played a little with this, but found that contrasting colors worked best on this series of trees.

The trees are embroidered on 1/8" homespun fabric (available online through Jubilee Fabric), and their finished size is approximately 3.25" tall by 2.75" wide - the perfect size for an ornament or a Christmas card.



This first tree is worked with a combination of dark green and sparkly white thread - although I like it, I have to admit I like the trees worked in colors that contrast with the fabric better. Laurie used two strands of DMC 890 (green) for the tree, and two strands of Treasure Braid Petit High Gloss (P410) for the circles and x's.




I like this tree a better, with the green stitched on the red homespun. She used the same color green as on the tree above, but instead of the white braid, she used Treasure Braid Petite (PB68), a multi-colored sparkly thread. It's hard to capture the sparkle in the picture, but you can imagine how nice it looks if you're familiar at all with Rainbow Gallery's Treasure Braids (pictured down below).



This tree, I really like. I like the kelly green floss on the red, with the gold braid! It's very pretty, and oh-so-Christmassy.



This tree, however, is my absolute fave. I love the contrast of the bold red stitches, and I like the dark geen with the gold braid.

Which is your favorite, of the four trees above?



Although this isn't a full tutorial, if you are interested in working up some similar trees, in the photo above, you can see the "skeleton" pattern for the design. For further directions on gingham embroidery, you can check out some tips for embroidering on gingham at the Future Christian Homemakers website.



This, by the way, is Treasure Braid. You can find it at most local needlework shops that carry cross stitch or needlepointing supplies.



While wandering through Laurie's website, I came across this little book that Laurie publishes, Classic Prayers for Children. It is a sweet book of prayers and poems for children, beautifully illustrated. It struck me as a perfect stocking stuffer or First Communion treasure for little kids.

I love the work of preservation that Laurie is doing with gingham embroidery. She is building quite a collection of vintage gingham embroidery and documenting them so that we can see the unique designs and stitch combinations used in the technique. If yuou get a chance, make sure you check out her website!

Have a terrific weekend!

Labels: Christmas, embroidery for children, Embroidery for the Home, embroidery tips and tricks, gingham embroidery, needlework pictures, pictures

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Posted By: Mary Corbet on Friday, October 30, 2009
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Stem stitch is a beautiful rope-like hand embroidery stitch that works great for writing with a needle and thread. There are two real difficulties with stem stitch: stitch direction and curves. I'll try to eliminate both of those difficulties in this tutorial.

Before venturing into the tutorial, you might want to take a look at my stem stitch video to get the hang of the motion of the stitch, and you might find it useful to read this article on stem stitch vs. outline stitch.

The best way to keep your stem stitch always looking right as you embroider words is to first establish your stitch direction. Now, with stem stitch, whether you are right handed or left handed is an important consideration, so let's first clarify some stitching directions for both types of stitchers.

Right Handed Stitchers

Stitching Direction: For righties, stem stitch always travels left-to-right. It is true that you can move your hoop around and work the stitches vertically, but for right handers, whenever you consider the line you are stitching as horizontal to the floor, you will notice that, if you're working stem stitch, the direction of your line is going to be from left to right.

Needle / Thread placement: For right handers, when looking at your horizontal line that is moving from left to right, the working thread always hangs below the line, below the needle.

Left Handed Stitchers

Stitching Direction: For lefties, when you stitch a line horizontal to the floor, it will always travel from the right to the left. Even if you are stitching vertically, if you "turn the hoop" in your mind's eye, the line should always be moving from right to left.

Needle / Thread placement: For left handed stitchers, the working thread should always be above the needle, above the stitching line.

Now, these principles of stitching direction and thread placement hold true, even when traveling around curves. To change the placement of the thread as you round a curve in order for the stitches to hold themselves in the curve will mar the look of your stem stitch.

[I have to throw this note in, because it does put a wrench in the works, but please consider these directions to be written for s-twisted threads only. If stitching with z-twisted threads, the directions must be reversed. But let's forget that consideration for now, and assume that we will mostly be working with s-twisted threads - your typical DMC stranded cotton, pearl cotton, floche, most stranded silks, etc. If you want to see a close-up picture of what I mean about Z-twist and S-twist on threads, check out this post on The Silk Mill threads. There is a close-up picture of threads half-way through the post that show the difference in twist direction. Additionally, if you really want some in-depth reading on thread twists, this PDF on knowledge of sewing threads is somewhat interesting.]



To begin, I'm going to anchor my thread just as I did in the first backstitch lettering lesson. I will be traveling from the base of the circle on the "q" around to the top of the circle, down the long tail, and then up and around the curl on the tail.



To keep the stitch direction from left to right (I am right handed), I turned the work over. As I progress around the curve, I'll simply turn my hoop, so that I can keep the same direction with ease.



As I round the curve and come to the top of the head on the "q," I am back to working right-side-up again.

Now, I could make a sharp "corner" here where the loop runs into the back of the "q", but instead of doing that, I'm going to make a smooth, tight curve here. To do this, I am taking my stitches very small in the corner, but I'm still keeping the correct placement of the working thread.



Now, I've turned my work again, keeping the left-to-right direction of stitching, and heading down the back and the tail of the "q". Coming right out of the curve, I resumed a stitch length that is slightly longer than the stitches I used in the curve, but not so long as to look thinner or out of proportion with the other stitches on the "q" so far.



Approaching the point where the tail curls back over on itself at the base of the letter, I'm going to keep right on going with my stem stitch, crossing the intersection of the lines, and moving into the tight curve of that little curl.



As I start into the curve, I'm going to start decreasing the length of my stitches.



After I worked around the curve in shorter stitches, keeping the working thread below the needle and turning the hoop to keep the left-to-right direction, I started to lengthen the stitches again slightly coming out of the curve.

Now, keep in mind that this shortening and lengthening of stitches does not have to be mathematically accurate or anything! You just want your stitches to "take the curve" while keeping the closed-rope-look of the stem stitch, so just adjust your stitches slightly if you need to, in order to get them comfortably and neatly around the curve.



Now it's time to cross the curl over the back of the "q" and this is quite easy. As you approach the already-stitched line, simply jump your next stitch over the line. Work the stem stitch as you normally would - only cross over the stitches already there.



Return back to the end of the previous stitch, just like you would with any stem stitch, and cross over one more time, to complete the stem stitch.



And there's the finished letter.

The techniques for rounding curves and crossing over already stitched lines will remain the same throughout the rest of the tutorial here, so I won't go in as much detail with each letter.



The next step is to travel your thread on the back of your work up to where the next letter starts.



Whip your thread around the stitches on the back of the letter, taking the most direct path to the spot where the next letter begins.



Here, I'm stitching the connection between the q and the u, stopping at the point where the connection meets the downstroke of the u. If I were handwriting this, I would not lift my pen off the paper at this point, but when embroidering letters, I don't double these lines.



Now, I've turned my work so that I can continue working left-to-right. I've ended the last stitch where the connection meets the downstroke of the u, and then I've brought my needle up at the top of the downstroke. I did not need to "travel" my thread at all here, because this spot is pretty much directly above where my last stitch ended, and only a very short distance away. I'll be stitching through that carried thread on the back - it will line up with my next stitches and not show through to the front of the work.



I continued down the downstroke, then around the curve, then up the other side of the u.



Then I moved back down and stitched the connection between the u and the i.

Again, as a reminder, as you stitch your letters, always look ahead and work out a sensible path to follow for stitching. On this u, two paths presented itself, and both would have been fine: the first path is the one I took - down the downstroke and up the other side of the u. Alternately, I could have gone down the downstroke, around the curve, and stopped where the curve met the second downstroke on the u, then worked the downstroke and the connection. Either way would've been fine, and perhaps the second way would have been more consistent, as it would have matched the first half of the letter better. But it really doesn't matter in this case - the letter is clear, and the stitching is tidy. And that's really what you want to achieve.



Here, I've stitched the downstroke of the i, and the connection with the c.



Now you can see I'm in a situation where I can't carry my thread across to the next beginning point, nor can I "travel" the thread on the back through any stitches already there. Yet I have a long enough thread to keep stitching... so, what to do?

I could end my thread and start again, but why bother, when I can "start" without ending??



Just as I start a thread by taking tiny anchoring stitches, here, I'm taking tiny stitches along to the next starting point. I will cover these stitches up with the stem stitch, and I've avoided having to end my thread and start a new one and having a thread carrying visibly across the back of the fabric.



To keep the left-to-right direction of stitching, and to keep my working thread in the correct place in relation to the needle (below the needle), I started the c upside-down and turned the hoop as I progressed through the curve.



Continuing from the c, I worked my way up the top loop of the k.



I turned the work to accommodate the direction of the line, taking smaller stitches around the top of the loop of the k.



Then, coming down the back of the k, I stopped here for one main reason: I was out of thread. This was a good place to stop. If I had had more thread, I probably would have continued down the whole back of the k, but I will pick that part up with the new thread, and move up the k here, instead of down.



When you get to a point where two lines converge to make a sharp corner, as happens here in the middle of the k, it is necessary to end one line of stitching and start a new one. End the line of stitching around the loop right in the corner, as you see in the photo above. To start the next line of stitching (the downstroke of the k here), bring your needle up in the fabric a stitch length away.



Then take the needle down into the fabric right in the corner, to make the first stitch. Basically, I'm beginning this stem stitch line with a backstitch, if you want to think of it this way.



Now, bring your working thread up halfway the length of that backstitch, on the line, but above the stitch, to continue on with the stem stitch.



And the last stroke of the k is finished!

So, there you have the stem stitch worked on cursive lettering, using two strands of DMC stranded cotton.

If you're interested, feel free to check out my other tutorials on hand embroidering text. The next tutorial will focus on smaller text using a finer line.

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

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Posted By: Mary Corbet on Friday, October 23, 2009
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Remember when you learned penmanship and your teacher had to remind you to dot your i's and cross your t's? The same thing holds true when writing with your needle and thread - dotting the i's and crossing the t's are important, but dotting the i's is the part that's tricky. The dot floats above the lettering, presenting the problem of traveling up to it to stitch the dot. You don't want your thread to show through the front, so how do you get up there to the dot, without traveling a thread on the back of your work? Here's one way.

When hand embroidering your lettering or text, by the way, it doesn't really matter when you dot your i, not like it does in penmanship. With embroidery, you already have your lettering mapped out for you. You know exactly where that dot on that i is going to be. So while it may seem to be out of sequence to talk about dotting an i before we've even written the word, the fact is, it doesn't really matter! Besides, since you might be writing a completely different text on your sampler, I thought it a good idea to address this question, in case you already have some i's to dot!



Start by bringing an unknotted thread to the front of the fabric, right where you want your dot. The thread does not connect to any other lettering - you're just starting out with a new thread, and bringing it to the front of your fabric. In this particular tutorial, I'm using two strands of DMC cotton, but the technique applies equally as well to stitching with any kind of embroidery thread, really.



On the back of your fabric, leave about an inch-long tail, so that you can easily get ahold of it to snip it, later.



Now we're going to work a couple anchoring stitches. Going back to the front of your fabric, take one tiny straight stitch over only one or two threads of fabric. If you're working with a larger text on muslin or a high thread count cotton, you can certainly take the stitch over two or three fabric threads. It depends a bit, too, on what size you want your dot. If you want your dot to be relatively small, then take this anchoring stitch over as few threads as possible in your fabric, making the anchoring stitches as small as possible. After you take your first tiny stitch, bring the needle back up right next to that stitch.



Now, take your second anchoring stitch straight into that first tiny stitch.



Now your thread is anchored sufficiently to stitch the dot. Turn the fabric over, pull your working thread out of the way, and snip off the one-inch tail that you left on the back. Snip as close as possible to the fabric, but don't pull up on the tail with any force. Just try to snip right next to the fabric.



On the front of your fabric, this is what you'll have - two tiny stitches, worked perpendicular to each other, the second stitch stitched into the first.



Now, stitch over those anchoring stitches with two straight stitches, side-by-side, that cover the anchoring stitches. Bring the needle up right above the anchoring stitches and go down right below them, then bring the needle up again in the same exact hole above the ancoring stitches, and go down in the same hole below them, arranging the two straight stitches to lie right next to each other over the anchoring stitches.

If you are working with a single strand of thread, you might have to take several straight stitches to cover your anchoring stitches. The trick is always going up and down in the same hole above and below your anchoring stitches, and making sure your straight stitches are lying side-by-side. This is what will make the dot look round.



Now, turn the work over, and take the needle through the stitches on the back, running through them twice, once in one direction, and once perpendicular to that. If you can't manage a perpendicular stitch, then run the needle under the stitches twice, going in the same direction each time.



Cut your thread close to the fabric, but don't pull up on it before cutting. Just get as close as you can, without risking cutting your stitches or your fabric.



And there's your perfect little dot, floating by itself above the text.

Next up, we'll cover the lettering on that word, using stem stitch and focusing on connecting cursive text and keeping the direction of the stem stitch right.

For more tutorials on hand embroidered lettering and text, visit the Hand Embroidery: Lettering and Text Index of tutorials.

Any questions? Feel free to leave them in the comments below, and I'll do my best to answer them!

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

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Posted By: Mary Corbet on Monday, October 19, 2009
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To keep this series of embroidery tutorials a bit organized, I'm going to stash all my tutorials for hand embroidered lettering and text on this page, and then I'm going to list this page in the top right column under "Editor's Floss" while the tutorial series is on-going. I'll also have a link on the Tips and Tricks for Hand Embroidery page (which you can also find listed under "Editor's Floss" in the top right corner.

Hand embroidery is an excellent way to personalize gifts, household objects, momentos and so forth. Text and lettering is an excellent way to personalize, but sometimes, writing with a needle and thread can be kind of difficult.

I've put together a series of tutorials to help stitchers improve their embroidered lettering. As the tutorials progress, I'll index each one here so that you can have easy access to it.

I hope you find these tutorials useful and fun!



Hand Embroidery: Lettering and Text 1 - This tutorial covers setting up the lettering sampler. In this particular article, you won't learn much about stitching your letters, but there are a few tips and tricks for design transfer discussed, if you want to take a look! You can also get a good look at the text sample that I'll be using in this series.

Hand Embroidery: Lettering and Text 2 - This tutorial features lettering in backstitch, but it focuses mostly on how to "travel" your threads in order to achieve a clean, finished look from the front. I discuss the path of the embroidery, noting that the path you would follow for hand writing is not necessarily the same path you would follow for hand embroidery.

Hand Embroidery: Lettering and Text 3: Dot Your I's. In this tutorial, I focus on one method of dotting I's. You know how the dot floats so far away from the text? Well, how can you dot, without carrying your threads? I'll show you how, and then the technique can apply for a variety of different dotting stitches.

Hand Embroidery: Lettering and Text 4: In this tutorial, the focus is on stem stitch, especially how to travel in the right direction to keep the stem stitch looking like stem stitch, and to keep the working thread in the right place in relation to the needle. This sample is in cursive, so we will also look at how to travel the threads to achieve a nice cursive text, without bulky double lines. Finally, this tutorial also addresses the question of crossing over previously stitched lines.

Hand Embroidery: Lettering and Text 5: This tutorial will focus on a suitable stitch for very small text - whipped backstitch - and how to keep the whipped backstitch smooth and consistent in its twist. We'll look at the difference between whipping the stitch while traveling in different directions, and discuss how to avoid changing the direction of the stitching. Also, check out this article on stitch direction for whipped backstitch - it'll show you the difference in the look of your stitching depending on the direction.

Hand Embroidery: Lettering and Text 6: Did you know that you can combine your stitches on the same lettering for very nice results? Well, you can, and this tutorial is going to look at using a combination of stitches on the same lettering, specifically buttonhole stitch and stem stitch.

I'll be adding links to the individual tutorials as the tutorials are posted. The series will cover more than five tutorials, but so far, I only have samples embroidered for these!

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

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Posted By: Mary Corbet on Saturday, October 17, 2009
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Here's the first stitching instruction installment for hand embroidered lettering. Yesterday, I showed you the lettering sample I'll be using for these tutorials, and how I set it up to start stitching. Today, the stitching begins...

The first sample of hand embroidered lettering is on the word "The" at the beginning of my sample sentence ("The quick brown fox jumped over the lazy dog"). I'm using two strands of DMC cotton and a #8 crewel needle, and the stitch I'm using is backstitch. Fabric and hoop were discussed in yesterday's post.



To begin stitching, I started at the base of the T. With knot in the thread, take your needle down into the fabric about a half an inch away from the base of the letter. Take two small straight stitchs in the fabric, towards your starting point and away from the knot, ending at the back of the fabric. Then, bring your needle up at the very base of the letter, so that you're ready to travel up the line of the T, covering up the small stitches en route.

I've already posted a picture tutorial on beginning your embroidery threads in this manner, if you want to take a look at this technique in detail.



Using small stitches evenly spaced, I'm embroidering the base of the T with backstitch. I stitched all the way to the top of the line.

Now, at this point, if you were hand writing, you would probably pick up your pen and take it to the far left of the top line on the T, put the pen down, and draw a straight line to cross the T.

However, we're not going to do that here. Our last backstitch ended a whole stitch length below the cross line. If we were to take our thread to the left side of the cross line on the T, we'd end up trailing a thread across the back of the embroidery, where it could be seen.



Instead, I started my next stitch on the cross line right in the middle of the line and worked the backstitch all the way to the left end of the cross line.



To return to the center and finish the right side of the cross line, turn your work over. Wrap your working thread around the back of the stitches by "whip stitching" around the back of the stitches. You'll only need to whip the back of the stitches about twice to return you to the center of the cross line.



Finish backstitching the cross line all the way to the right. The next step is to return to where the H crosses the cross line of the T.



To do this, turn your work over and whip stitch around the back of the stitches, to the point where the H crosses the cross line on the T.



You'll only need to whip around the backs of the stitches once or twice - and make sure you don't pick up any fabric! Just take your needle underneath the threads, wrapping them.



I'm working the top of the H that extends above the cross line on the T. This way, I don't have to travel back up here later to finish the H. It's important to look ahead when you're embroidering text, to see the easiest (and "cleanest") path to follow for your stitches. In this case, stitching this little stem here will get it out of the way. Then, I can move back down and do the rest of the H.



Once you get to the top of the H, turn your work over and "travel" your threads back down the back of the stitches by whipping them as you did above.



Continue backstitching down the downstroke on the H. If you were hand writing, once you reached the end of the downstroke, it is likely that you would not lift your pencil or pen to bring it back up to the bump on the H. However, when embroidering text, you don't want to double different parts of your lines - they'd end up looking bulky.

So, just as you traveled your threads on the back before, now you'll turn over your work and wrap the back of the stitches up the point where the bump on the H begins.



The "traveling" on the back (by wrapping your thread around the backs of your stitches) is indicated by the dotted line here. When you travel to the right place, come to the front of your fabric and backstitch the bump of the H.



When you finish the H, turn your work over, and wrap the working thread around the stitches on the back. Cut the working thread.



This is what the back of your embroidery will look like about now. The E in "The" is separate from the other two letters, so I'm not going to travel my thread from the H to the E. The most obvious reason for this is that the thread will be seen from the front, through the white linen. Even using white thread with white fabric, your thread would be seen. And even if you were using DARK fabric with a light thread, carrying your thread across an empty space could still be visible, because the thread can form a small ridge in the fabric, especially once the fabric softens with time. Even though it is (admittedly) a pain in the neck to constantly be changing threads, it is best to get into the habit of changing them rather than carrying them across open spaces. If it's a habit, it won't seem like such a big deal when you have to start and stop often.

If it really bothers you to start and stop your threads often, when working up your text, consider arranging it so that each letter in every word touches. Then you can travel your threads on the back by wrapping them through the back of your stitches, and you won't have to start and stop for individual letters.



Begin the next thread the same way the first thread was begun, by a series of tiny stitches that will be covered up with the backstitch.

Considering the E, I decided to start from the base and work up around the loop, rather than starting at the inside of the loop and working down to the base. My reason for this was that I wanted a neat join, where the loop and the back of the E met, and I figured I could achieve that better by stitching the back of the E first, and then meeting the back after traveling into the loop.

You see, then, that it's a good idea to think ahead along the path that you want to stitch. Notice where the various parts of the letter meet.



When the E is finished, turn the work over and run your working thread under the backs of the stitches, then snip the thread.

And there is the end of the first word, stitched in a simple backstitch, which works well for this style of lettering. Though there are some curves in the lettering, there are not many tight curves, so the backstitch looks smooth and not too blocky with the simple printed lettering.

Next up, we'll work cursive in stem stitch.

Hope you enjoyed the tutorial and that there was a little tip or two that was helpful for you!

Other Posts on Hand Embroidered Lettering

Hand Embroidery: Lettering and Text 1 - setting up the sampler

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

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Posted By: Mary Corbet on Thursday, October 15, 2009
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Moving along in the Long and Short Stitch Shading Lessons series, we've arrived at Lesson 8, which is a very simple flower.

If you're just joining in on this series of lessons on long and short stitch, you can "catch up" by checking out the index of long and short stitch shading lessons, where you'll find links to each lesson so far.

The lessons are arranged incrementally, going from basic filling with long and short stitch to filling more complex shapes. The entire series is for beginners in this embroidery technique, and once you've worked your way through it, I'm hoping that you'll have a bit more confidence in using long and short stitch as a filling technique in your embroidery projects.

For Lesson 8, we'll be working on the small flower located in the center of the base of the sampler. Note that the point is not necessarily to achieve a "dimensional" effect - this is a simple, flat flower - but once you've stitched it, you should have no trouble translating the lesson into more challenging flowers.

For your materials, you'll need the sampler in a hoop or frame, scissors, #9 or #10 crewel needles (embroidery needles), and the following colors of DMC stranded embroidery floss: 471 (medium green), 469 (dark green), Ecru, 225 (light pink), 223 (dark rose), and 814 (dark burgundy).

As in the previous lessons, the stitching is done with one strand.

Most of the procedures in this lesson do not need to be explained in thorough detail, as you have already experienced them in the previous lessons. Also, the flower is a series of five repeats, so the lesson will only focus in detail on creating one petal and one leaf, although you will see photos of the flower develop.

NOTE: There are different ways to approach stitching something like this. I went one petal at a time, in order to show you a complete petal. You can also stitch each layer of the all the petals at one time, progressing from the outside of all the petals, to the middle layer of color in all the petals, and finally to the inside tip of all the petals. Following such an approach may help you on two accounts: 1. it may save you time by not having to change back and forth to different colors of threads; 2. it may help you keep your layers of color shading uniform as you move from one petal to the next.

Procedure:



The first parts of the flower that will be stitched are the little leaves that jut out between the petals. Feel free to draw your stitch directions inside these little leaves. Your stitches should point towards the "growth point" of the little leaves, which will be the center point where the flower petal lines merge together.



Using one strand of 471 (medium green), split stitch around the outside of the leaf.



Beginning in the middle of the leaf (the tip), over the split stitch line, fill the leaf in color 471, stitching long and short stitches from the center to one edge, then from the center to the opposite edge of the leaf. This is the same long and short stitch technique we have been using all along.

Your stitches should fill most of the leaf, leaving only a bit in the center and down at the tip empty.



Switch to 469 (dark green), and, coming up into the first layer of medium green, fill the rest of the leaf with the dark green.



The first leaf will look something like this. Following the same procedure, finish all five leaves.



The leaves are relatively tiny, so it won't take too long to stitch them all.

A note here about beginning with the leaves. In this type of needlepainting, it is common to begin with the part of the design that is farthest away from you or that is tucked behind other parts of the design. While some books and some designers don't always insist on this point, I think it does help to achieve a more dimensional and realistic effect in needlepainting, to start with the parts of the design that are farther away and behind other parts of the design. In this way, the "painting" seems to build up, one layer on the next.

In this little design of this flat and simple flower, it probably does not make that much of a difference, but as you progress to more complex designs, it will make a difference! Especially with elements like hair, feathers, animal fur, etc., it is important to work the layers from the farthermost layer to the closest layer, in relation to viewer.



For the petals, begin with Ecru and split stitch a line from the inside tip of the green leaf, around the top of the petal, to the inside tip of the next green leaf. Essentially, you are stitching only the arch of the petal, not the area where the petals are touching.

Draw in your stitch direction as shown above. Your stitches will slant towards the inside tip of the petal.



Following the same techniques learned before and still using Ecru, begin in the middle of the arch of the petal, and work the long and short stitch from the middle to one side, then from the middle to the other side of the petal. You will fill up most of the petal - about two-thirds the length of the petal, leaving only about a one-third arch area empty.



Switch to the light pink thread (225), and fill in practically all of the remaining petal, fanning your stitches out in the same fashion you learned in previous lessons.



Leave a tiny bit of space just at the tip of the petal.



Switching now to the dark rose (223), work in a few small fanned stitches right at the tip of the petal. It's easy to work one in the center and one at each side, then to add a tiny stitch in the spaces between - five stitches in all.



Continue to fill the petals in the same manner. Remember that you do not have to end every thread. When you're finished with a color but still have plenty of thread left, bring your threaded needle to the front of the fabric, away from your stitching area. You can then pick up the color on the next part of the design, when needed.



Continue working your way around the little flower...



... until all the petals are filled.



Now, using dark rose (223), stitch one long stitch, bringing your needle up at the inside tip of each green leaf, and taking it down in the center of the flower. The stitch should lie in between each petal. This will help distinguish the individual petals.



Now, you can switch to dark burgundy (814) and work a few random French knots in the center of the flower. If you want to use a different color - like yellow - feel free to do so! The darker yellow (3855) might look better than this dark burgundy.



It was hard to get a good shot of the flower with the French knots.



Here's a shot of the sampler up to this point! And only one more lesson to go!

Enjoy stitching your little flower, and next week, we'll tackle the final leaf.

Here's the PDF version of Lesson 8:

Long and Short Stitch Shading: Lesson 8, a Simple Flower

As always, feel free to leave a comment down below if you have any questions about this lesson!

Have a terrific weekend!

Labels: embroidery lessons, embroidery tips and tricks, long and short stitch, needlework pictures, needlework tutorials, pictures, stitchalong lessons

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Posted By: Mary Corbet on Friday, September 18, 2009
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Posted By: Mary Corbet on Saturday, September 12, 2009
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It's time for Lesson 7 in the Long and Short Stitch Shading series here on Needle 'n Thread! In this lesson, we'll be working element #6, the leaf in the center right side of the sampler.

If you've just popped in, you can find the rest of these lessons on long and short stitch in the Long and Short Stitch Lesson Index. We're working incrementally through a small sampler in order to practice filling and shading with long and short stitch.

In today's lesson, the leaf that we're working is pointind downwards, and it has some little spikes on its outer edge. We're going to be working from a dark edge to a lighter center. Other than the shape and the direction of the color changes, the concepts are much the same as those used in Lesson 6, where we stitched a simple flat leaf shape. We'll be cutting in a bit of color for shadows on this leaf, but I think you'll find, overall, that this leaf is fairly simple if you've already worked the flat leaf in Lesson 6.

For this lesson, you will need the following colors of DMC stranded cotton: 469 (dk green); 471 (med. green); 472 (med-lt green); 613 (pale green); 3012 (med. olive green) and 814 (burgundy)



Split stitch the outline of the leaf. To do this, you can use 469 (dk green). I used 613 (pale green) because I was planning different color placement, originally. If you are afraid you won't cover your split stitch line completely, use the dark green because it's the color on the outside of this leaf. If you don't generally have problems with the outside edge, it really won't matter which green you use for the split stitch outline.



Draw in your directional lines and your shade spaces. I'm afraid I made another mess with my pencil lines, so here's a cleaned up version so you can get a better idea of where to sketch in your lines!



The dark purple lines are stitch direction and the green spotted lines indicate shade changes.



Beginning with the darkest green (469) and working on the left side of the leaf, stitch in directional lines for the outer edge of the leaf. Fill in between the directional lines with long and short stitch, in the same manner covered in previous lessons.



As the stitch direction changes, the stitches "fan out" a bit - that is, they are closer together on the inside of the leaf, and slightly farther apart on the outside of the leaf. Notice that there is some tiny space there between the stitches next to the split stitch line. This won't be noticeable at all, because the "fanning" out of these stitches isn't that extreme. If, however, you notice that, in fanning your stitches out so that they lie in the correct direction, there is a noticeable space between your stitches at the split stitch line, take a small stitch over the line (forming a "short stitch") to cover up the split stitch line. Tucking in a little stitch here and there to fill a gap is not only fine, but it's often quite necessary!



Work long and short stitch in dark green around the outside edge of the leaf, filling it in completely. Your long stitches may be as long as a quarter inch here.



On some parts of the leaf, where the little spike sticks out, you can take one stitch from the tip of the spike and completely cover the split stitch line with it (it will run in the same direction as the split stitch line, so you'll basically be stitching a straight stitch from the tip of the spike on top of the split stithch line to cover it up.



After you've finished the dark green all around the left side of the leaf, change your thread to medium green, 471. This will be your second layer of color. Remember to go deep into the first layer as you stitch, and to alter where you start your stitches, so that the starting points don't create a line on the leaf.



Here's the stitch direction again.



And here's the completed second layer. Once you finish the second layer, switch threads to med-light green (472) and stitch the third shade of color towards the center of the leaf, leaving room for one more shade.



As you get to the base of the leaf with the third layer, you will probably be running into the center vein. That's ok. In this area, which is slightly crowded, you can take the third layer of color all the way in to the center vein. This is the circled part in the photo above.

On this leaf, you want to keep your central vein area as neat as possible, and you want all your stitches to meet, if possible. Although you will be stitching a vein as you did in Lesson 6, the vein on this leaf is not as thick.



This is what the leaf should look like after stitching the third shade of green. Now, switch your thread to the palest green 613. This is the color you will use to fill in the center of the leaf.



Notice in the photo above that I "cut in" some small stitches in 613, into the stitches that have already met the center vein at the base of the leaf. This is to lighten up that area, so that the color change does not seem so drastic.



Finish filling the center area with 613, taking your stitches all the way to the vein line in the center of the leaf. Once you've finished filling the center with 613, change your thread again to color 3012. In the very center of the leaf, where 613 meets the vein line, "cut in" some tiny stitches in 3012, to create a shadow along the vein line.

I'm not sure if "cutting in" is a legitimate term. That's what I call it when a few tiny stitches are being added to an area where the color is already stitched in. So, basically, you're splitting stitches that are already there - you don't have any filling space left, so you're just adding these tiny stitches into the stitches already there.

You've pretty much finished the left side of the leaf, so now it's time to move to the right side.



Again, stitch in directional lines with dark green, 469.



Fill in the dark green in long and short stitch on the outside edge, from the tip all the way to the base. Make sure you cover the base split stitch line.



Now, switch to color 471 again, and stitch the next layer of color. When you finish the second layer, it should look something like the leaf in the photo above.



Now, you're going to switch directly to the palest green (613), skipping the light green layer. Fill to the center, with the exception of a small area, as shown in the photo above. Change your thread to medium olive green (3012) and fill in the remaining area.



You can also "cut in" some tiny stitches of 3012, all the way up the vein line towards the tip, as shown in the photo above.

Once you finish filling in a bit of a shadow next to the vein, take your thread to the base of the leaf, coming up in the center on the vein, and work a long split stitch line along the vein in 3012, to help define the center of the leaf. The "vein" you are now stitching should not extend all the way to the tip.



For the stem, I split stitched around the edges in 3012, and then satin stitched in the same color all the way down to where the stem meets the leaf. As the stem narrows, the satin stitches become very tiny.



This is the leaf so far. The stem is a bit too large for the leaf, methinks!



Now, to make the leaf pop out a bit, I took the burgundy (814), and stitched a tiny straight stitch in burgundy on the inside edge of each spike on the leaf. This may look better in a darker brown, but I used the burgundy since it is on our color list. If you have a darker brown on hand and want to use it instead, feel free to do so!



Ta-dum! You've finished Lesson 7! Only two more lessons to go!!

If you want to visit the other lessons in this series, go to the Long and Short Stitch Lessons index, where you'll find the whole list of lessons so far, including one with three videos demonstrating long and short stitch.

If you're following along with the lessons so far, you can add your photos to the Needle 'n Thread flickr group if you would like feedback on your progress.

And, finally, here's a PDF version of this lesson, if you'd like to print it out:

Lesson 7: Long and Short Stitch Shading - a More Complex Leaf (PDF)

Enjoy the lesson! Feel free to ask any questions or add comments below!

Labels: embroidery lessons, embroidery tips and tricks, long and short stitch, needlepainting, needlework pictures, needlework tutorials, pictures, stitch along, stitchalong lessons

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Posted By: Mary Corbet on Thursday, September 10, 2009
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Now that you've had some experience with various shapes and stitch directions in long and short stitch shading, it's time to move on to elements that are used often in needle painting. In this sampler, we look at four elements that are commonly shaded in embroidery - botanical samples. We're going to stitch three types of leaves and a very simple flower. Lesson Six in this series of Long and Short Stitch Shading lessons focuses on a simple leaf shape. It is not the most realistic looking leaf in the world, but with a little shading, it'll end up looking pretty good!

If you are just joining us in these Long & Short Stitch Shading lessons (also known as needle painting, thread painting, silk shading, and so forth), you can find the rest of the lessons in the index in the right column under "Editor's Floss." We've been working through a small sampler of various elements that we're shading with long and short stitch - a technique that sometimes intimidates embroiderers, but that becomes easier and easier once you understand the basic concepts, and - of course! - once you practice the technique a little bit!

So here we go, on to the next element - the simple leaf at the top center of the sampler.

For this lesson, you will need the following materials:

1. The project in a hoop or frame, with element five (the top leaf) centered in the hoop

2. #9 or #10 crewel needles

3. Small, sharp embroidery scissors

4. DMC stranded cotton in the following colors: Greens - 3011 (dark), 3012 (medium), and 3013 (light); and burgundy 814.

For the basic stitching technique for long and short stitch, refer to the long and short stitch videos included in Lesson Two.

All stitching is worked with one strand (from the six) of regular DMC 6-stranded embroidery floss, with the exception of the stem, which is worked in two strands.



For stitch directions, mark your leaf with a pencil. The purple solid lines in the diagram above illustrate the direction of your stitching, while the dotted lines can be penciled in to mark the areas of color change.

When stitch a natural object like a leaf or flower petal, the stitch direction follows the natural direction of growth. The stitches angle towards the "growth point" of the element. In a leaf, that is the center base of the leaf towards the stem.



Split stitch around the leaf in the lightest green, 3013.



As we did in the boxes of Lesson Two and the triangles of Lesson Three, stitch in some directional stitches using light green (3013). These stitches will be about a quarter of an inch long, more or less, and will act as "long" stitches. They can extend slightly beyond your first "color area" marked on the leaf. (My pencil markings on the leaf above are a mess - but they'll be covered up, thank goodness!)



Begin the long and short stitching in the middle of the side of the leaf, and work to the base. Return to the middle and stitch to the tip. I left the base (down by the stem) blank, and filled it in last, after finishing the rest of the leaf. You will see this as the lesson progresses.

Stagger your stitches, long and short, as explained in previous lessons, and do your best to follow the stitch direction lines.



After stitching one side of the leaf in light green (3013), move to the other side, and stitch the other side in the same manner. When stitching at the tip of the leaf especially, the stitch direction will change drastically in a very little space. Tuck in little hidden stitches as necessary to neatly fill the area, without over-crowding the tip.



The light green (3013) is complete.



Thread your needle with the medium green (3012), and, beginning in the middle of the side of the leaf, work the next layer of long and short stitches down to the base, and then go back to the center and stitch up to the tip. As you get to the tip, manipulate your stitches as best as possible to give good coverage, but don't crowd your stitches into the tip. You will be using fewer stitches as you work towards the center area of the leaf. Stitch both sides of the leaf in the same manner, filling the second layer with the medium green.



Once the medium green is completed, switch to the darkest green, 3011.



Begin in the mddle and work up to the tip, bringing your stitches to the center vein line on the leaf. On each side of the leaf, your stitches will meet at the center, forming a line down the center of the leaf.



Stretch your stitches to the center line where possible - up towards the top of the leaf, this will be easy, as the distance to the center line is not as far. As you work down the leaf (you can see this in the photo above), your long stitches may be too long if they are to meet the center line. This is ok. Don't take them all the way to the center line - you can go back and fill in one more layer of the dark green, to complete the filling process.



You can see in the circled area that my dark green did not stretch all the way to the central line. After working this area, I went back and filled in with another layer of dark green.



As you fill in at the base of the leaf with the dark green, take the stitches over the split stitch line where the stem meets the base, as necessary.



You will notice here that I have still got one area at the base of the leaf (on both sides) that is not filled in.



At this point, instead of long and short stitch, I will use long straight stitches (satin stitch) to cover the rest of the base of the leaf. I worked these stitches in medium green (3012).



This is the leaf, completely filled in.



There are a couple little "trouble" spots, but I didn't let them worry me. The first is that area on the center line. You can see the white fabric there where the stitches don't quite meet, and you can see one area where the stitches in the center do meet. We will stitch a stem over this, so it will not be noticeable and is not worth correcting. Also, at the base, the satin stitches seem more obvious, as they are not shaded. Once the stem is in, however, they will be less noticeable.

For the stem, take one strand of dark green (3011) and one strand of burgundy (814) and thread both strands together in your needle. You do not need to arrange them in any special way - just thread them both in.



Beginning at the base of the stem (the end of the stem line, farthest away from the leaf), using stem stitch, work your way to the tip of the stem area on the leaf. End your stem line about 1/2" - 3/4" below the tip of the leaf. If you are unsure of how to work the stem stitch, check out my stem stitch video tutorial.



Congratulations! You have completed Element Five and now you're ready to move on to Element Six - another leaf, but slightly more complicated than this one.

If you'd like a PDF of this lesson so that you may print it out, here 'tis:

Lesson Six: a Simple Leaf (PDF)

Good luck and have fun with it! (And don't hesitate to leave a comment below if you have any questions!)

Labels: embroidery lessons, embroidery tips and tricks, long and short stitch, needlepainting, needlework tutorials, stitchalong lessons

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Posted By: Mary Corbet on Thursday, September 03, 2009
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In Lesson Five of this series of Long and Short Stitch Shading Lessons, we're looking at element 4 on the sampler, the ribbon-like swirl and the little swash shape in the top right corner.

If you are just joining us for these lessons in shading with long and short stitch, you can find all the articles related to the lessons listed under the Long and Short Stitch Lesson Index. For those of you who want to know what these lessons are all about, they are merely to help the embroiderer learn the basics of long and short stitch shading in order to feel confident in tackling more complex needle painting projects. The lessons are free and will be kept here on Needle 'n Thread, easily accessible, so that you can follow them at your own pace.

The fifth long and short stitch lesson focuses on stitching around a curve, in order to shade design elements such as ribbon or flowing text.

For this element (the top right corner of the sampler), you will need the same shades of blue that were used on the triangle: DMC 159, 159, 160, and 161.

You'll also need #9 or #10 crewel needles, sharp embroidery scissors, and a hoop or frame to keep the work taut.

For basic technique in long and short stitch, feel free to visit Lesson Two, where you will find three videos demonstrating basic long and short stitch. Reading and working through the previous lessons up to this point will help you as well.



Begin with the small swash next to the ribbon. Anchor your thread and split stitch an outline around the small swash in medium-light blue (160). Begin the long and short stitch (in 160) in the center of the rounded end of the swash, working to the right side of the swash, then going back to the center and working to the left edge of the swash.



When you finish with color 160, if you still have "stitching room" on your thread, take your needle from the back of the fabric to the front, outside to the working area, without cutting the thread. You can leave your thread here until you are ready to use this color again. This way, you don't have to end and re-start the thread each time you need to use the same color.



Switch to light blue (159) and stitch two ore more rows of long and short stitch, to fill the main central part of the swash. As you stitch each row, make slight adjustments in direction in order to ease your way aroudn the turn of the swash. See the phot below for stitching direction:



The red slashes indicate the turning stitches. The green slashes indicate the stitches that extend to the side and over the split stitch outline. As the stitches on the left approach the split stitch line, take them over the line to ensure a smooth edge. Keep gradually moving your stitches around the bend of the swahs, adjust the stitch direction as you grow. Switch back to medium light blue (160) for one row, then medium-dark blue (161) for the next row, and then end the swash at the point in dark blue (158).

The key in getting around the curves gently is to slowly adapt your stitches to the curve. Take small stitches where need be (in fact, your stitches will be smaller going around the curve), in order to "tweak" the stitch direction so that your stitches are working in the direction you want them to go (which is toward the tip of the swash). Remember that, as your space gets smaller, you use fewer stitches (just as you did with the triangles).



When you finish your swash, it should look something like this.



(Mine looks better from farther away!)



Once you've finished the small swash, you're ready to move on to the large ribbon shape. Begin on the lower right tail of the ribbon. Outline in split stitch (159) as demonstrated in the photo above. You do not need to outline the whole shape - just the top edge of the ribbon and about half way down the sides.

Use a pencil to mark direction lines down the length of the ribbon tail, and color-change lines across the width of the ribbon tail, as shown in the photo above. You want four sections of the area "blocked off" to mark approximately where you will change shades.



Working in light blue (159), work the long and short stitch over the split stitch line at the top end of the ribbon.



Begin the next row of long and short stitch in medium-light blue (160). Remember to take your new stitches deep into the first row of stitches.



Work the third row of stitches in medium-dark blue (161). Begin shifting your stitch direction more dramatically in order to accommodate the curve.



When it becomes necessary to cover the split stitch line, bring your needle up outside the line so that you can cover it. You'll take the stitch back down inside the shape.



You'll probably work at least two rows in medium-dark blue (161). These rows will require the most dramatic change in stitch direction. Try to follow the curve of the ribbon, using relatively short stitches and adjusting their direction as you work around the curve.



Finally, switch to the darkest blue (158), and continue working in short stitches, easing around the curve to the point of the ribbon curl, and decreasing the number of stitches in order to fit the design area.



Continue to add subsequent rows of dark blue (158) until you reach the tip, as shown below:



This is the finished first ribbon tail.



At this point, you can mark in your stitch direction lines and your color lines on the main section of the ribbon. Divide the ribbon across its width as indicated above. In the widest part of the ribbon here, the center will be light, and it will gradually get darker towards the tips. The stitch direction will work around the curve of the ribbon.



Now that you've finished the lower tail of the ribbon and marked your stitch direction, turn your work over so that the element is upside-down. The next section of the ribbon is easier to work upside-down. First, using 158 (dark blue), stem stitch the thin line between the curl you just finished and the main section of the ribbon. (The area circled in red in the photo above). When your stem stitch reaches the point where the lines divdide to form the mid-section of the ribbon, you can switch to split stitch for outlining the area. Outline on a little way up into the main curve of the ribbon (also shown in the photo above).



Then, in the darkest blue (still 158), work long and short stitches to fill the tip of the ribbon, working from the narrow point to the wider center.



The red lines above indicate the stitch direction. Notice that I'm not starting in the tip of the ribbon, and fanning out. Rather, I'm starting on the side of the ribbon, and working almost vertically.



Switch to the medium-blue (161) and then medium blue (160) and continue to work long and short stitch to fill the riboon shape.



As you switch colors, anchor your working threads in the fabric above the design so that you can keep using them when you return to those colors on the rest of this section.



In the widest part of the ribbon (center), switch to light blue (159), and stitch two or three rows (depending on the size of your stitches). Alter the direction of your stitches to gradually move them towards the tip where the lines of the design converge.



Keep adjusting your stitches as you round the curve, and then switch back to medium blue (160).



After stitching a row of medium blue, switch to medium dark (161) and continue towards the tip of the ribbon.



If you turn your work right-side-up at this point, it should basically look like this. You can outline the tip in split stitch, using dark blue (158) if you wish. I did not outline at this point - I just continued filling to the tip where the lines of the design converge.



Working upside-down again, continue filling with the darkest blue, to the tip of the large ribbon curve, easing your stitches around the curve by changing their direction little by little.



The tip should look like this.



Continuing with the dark blue (158), stem stitch the line between the main part of the ribbon and the top curl. Again, where the lines separate to form the top curl of the ribbon, switch to split stitch and outline the lower third of the curl.



Mark in your stitch direction lines and the lines to indicate changes in shade, if you wish. Split stitch the very edge of the ribbon (hidden here by long and short stitch) in medium-light blue (160), and then work one row of medium-light (160) in long and short stitch. If it is easier for you, turn your work upside down again.



Following the same sequence as in the lower curl on the ribbon, work a row or two of light blue (159) in long and short stitch, tweaking your stitch direction as you work around the curve. Then switch to medium-light blue (160), then medium-dark blue (161) - one row of each - then to dark blue (158), which will fill the tip.



Congratulations! You have finished the fourth element in the Long and Short Stitch Shading Sampler - the most difficult element so far! If you're still with me, you'll find the next element (the center leaf on the top of the sampler) a breeze! See you in Lesson Six!

Here's a PDF download of this lesson:

Lesson Five: Long and Short Stitch Shading on Curves

For previous lessons, visit this Index of Lessons in Long and Short Stitch Shading.

Labels: embroidery lessons, embroidery tips and tricks, long and short stitch, needlepainting, needlework pictures, pictures, stitchalong lessons

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Posted By: Mary Corbet on Thursday, August 27, 2009
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Last week, I showed you my set-up for the Schwalm embroidery project I'm working on, from Luzine's book, Basic Principles of Schwalm Whitework Embroidery. Well, after a slight kerfuffle, all is underway again, and I've even begun stitching.

I've just managed to stitch in some of the coral stitch outlines around the motifs on only one of the four sides of the tea cloth design. I've discovered a couple points I'll share with you here. Even if you aren't interested particularly in Schwalm whitework, they may serve you in some other embroidery-related endeavor!



Frist of all, when working coral stitch, it's helpful to work up a bit of a "rhythm" to the stitch. When I first started stitching the coral stitch outlines, I didn't realize how important it is to really concentrate on getting the rhythm of the stitch. I'd stitch a wee bit, then get interrupted, add a few more stitches a bit later, get interrupted, etc. These stitches are uneven and inconsistently spaced. Over all, I don't think this will show up in the finished piece, so I'm not that worried about it. But once I had a stretch of time to stitch, I found that the stitch became quite quick to work and the spacing and tension of the knots evened out considerably.



I'm an avid hoop or embroidery frame user. You probably have realized that if you've been reading me for very long! But - not all stitching is for the hoop! In my mind, some stitching simply requires a hoop or frame. For example, I would not, personally, attempt a nice satin stitch, any kind of drawn thread work, or needlepainting without one. But then, there are some stitches that work out better in hand. "In hand" implies embroidery that is stitched with the fabric held in the hand, without the aid of a hoop or frame or any other device to supply tension. And coral stitch - especially in the quantity on this Schwalm piece - works best in hand.

Not only does the stitch work up a whole lot faster, but the tension is overall better on each knot, when worked in hand rather than in a hoop. That's what I found, anyway!



Another thing I have discovered while stitching this piece in hand: the watercolor pencils I tested for transferring an embroidery design tend to rub off and fade, due to the touching and holding of the fabric. The other three sides of the Schwalm design have more or less faded off, and I will have to retrace them. On the side I'm working on, I'm having to retrace each element of the design as I get to it. C'est la vie!

I've got a couple ideas to test about design transfer - including Papermate Flair Ultra Fine markers - specifically in green. A kind reader wrote and told me that's what she uses, and the green works well (the other colors not as well). I'm eager to try this - I wonder how it will work with white threads on white fabric. (Thanks for that tip, Jean!)

In the meantime, I suppose I'll stick with re-tracing as I go. Though I might just break out the regular water-soluble fabric marker.... we'll see. Those tend to fade, too, a bit. But maybe they would hold up better than the pencils are right now!

Anyway, whichever direction I go with the design transfer, I'll be sure to keep you posted.

In the meantime, I'll keep plugging away with the Schwalm project. I like working on it so far! And I'm looking forward to adding different stitches - I think buttonhole scallops are next.

Oh, and a final thing I've learned: I take rotten photos of white-on-white embroidery. I need to research a bit to find out how to remedy that! Any tips you all may have would be wildly welcomed!

That's my project update. What are you up to? Whatever it is, I hope you're enjoying wielding your needle, too!

Labels: embroidery tips and tricks, needlework pictures, pictures, Schwalm, whitework

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Posted By: Mary Corbet on Tuesday, August 18, 2009
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Here's Lesson Four in this series of long and short stitch shading lessons. If you're just joining in, you'll find an index of the long and short stitch shading lessons available here on Needle 'n Thread, where you'll find all the links necessarily to easily access these embroidery lessons.

In Lesson Four, we are looking at how to embroider a circle in long and short stitch, in such a way that it looks shaded. Now, there are a couple different ways to go about this, depending on the type of shaded circle you are trying to achieve.

For me, personally, when I'm looking at needle painting, I'm looking at achieving a realistic effect with the long and short stitch. But for others, the two-dimensional flat effect is what they want.

So, in this particular lesson, I'm going to address two methods of long and short stitch: the "textbook" method (comprised of rigorously uniform long and short stitches) and the method we've been following here in these lessons so far, which, over all, is a much freer and more relaxed approach to the technique.

Instead of writing out the exact same lesson that you will find in the PDF at the end of this article, I'll stick to the bare bones for those of you who just want the gist of it. Then, if you want more detail, you can take a look at the PDF.

Colors The colors used in the circles are 347, 349, 351, 353, and 745.

Begin with the top circle, with one strand of 351 threaded in your needle. Split stitch the outer edge of the first circle in 351. Then draw directional lines in pencil inside the circle, like so:



Once you have split stitched around the circle, begin with your needle coming up in the fabric about one third way down the diameter of the circle, on the middle vertical line, as shown by the green dot in the diagram below:



Emerge from the fabric at this point, then take your needle down on the other side of the split stitch line, following the stitch direction marked by the vertical lines. For the next stitch, bring your needle back up into the fabric to the right of your first stitch, right next to it but not crowding it, and just slightly higher in the fabric, and then take it over the split stitched line. Now you have one long stitch and one short stitch. Continue in this manner all the way to the right side of the circle, beginning your long stitches along the same long and your short stitches along the same line.

To help you determine where to begin your stitches, you might draw two horizontal lines inside your circle, like the blue lines in the diagram below:



Once you reach the right side of the circle, go back to the middle and work to the left side of the circle. You'll end up with a row that looks something like this:



To begin your next row, using color 351, bring your needle up, splitting the centermost long stitch in the first row. You'll want to split this stitch only slight up into it - a good gauge would be to split the stitch next to where your short stitches in the first row end.



Your second row will look somewhat like this.



For your third row, use 353, and work the row in the same manner as the two above.



Finally, for the last row, use 745 and stitch the last row over the split stitch edge.

That's the first circle, worked in the "textbook" method of long and short stitch.

Second Circle

The second circle is the next one down, slightly to the right.



Begin by drawing an elongated dot at the top left side of the circle, leaving a little space between the dot and the edge of the circle. If you look at the circle as the face of a clock, the elongated dot will be at approximately 11:00 o'clock.



Next, draw directional lines radiating from the dot, as shown in the photo above.



Using 353, split stitch the edge of the circle. Then, begin your long and short stitching on the edge of the elongated dot. You don't want to go into the center of that dot - just consider the edge of it the place where you begin your stitches. As you stitch, fan the stitches out to follow the directional lines, and vary the length of the stitches. On the sides, stretch the stitches over to the edge. Don't hesitate to take a few over the split stitch line.



Fill in all around the elongated dot, so that the stitches fan out into the circle, and then begin the second row in 351. You'll want to fill in any gaps left by the first row, and build up a thickness of stitches here. You don't want them to overlap each other, but you do need them to cover the ground fabric, so make sure that you tuck in stitches where necessary to fill the area and cover the ground fabric.



I wasn't really satisfied with the lighter stitches on the left side of the elongated dot, so I went back in with 353 and tucked in a stitch to balance the top of the sphere out a bit. Yet another testimony to the forgiving nature of the L & S stitch, when stitched in this manner!



Your second row will look approximately like this.



Your next row is also worked in 351, filling in the center a bit more and building up a full foundation of stitches.

Then switch to 349, and fill in the rest of the sphere, following your stitch direction lines, and taking the thread over the split stitch line when necessary. You will probably stitch at least two rows of 349.



When you finish filling the sphere, which looks a bit like a berry, you'll have something close to this.



Using 347, stitch a few satin stitches across the elongated dot.

Third Circle

The third circle is going to be stitched much like the second, but the "berry" is turned to the other side.



Place a fat dot on the right side of the circle, about halfway down the length of it, and near the edge, but not touching it. Draw lines that radiate from the circle, as shown in the photo above. You can also draw in "layering" lines, which will help you know where to layer your colors.

When you have drawn your directional lines, you can split stitch around the circle in 349.



Beginning with 353 again, stitch in your directional lines radiating from the edge of the circle on the right.



Once you have the directional lines in, go back and fill in between them, varying the length of your stitches.



Begin the second row in 351, fanning your stitches out to follow your directional lines. Keep varying the length of your stitches, as seen in the photo above.



When you need help setting in a directional stitch, remember that you can pull your working thread in the direction you want your stitch to lie, then put your needle into the fabric underneath your working thread, so the stitch ends up in the right spot.



When you finish your second row, it should look something like the one in the photo above.



The next row is worked in 349. Remember to take your thread over the split stitch line as it becomes necessary to do so.



The final row is stitched in 347, over the split stitch line.



When you finish filling in the circle, using 347 again, add a few satin stitches to the inner circle.

Congratulations! You have now finished the first three elements of the Long and Short stitch shading lessons.

You can see all the other available lessons in this series in the Index of Long and Short Stitch Shading Lessons.

You can print or save this lesson (PDF) from the following link:

Lesson Four: Circles, Flat and Round (PDF)

You will probably notice that, of the three circles in this lesson, the last two are far more realistic looking than the first. The techniques used in the last two circles would be the same technique you would use to work such things as fruit (cherries, grapes, berries, larger round fruit, etc.) or vegetables (peas?!) or any spherical item that you want to look more dimensional.

Have fun with it!

Labels: embroidery lessons, embroidery tips and tricks, long and short stitch, needlepainting, needlework pictures, pictures, stitchalong lessons

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Posted By: Mary Corbet on Monday, August 17, 2009
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Before the school year gets underway in a mere week and a half (where DOES the summer go?!), I wanted to get several embroidery projects set up. I'm teaching five courses this semester, so I know my needlework time will be limited once school starts, especially during the first month while getting the routine underway. I'm planning to go back to the 15 Minutes Plan, but I can only do that if I have projects ready to stitch.

With that in mind, then, I set about setting up a project! This is the Schwalm Whitework teacloth that is featured in Luzine's book, Basic Principles of Schwalm Whitework.

I began by measuring out the linen to the prescribed 80 x 80 cm. Instead of working in centimeters, I converted everything to inches - which was probably silly. Anyway, I cut the linen to 31.5" square, pulling out threads to make sure the linen was cut on the weave. Then, I zig-zagged the edges on the sewing machine, so that I wouldn't have stray threads falling off the edge of the linen.

The linen I'm using is from Germany (thank you, Joey!) and is the preferred linen for Schwalm whitework. It's called Weddigen Linen, and it's available through Das Handarbeitshaus. (If you don't read German, you can drop that in Google's translator, and get a very good translation.) It comes in two thread counts: approx. 35 threads per inch, and approximately 50 threads per inch. I'm using the 35.

Once all the linen preparation was done, I divided the linen in half with basting lines, vertically and horizontally, then marked off the square for the pattern with basting stitches, too. The book calls for 20 cm in each direction, to form approximately a 40cm square for the design. I converted that to inches, and blocked off a 15.5" square, and then also basted in the diagonals on the square. How to do all of this - and why - is explained in the book.

Anyway, I found that the pattern was a bit small for a 15.5" square, so I took the square in an inch all around, and was a bit more satisfied with the layout. Then....

I started tracing. The book suggests an iron-on pencil or pen for transferring the pattern, and I have to admit, that would be about ten million times easier. But I have an aversion to iron-on transfer pencils and pens, because I know they don't come out all the way, despite the method of removal. I decided instead to use a watercolor pencil, and I traced the design.

To trace the design, I lined it up with all the correct lines on the fabric, then I pinned it on and placed it over a light box. It was "easy enough" in concept, but it took a long time! But, once it was finished - it was finished!



Once the design was transferred, my next step was to assemble all my threads. I took out my box of whitework threads, to find this general mess:



I've been telling myself for a while that I need to inventory my threads. These threads get used all the time, and they're not easy to come by. You generally can't find whitework threads (coton a broder) at your local needlework / sewing / craft or hobby store - or at least, I can't! So whenever I need a particular thread, I have to order it online. Still, it looked as if I might have enough!



I sorted them all out, and grouped them according to size. I had sizes 12 through 40, in the following quantities:

#12 - 3 skeins
#16 - 14 skeins + 1 partial
#20 - 4 skeins
#25 - 11 skeins + 2 partial
#30 - 7 skeins + 3 partial
#40 - 3 skeins + 1 partial

I put them all in individual bags, according to size. I'll probably order a few skeins of #20 this week, since I'm relatively low on it, and it's a popular size for many of the stitches in this project.

In the book, it's very nice to have a thread chart that indicates the particular stitches for which each weight of thread is used. Size #50 coton a broder is mentioned (you can use #50 or #40), but I can't find #50 available at any shops here in the States, so I'll stick with #40, which is also becoming increasingly hard to find.



I also had a pile of loose threads that didn't have tags on them, so I have no idea what size they are. Let this be a lesson! Always make sure you have a way to identify your thread sizes. These won't go to waste, of course. I will use them randomly here and there on little projects, like my fish.



Then, I dug through my needle box, and found I had the right sized needles. The book calls for chenille needles and tapestry needles in specific sizes. I had plenty of tapestry, but no chenille, so I'm substituting crewel needles in corresponding sizes.



With everything gathered for the project, I packed the threads and needles away in a mesh zipper bag.



Everything's together and ready to go - ain't that grand??!

But the best thing was that I still had some time (it was only 9:30 pm - I had to stop at 9:45, for company coming) so I decided to actually start on the stitching!



Before working with coton a broder, it's a good idea to prepare your thread. I've got a little tutorial here on Needle 'n Thread about preparing coton a broder for stitching - how to handle these types of "hanks" of embroidery cotton. Incidentally, this is the same method that Luzine suggests in her book. So I prepared a skein of #16 for stitching by braiding it with the paper tags left on, so that I can identify the size.

Then....

I threaded my needle...



It was time to start stitching!

... and that's when the timer went off. Time was up! But it was a good evening's work, and I'm ready to go at my next stitching opportunity!

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If you haven't signed up yet for my Historic Needlework give-away, there's still time! Visit the original post and read the information on how to sign up!

Today, I'm moving. Not moving, moving. Just sort of moving. My habitat (cave, hovel, whatever you want to call it) is getting a little facelift, so all my computer stuff is being shifted to the studio. The Internet People (Wamego Telecommunications) are coming today to put in a new internet line out the studio, so I'll still be able to work online while the remodeling is being done. The point of all this unwanted personal information is simply to let you know that, if you don't hear from me tomorrow (?!), it's because something went wrong!

Now, I'm off to make room for Technology, so that I don't have to rest my PC on beds of embroidery thread....

Labels: Embroidery Projects, embroidery tips and tricks, needlework pictures, pictures, Schwalm, whitework

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Posted By: Mary Corbet on Thursday, August 13, 2009
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After speaking with Joey about Luzine's Schwalm Whitework embroidery project I'm getting ready to start, I decided to try out a different method of transferring a design: using watercolor color pencils to trace. Now, we already know about regular dressmaker pencils that have "water soluble" blue chalk in them - but what I'm looking at today is not found in the sewing notions section of your local store. You'll find watercolor pencils in the art section of hobby stores or art stores. In this little test piece, I went a little overboard (actually, I went a lot overboard!) with Faber Castell watercolor pencils - but I learned something at the same time.

Watercolor pencils are normally used to mimic the effects of watercolor painting, by drawing or coloring first with the pencil, then dabbing it with water to blend the pencil marks into a watercolor finish. They're fun to play with, on the art side, and they're equally as fun to play with on the embroidery side...



For this article, I used Faber Castell watercolor pencils. Other brands exist: Prismacolor, Caran d'Ache, Derwent, etc., and I intend to test Derwent and Prismacolor as well (eventually). I selected four colors of blue. Since I'm working a whitework project, blue is a good color for a design transfer. White "absorbs" blue, so even if there is a little residue, it generally only makes the white look a bit whiter (unless there's a lot of residue... then it looks... well. Blue.) I tried all four colors on the little piece I worked.



In fact, I went a bit overboard on the color - I drew the design darker than it needed to be. After all... I was testing to see if it would disappear, so why not go dark - because then we would really know, right?



You can see the four colors here on my fishy friend, and you can see that they are all pretty clearly drawn on the linen. No problem seeing the lines, that's for sure!



On the front part of the swashy tail, I used the darkest pencil. I drew with a heavy hand. (I know you're waiting with Baited - oh, no pun intended! - Breath to see if this has a happy ending!)



I stitched the fish in white coton a broder, size 25, using a variety of stitches - pretty much anything that popped into my head.



You can definitely see the blue lines on the front of the swashy tail.



And, in fact, you can see blue on the head, too.



I wasn't sure if I had drawn quite enough blue, so I penciled in a little more, for good measure.



Then I decided that testing with white threads only was a little restrictive - so I started adding some colored bubbles. And I drew some Very Dark Circles for the bubbles. (Well, why not? This is a test, this is only a test...) Since yellow and pink would definitely turn if blue soaked in, I chose yellow...



... and a wee bit of pink. I also left a few bubbles blank - it would be interesting to see if traces of them were left on the fabric.



I decided there wasn't quite enough blue around the yellow, so I colored in a bubble.



Then, on a whim, I went back to the swashy tail because I couldn't leave well enough alone. I added more blue around the tail.



Then, the fish was introduced to water. I dribbled a bit on at first, just to see what would happen. Would the blue run? Noooo. It didn't really do much of anything. So I soaked the thing. And soaked it. And soaked it a bit longer. (In fact, I got busy doing something else, forgot about it, and came back to it the next day!)



I removed the fish from the water and committed a Grave Error - but one I felt necessary for the sake of photographing the thing - and I ironed it before all the transfer color was removed. Actually, I figured if the color weren't gone after 16 hours of neglected soaking, would it really ever leave?



Much of the blue did indeed leave - but not all. Considering the heavy dose around the tail, this actually isn't that bad when it comes to residue. Still, it's more than I'd want on a finished piece of whitework.



There's a faint bit of blue around the fishbone fish fins. From farther away, this is, in fact, not too noticeable.



The buttonhole back of the swashy tail actually came out terrific - nary a hint of blue, or if there is, it is ever-so-faint.



The bubbles are a bit of a different story. I drew them with all four blues at first, but then I went back over them (in my frenzy to add Enough Blue) with the darkest blue. I don't really like the removal results here. The unstitched bubbles are still quite visible, as is the blue inside the yellow bubble, and faint circles of blue around all the rest of the bubbles.



The lighter of the four blues - 140 & 147 of the Faber Castell pencils - worked best as far as removal went. Would I use these again? Well, yes. In fact, I did - to transfer my Schwalm design.

I would not use the two darker blues again, even with a light hand.

My conclusions on the Faber Castell watercolor pencils: the lighter ones work ok, but go easy in applying the marks.

You may wonder why I would try the watercolor pencils at all, when "water soluble" dressmaker pencils are widely available. The fact is, I've never had good luck getting ALL the blue out, after using a dressmaker's transfer pencil. I am hoping to find the "perfect" tool for tracing an embroidery design - the pencil that leaves No Trace Behind!

I'll be trying Prismacolor watercolor pencils next, as soon as I have a chance. Joey has used Prismacolors with very good results. The Faber Castell pencils (which are called Albrecht Durer watercolor pencils) have the highest amount of pigment in them, according to the description. There may be a significant difference between the two types of pencils, so I'm looking forward to giving the Prismacolors a try.

Incidentally, I didn't wait to buy a Prismacolor watercolor pencil before transferring the Schwalm design...

Perhaps I should have!

Labels: embroidery tips and tricks, needlework tools

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Posted By: Mary Corbet on Wednesday, August 12, 2009
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Here beginneth the promised long and short stitch shading lessons. These will appear as regular posts on Needle 'n Thread over the next several weeks. Even if you aren't inclined to learn long and short stitch, I still hope you find these little tutorials interesting, informative, and helpful for whatever hand embroidery technique you prefer. Of course, I'll still be adding regular content to Needle 'n Thread between the lessons. The lessons will be spaced out, with at least one a week, and not more than two. Here we go, then, with Lesson 1.

You already know that, before you launch into most embroidery projects, you have to do some preliminary work. Today's lesson covers the preliminaries.

Lesson 1: Getting Started

Objectives

1. to gather & organize materials
2. to transfer the design
3. to frame (or hoop) up the fabric for stitching.

Materials

1. Fabric: high count cotton (muslin, calico) in solid color (white, natural): 12" x 12" square.

2. Transfer tool (your choice): #2 pencil, water-soluble fabric marker, micron art pen (.005), iron-on pencil, or dressmaker's carbon, whichever method of transfer you prefer. I'm using a #2 mechanical pencil. I use mechanical pencils because they're consistently sharp.

3. Scotch tape

4. Pair of 10" stretcher bars OR a decent embroidery hoop (4" or 6" will work well)

5. Iron and ironing board

6. Pattern (below)

7. #9 or #10 crewel needles (I will use size 10)

8. Small, sharp scissors

9. Embroidery threads: DMC stranded cotton in the following colors, arranged numerically below for easy shopping. You'll find them grouped by design element further along in the lesson.

158, 159, 160, 161, 223, 225, 347, 349, 351, 353, 469, 471, 472, 613, 745, 814, 3011, 3012, 3013, 3052, 3855, Ecru

10. Pencil for marking stitch direction as you progress (if you don't use a regular pencil for transferring your design)

11. Good lighting! If you don't have a light specifically for your needlework or crafts, I suggest a very sunny window or porch, or as bright a light inside as you can manage.

Procedure



1. Print this PDF of the Long and Short Stitch Lessons Pattern. It should print as approximately a 7" square. The pattern is designed so that you can work the whole piece or you can work each individual element separately on scrap fabric. If you are stitching each element individually on scrap fabric, you can skip the next step.

2. Cut a 12" square of fabric and stitch the edges with a zig-zag stitch on your sewing machine to keep the edges from fraying. Alternately, you can hand stitch around the edges with a whip stitch. (This is a normal step in setting up a project, but on this project, I admit that I skipped stitching the edges!)

3. Iron your fabric well. You can use starch if you wish. It doesn't make any difference in the stitching (as long as there's no flaking on the fabric), and it will rinse out at the end. You want your fabric smooth and wrinkle-free.

4. Choose your favorite method for transferring a design onto fabric. You will find several methods discussed under Tips and Tricks for Hand Embroidery here on Needle 'n Thread. For this type of embroidery, I'm using a light box and a pencil.



First, tape your pattern to your light box. A sunny window will give you the same results as a light box, if you don't have one.



Center your fabric over the pattern and align the lines (as much as possible) with the grain of the fabric. You don't want to be stitching on the bias! Tape your fabric to the light box, too. I eye-balled the center of the fabric, but if you want to be more precise, you can finger-fold the fabric in half lightly, horizontally and vertically, so you can see where the center of the fabric is.



Using a #2 pencil, trace the design. Use a straight-edge (ruler or what-have-you) for the lines. Don't "stroke" as you trace. Try to trace with one smooth, constant line.



Notice that the lines aren't hairy or sketchy.

5. Now you're ready to frame up your fabric, if you're using stretcher bars. If you're using a hoop, you don't need to hoop the fabric up until you're ready to start stitching.



A 4" hoop will fit individual design elements. You can use anywhere from a 4" - 6" hoop. If you can't find a Really Good Hoop, that's ok. Use a plastic Susan Bates-type hoop - it will work fine for this project. Just be sure to tighten the hoop and your fabric often.



I'll be using stretcher bar frames - specifically, Evertite stretcher bars. If you're using stretcher bars, a 10" square will work. But, if you're not familiar with all these tools and gadgets, just use a simple hoop - you'll be fine!

6. Gather your threads and organize them according to your favorite method. You can separate them for each element, so that you only have to have the necessary threads out at one time.

Element 1 (Boxes) and Element 3 (Circles): 814, 347, 349, 351, 353, 3855, 745, & Ecru

Element 2 (Triangles) and Element 4 (Ribbon Swirly): 158, 159, 160, 161

Leaves: 469, 471, 472, 613, 3011, 3012, 3013, 3052

Little Flower: Ecru, 223, 225



If you want to use thread cards for organization, you can print the threads cards, already numbered. The directions for using the cards have already been discussed here on Needle 'n Thread, and the link is provided below, too.

Long and Short Stitch Thread Cards (PDF)
Directions for Organizing Threads using Thread Cards

7. Take a look at the colored design, below. I colored it with prismacolors. The color isn't 100% accurate - I've made some adjustments while stitching - but at least it gave me a sense of what colors I wanted to use, and the general direction of the shading. To get a sense of shading, try coloring your pattern yourself, if you have colored pencils on hand. You don't have to do this, of course, but it will help familiarize you with the direction we're going in. I think it's always a good idea to at least try to color a shaded design yourself, if possible, to get the feel for the shading.



Order of Stitching the Project

The elements of the project will be stitched in a specific sequence, as indicated in the picture below.



Summary of Print Materials

Here's a summary of all the printed material for Lesson One. They're all PDF documents. The lesson itself is available as well. There are no pictures included in it - just straight text - but if you want to print it and read through it at your convenience, you may.

L&S Project Pattern
L&S Colored Pattern
Thread Cards
L&S Lesson One: Getting Started (including materials list) (a luxury - this may not always happen, but I'll definitely try!)

Conclusion

I'm not covering any stitching in Lesson One, in order to give those of you following these tutorials the weekend to gather supplies and set up your project.

If you have any questions, don't hesitate to leave a comment below. Any questions directly related to the lessons can be left in the comment section on Needle 'n Thread, below this article, so that others will learn from any ensuing discussion or clarifications, too.

If you're on board for these lessons and want to make sure you don't miss any, feel free to sign up for my daily newsletter. You'll find the sign-up box near the top of the page, in the right-hand column. You'll receive each day's post in your inbox, on the day that it's posted. Also, it'll give you a more printer-friendly version, if you intend to print out the tutorials.

Don't hesitate to let me know if you have any questions, suggestions, difficulties, etc.!

Move On To Lesson Two: Basic Long and Short Stitch with Video Tutorials

Labels: embroidery lessons, embroidery tips and tricks, long and short stitch, needlepainting, pictures, stitchalong lessons

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Posted By: Mary Corbet on Friday, July 31, 2009
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Following up on yesterday's post about selecting a good hand embroidery hoop, here's a little tutorial on how to bind the inside ring of your hoop in order to maintain better tension for a longer period of time.

Binding a hoop isn't absolutely essential in embroidery, but it does have its advantages. When you bind at least one ring (I bind the inside ring), you supply a little extra friction to keep your fabric tighter, longer. Also, the binding adds a bit of protective "padding" that will make the hoop a bit easier on your fabric. And though binding seems as if it would be a time-waster or a pain in the neck, really, it's very simple, and once it's done, you don't normally have to do it again. I have four hoops with the inner ring bound that I've been using for three or four years, and the binding job is just as good now as it was when I first did it. They work great! I'm glad I took the time to bind them.

That being said, not all my hoops are bound; I often work with hoops that aren't. If you want to bind the inside ring of one of your hoops, here's a little tutorial to show you how. Keep in mind that the tutorial focuses on the inside ring of the hoop. If you decide to bind the outside ring of the hoop, you'll need to begin and end your twill tape on the outside of the outside ring. Binding doesn't really work well on the plastic Susan Bates-style hoops that have a lip.



First, gather your supplies. I'm using the same Hardwicke Manor Hoop I spoke about yesterday (7" round x 5/8" deep). (By the way, it's HardwickE Manor Hoop, with an "E" - seems I spelled it wrong ...)

I'm using 1" twill tape, the kind you buy in the notions section at a sewing store. It's polyester. For better friction, I'd suggest cotton twill tape, but I didn't have any on hand. Cotton twill tape is easier to bind the hoop with, too, as it's not as slippery as polyester and it has a little more body to it. You can also use narrower twill tape, but the 1" works well on the 5/8" hoops. On smaller hoops - the 5/16" ones - I use narrower twill tape.

Twill tape vs bias tape: I like twill tape better. You can use bias tape, but the folded bias tape has a noticeable edge where the fold ends, so you don't get smooth coverage. Any overlapping or any spots of bulging thickness reduce the effectiveness of binding the hoop.

You'll definitely want some clothespins to help you out, unless you have four hands. I've always wanted four hands, but since I haven't managed growing extras, I just use clothespins.

You'll also need scissor, sewing thread, and a sewing needle.



Begin by laying your twill tape at an angle across the inside of your inside embroidery ring. You want the beginning and the end of the length of twill tape to meet on the inside of the ring, because that's where you'll stitch them together, avoiding a bulge from your stitching on the outside of the ring, where it meets the inside of the outer ring of the hoop. (Wow.... confusing...!)



Wrap the twill tape around the hoop once to establish the angle needed for the tape to lay perfectly parallel to the wrap before, and then use a clothespin to hold the edge.



Continue to wrap the twill tape around the hoop, lining up the edges of the tape so that they are parallel and not overlapping. Pull the tape tight, and work with it to reduce any bulging or buckling. You want it to hug the hoop.



When you get to about the halfway point, if everything is looking good, go ahead and clamp another clothespin on to secure the tape at that point. This way, if you mess up a bit on the second half, you don't have to re-wrap the whole ring.



When you arrive back at the beginning of your twill tape, fix the end with another clothespin. You may have more space than you want between the wraps, or you may need to adjust to fit the last wrap in just right. Clamp the end with another clothespin, then work the twill tape around with your hands, running the hoop through your hands and shifting the tape around as you need to. You might have to tug a bit here and there, or twist the hoop in your hands a bit, adjusting until you line up the edges of the wraps as close as possible to each other and until wraps of the twill tape are hugging the hoop all around.



Undo the clothespin on the beginning of the wrap, and cut the extra off, so that the twill ends at the farther edge of the ring.



Then, take the end of the twill tape (it'll be the end with the long tail) and finish wrapping it so that it overlaps the beginning of the tape. Don't trim it just yet. Stick a clothespin on to hold both ends in the right place.

Then, take your needle and thread (with a knot in the end of the thread), and begin stitching over the overlap. I just use a whip stitch, and I stitch down the edge of the inside of the ring, through both pieces of twill, and then back again over the same path.



I also stitch down one side of the twill wraps, stitching two edges of the wrap together. Then, clip off the extra twill tape...



... and the inner ring of your hoop is now bound!

Try binding one hoop - I think you'll like it!

Tomorrow, stay tuned for the first "action" installment of the Long and Short Stitch lessons. I'll discuss materials, talk about transferring the pattern, give you the design to transfer, and show you my transfer and set-up process.

Incidentally, I've had a jolly awful time editing the first video, soooo... I gave up and will try again this weekend. I bit the bullet and invested in a new camcorder today, so you should be getting a better quality video, at any rate. But yikes! After hours in front of the computer yesterday, and practically all day today, I was ready to pull out my hair.

Instead, I shopped! My Mom always says, "Get your hair done and go shopping - you'll feel better." Her solution to every gal's problems! And... she's right! It worked! I can't wait to get back to the whole video process!!

See you tomorrow!

Labels: embroidery tips and tricks, needlework tools, needlework tutorials, pictures

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Posted By: Mary Corbet on Thursday, July 30, 2009
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What makes an embroidery hoop good? Below are my criteria for a good hoop, and later on, I'll show you how to make a good hoop even better.

The purpose of an embroidery hoop is to hold taut the fabric that's in it. For most embroidery (though not all - depends on the type of stitch), I like my fabric to be drum tight - that is, if I flick it with my fingers, it sounds a bit like a drum. There are different ways to achieve drum-tight fabric for stitching: a slate frame, stretcher bar frames, or a hoop. Now, for a hoop to achieve drum-tightness and maintain it for a reasonable amount of time, a good hoop is essential.

So... my question: what makes a hoop good? This (below) is a good hoop:



This is a 7" round hoop that's 5/8" deep. It has all-brass hardware, and the outer ring fits the inner ring very well, without any warping.



The hoop is made from birch wood and is strong and solid - unless you're super-duper ridiculously strong (like Captain Caveman strong), I don't think you could bend it out of shape with your hands! It's got a natural finish and is smoothly polished, so there are no splintery bits that can snag your threads or your hands.



When the rings are together and the outer ring is tightened, there are no gaps between the outer ring and the inner. They're a perfect match. (Awwwww...)



The hardware, again, is all brass. The brass brackets are not flimsy - they're strong and durable, and they don't bend, no matter how much you tighten the screw. The screw has outer ridges that serve as grips for tightening, and it also has a slash in it for a screwdriver, so that you can Really tighten the thing up.

This is a good hoop. The 5/8" depth is perfect for medium weight fabrics, though I also use it on some finer weight fabrics as well. Muslin, shadow weight linen, dower quality linen - this hoop works with all of them. For heavier weight fabric, like linen twill, I'm more inclined to use a 7/8" deep hoop, but this hoop actually works fine with twill, too. It's a good all-purpose hoop in an all-purpose size. The 7" diameter ring is an easy fit for my hands. Anything larger, actually, becomes cumbersome when it comes to working on the fabric in the middle. I generally like 6" and 7" hoops best.

When you buy a hoop, you want to look for one that fits well in your hands. You should be able to hold the edge of your hoop in your palm, secured by your thumb, and stretch your fingers easily to the center of the hoop. Larger hoops (10" and larger, especially) are generally best managed with some kind of stand to support them (or at least the lip of a table), so that, when necessary, you have both hands free to reach the center of the fabric in the hoop.

The hoop featured above is a Hardwick Manor hoop, made in Germany and imported into the States by Access Commodities. You can find these hoops through many fine online needlework shops. I usually get mine through Needle in a Haystack.

A hoop pointer: Always take your fabric out of your hoop when you finish a stitching session. Doing so reduces the chance of permanent hoop marks or dirt rings. Plastic hoops with a lip are more prone to dirt rings than good wooden hoops are, though, because the lip tends to catch dust and dirt.

Coming up later: I'll show you how to bind a hoop easily, to achieve better long-lasting tension and to eliminate stress on your fabric. I don't bind all my hoops, but I do bind some, and I like them bound. I'll show you how!

Labels: embroidery tips and tricks, needlework tools

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Posted By: Mary Corbet on Wednesday, July 29, 2009
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If you want to join me in working through a small long and short stitch shading sampler, here's a little bit about the project and the list of supplies that I'm using....

The long and short stitch shading lessons series that I'll be posting here on Needle 'n Thread over the next several weeks will consist of a small sampler of eight elements, each focusing on a different shape.



The whole piece is a total of 7" square, which keeps the individual elements rather small. The colors above are only approximate - I doodled them in while considering color schemes and shading.

The middle section is left empty. If you decide to do the whole piece in a square as the pattern is drawn (like above), then you can use the middle to stitch your own little something, shaded. Or you can add some personal information, to document when you stitched it, etc.

You can skip the whole "square" layout, and just do each element separately, on a bit of scrap fabric. It's all up to you.

I'm working the square, as designed above.

When I'm ready to publish the lessons, you'll receive a downloadable pattern in a plain line drawing, plus a downloadable color guide like the one above, just to give you the idea of the shading, and also a downloadable stitch-direction guide.



Here's the supply list:

1. Fabric - a 12" square of cotton - high thread count muslin (calico) is suitable - in white or natural. I used a piece of good cotton from a new pillow case that I was going to stitch, but that I messed up on when transferring the design onto it. So you can use a "scrap" if you want to conserve a bit on fabric or expense.

2. Hoop or frame - you'll want a hoop (either a 4" or 6" hoop will work). Alternately, you can use stretcher bar frames - 10" work fine, if you're working on a 12" square.

3. Needles - #10 crewel

4. Sharp Scissors

5. Pencil - I use a mechanical pencil

6. Thread: I'm using DMC stranded cotton in the following colors. You are welcome to use the same colors or change them to suit you. I've arranged the DMC color numbers in numerical order for shopping convenience, if you're going to buy threads. If you have suitable threads in your stash, though, feel free just to use those!

DMC Colors:
158, 159, 160, 161, 223, 225, 347, 349, 351, 353, 469, 471, 472, 613, 745, 814, 3011, 3012, 3013, 3052, 3855 and ECRU

I'll be presenting the lessons in a sequential order, progressing from least difficult to more difficult. The first lesson will cover setting up the project. After that, each lesson will deal with an individual element (the group within a square).

There will be at least two videos accompanying the series of lessons. Unfortunately, my software did something weird when I tried to complete the first video, so I'll be looking into that. The first video was 57 minutes long originally, edited down to 27, for the basic long and short stitch. I'll try to edit it further! Aaack!

So that's the plan! If you're interested, you can join me in the venture! If you just want to watch from the sidelines, that's fine, too! And if you aren't interested, never fear - I'll still keep up with some other content for those of you not inclined to shade!

I'm looking forward to this series - I hope you find it fun, too.

Labels: embroidery lessons, embroidery tips and tricks, long and short stitch, needlepainting, pictures, stitchalong lessons

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Posted By: Mary Corbet on Monday, July 27, 2009
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How do you organize your embroidery threads for your needlework projects? If you're like me, you're always looking for a way to organize your embroidery threads better. Here, I'll show you a method I like to use when I'm working on a project that requires many colors of thread. It isn't anything new - you see versions of this all over the place - but here's my "home made" version, and I'm even letting you have a printable copy of my template, so you can make your own thread organizers, too!

Here on Needle 'n Thread, I've mentioned different ways to go about organizing your threads, from using key tabs to braiding your skeins of coton a broder. Way back, in the deep, dark beginning of the website, I wrote an article on thread organization & storage, exploring some of the more popular forms including bags and rings and such, and then followed it up with another article that included the file-a-floss system and EZ Bobs. So this isn't really a new topic here, but it is another angle...

Thread keeps, thread rings, thread cards - they all have the same thing in common: holes that you put your embroidery threads into, looping them so that it is easy to remove one strand of floss at a time.



Thread keeps can be nice little accessories. They come in all kinds of shapes and materials, from simple wood strips, to bright pink plastic horse-heads (via DMC), to beautiful wood palettes, to mother-of-pearl acorns and hearts. This particular one above is from Kelmscott Designs. It costs around $9.00, and holds six colors of thread.



Thread rings are simply rings that you loop your thread onto. The rings can be attached to needlebooks, as I did when I finished this felt needlebook project. You can buy mother-of-pearl rings (also made by Kelmscott Designs), or you can even buy plastic rings made for curtain tie-backs for cheap, and get the same (thought not as attractive!) results.

Thread cards are a little less permanent than the above options. They are generally made out of heavy cardstock with punch-out-able holes and a place to record color numbers. You'll find them in the needlework section of many craft and sewing stores.

I like thread cards for projects that require using a lot of colors. While I have some thread rings and a few thread keeps and thread winders of different types, none of them are quite sufficient when working on a project involving a lot of thread.

So, I made up a version of a thread card to use with my upcoming Long and Short Stitch Shading Lessons, and then I turned it into a generic pattern for thread cards that can be used with any project. Here's how they work:



These are the cards for the Long and Short stitch lessons. I printed them on my computer on card stock.



I printed and cut two of each sized strip, stacking them on top of each other while cutting. Then I glued (using strip adhesive) the strips together, to reinforce them. If you can find slightly heavier cardstock that will go through your printer, you can skip this step! I only had light card stock on hand.



You can see that I already had the color numbers printed on my sheet before I printed them out. I also happened to have a 1/2" circle punch, so I used that to punch the holes. You can use a regular hole-punch and just not make the holes as big.



Cut your threads into working lengths (I always work with 18" - 20" lengths of threads) and fold the bundle in half.



Feed the fold of the thread through the front of the hole in the card, and make a loop behind the tails that remain on the front of the card, then pull the tails through the loop....



... and tighten it by pulling on the tails.



Repeat the process with all the threads for your project, writing the color number of the threads above each hole.

Now, your threads are ready to use! You can pull one strand at a time from the front of the little loop, without having to separate each bunch. Just slip the eye of your needle under one strand at the front of that little loop, and pull the strand out. Very easy!

If you want to print and use generic thread cards, here's a PDF that you can print out:

Thread Cards for Organization (PDF)

The thread cards include a place to write the project name and a space above each hole for writing the color number of the thread. There are three cards per sheet, with seven holes in each card.

How do you organize your threads for a project? Do you use thread cards or keeps, or some other system? Do tell!

Labels: embroidery tips and tricks, organization, pictures, threads

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Posted By: Mary Corbet on Friday, July 24, 2009
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Last week, I told you about the iron-on transfers from Mani di Fata, which I purchased at Lacis while on vacation. Here's a little towel I worked up, using one of the corner designs in that package. I'm also going to show you (gasp! shock! horror!) the back of the embroidery.

As I mentioned earlier, my favorite way of transferring an embroidery pattern - even if it's an iron-on - is actually by tracing. That's what I did with this particular towel. I taped the iron-on to my little light box and traced the design on using a regular mechanical pencil with #2 lead. There are other ways of transferring designs, of course! I've got a bunch of them explained in the articles under Tips and Tricks for Hand Embroidery, if you're looking for some other way to get your embroidery design onto your fabric. For me, though, for this type of embroidery, I prefer just to trace with a pencil. It's easy, it doesn't require special equipment (you can use a sunny window instead of a light box), and it's really fast.

After transferring the pattern, I picked out colors. Generally, on towels, I stick with no more than four colors, and often only three. In this towel, I used four: green, red, a lighter orangy-red, and yellow.



The design is pretty simple, but bold.



The entire thing is stitched in stem stitch, with the exception of the satin stitched dots around the outside of the flower and the satin stitched center of the flower.



Stem stitch is an absolutely delightful stitch. It's my favorite for line patterns, because it's easy, quick to work, and its rope-like appearance is pretty. Despite arguments contrary to the fact, there is a difference between stem stitch and outline stitch, by the way! If you choose to use outline stitch for lines, you won't get that rope-like appearance.



The Back of Embroidery is generally a subject that comes up either in hushed tones or apologetic tones... I received a funny e-mail from a reader, asking Very Apologetically if I would mind showing the back of my embroidery some time. She was worried because, especially on the towels she was making, the back is not covered up. "Slugs" where the end of the thread is anchored were a concern.

You can see the "slugs" where I wrap the ends of my threads around the backs of the stitches to anchor them. I either wrap (whipping around the backs of the stitches), or just pull the threads through the stitches, taking one extra backstitch around the back of the threads to anchor the thread. You can read about this under Ending Embroidery Threads, if you want. In any case, this is generally how I end stitches in a line on the back of towels.

In certain types of embroidery (needlepainting, goldwork, etc.), if I'm filling an area and I haven't filled it all the way yet, and I need to end a thread, I'll end my thread by taking it into an area that will be filled with other stitches and working several tiny backstitches that will hold the thread. It's the same concept as beginning with anchor stitches, only, in a filled area, you can work the little anchor stitches perpendicular to (and into) each other (without building up a lump!). I've shown this technique on the video tutorial on bullion rose buds, if you want to take a look.



But, on line stitches on the back of a towel like this, where I don't have anywhere to hide little anchoring stitches, I wrap the end of the thread through the stitches on the back. Yes, it makes a bit of a slug. But it's the back! So I think it's ok! Just trim your little fuzzies, and clean it up as best as you can, and I think it'll look fine for the back of the work!



Decorated flour sack towels are useful for a number of purposes besides just drying dishes, hanging on the fridge, wiping the countertop, or sopping up messes. They make terrific basket liners, for one thing. We use them to line bread baskets for serving bread in at the dinner table. You can fold the corners up over the bread to keep it warm, and if you put your embroidered corner on the top, it's very pretty!

Additionally, you can line gift baskets with them. This is great for wedding showers! Instead of wrapping the gift, put it in a basket lined with a towel, and fold the towel over the gift, with the embroidered corner on the top. A nice personal touch!

I like embroidering flour sack towels when I'm in the mood for relaxing, easy needlework that doesn't require any kind of thinking or planning. I usually keep a couple towels "kitted up" in my work basket, ready for moments when I need something to do with my hands, but can't afford deep concentration on needlework.

PS... Great source for flour sack towels: American Chair Store. I use their Deluxe Flour Sack Towel. They're nicer than any I've found anywhere else, and, so far, they've been consistently nice, which is good. They're cheaper by the dozen, so if you plan to decorate many towels with hand embroidery, consider getting them by the dozen...

Labels: beginner embroidery, Embroidery for the Home, embroidery tips and tricks, needlework pictures, pictures

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Posted By: Mary Corbet on Monday, July 20, 2009
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Lately, I've gotten quite a few e-mails asking questions about coton a broder, so I figured I'd address them all in one post, and hopefully those who e-mailed and asked are regular readers and will find the answer here! (Two e-mails bounced back and wouldn't deliver!) So... here are some questions about this embroidery thread, and, to the best of my knowledge, the answers to those questions.

#1: Does coton a broder come in colors?

Yes, it does. Technically, though, I've only seen #25 coton a broder available in a very limited range of colors.

However, if it is #16 and listed as coton a broder, chances are, it is "floche" that you want, if you want it in a range of colors. Floche, by both DMC and Anchor, comes in a wide range of beautiful colors, and can be used for the same applications as coton a broder. The only real difference between the two types of thread is that the thread that DMC calls "coton a broder" here in America is a 4-ply softly twisted thread, while floche is a 5-ply softly twisted thread. But they are completely compatible, more or less the same thing, so if you're looking for a #16 in various colors, what you need to look for is floche rather than what we call "coton a broder," which is more of a whitework and cutwork thread.

This is floche:



#2: What's the difference between Danish Flower Thread and coton a broder?

In America, coton a broder is actually a mercerized thread, which means it has a sheen to it. Danish Flower Thread is non-mercerized, or matte, and has no sheen. However, it seems that, in other countries (South Africa, Australia, New Zealand), coton a broder is actually a matte thread, the term used interchangeably with flower thread. However (again!), in America, what we buy as flower thread is definitely more tightly twisted than coton a broder or floche. You can see the individual twists in flower thread more distinctly than you can in floche or coton a broder. Look:



The top thread is mercerized (it has a sheen) and has a looser twist. It is floche. The bottom thread is not mercerized (it is matte) and the twist is a little tighter. It is flower thread.

#3: Where can I find coton a broder, for cutwork or for colored embroidery?

If you're looking for cutwork thread, coton a broder in white, you can find various sizes available through Lacis. Look under "materials," then "Needlework, DMC, etc." in their online catalog. They have sizes 16, 20, 25, 30, and 40.

You can also find floche in colors on the same page of the Lacis online catalog. However, I like to order my floche from Hedgehog Handworks, where you can order it in large hanks or smaller skeins, and where you can also order Danish Flower Thread, if you're looking for matte thread.

If you're looking for Danish Flower Thread (matte coton a broder, more or less), you can order that through Hedgehog, on the same page as the link in the above paragraph, or you can order it from Nordic Needle. Right now, it looks as if they don't have many colors listed on their website, but I saw a whole rack of the entire range of flower thread, so I'm sure you can probably call them with the colors you want.

For further information on these threads - floche, coton a broder, and flower thread - check out these articles:

Comparison between floche and other common DMC threads

Comparison between floche and Danish Flower Thread

I hope this helps answer some questions about these threads. I'm sorry I couldn't get through to a couple of those who e-mailed with the questions, but since it's useful information for needleworkers in general, I thought it worth a little write-up!

Labels: danish flower thread, embroidery tips and tricks, floche, pictures, supplies, threads, whitework

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Posted By: Mary Corbet on Monday, July 06, 2009
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The other day, I mentioned that one of the most annoying things to me when embroidering is turning my work over after a nice, diligent embroidery session, and finding, in the middle of an expanse of stitching, a sneaky little slip knot. For some reason, they really irritate me! But they aren't that difficult to repair - I'll show you how I do it.

Slip knots generally form on the back of needlework when the working thread has become over-twisted during stitching. One way to help avoid slip knots is to drop your needle and thread straight down towards the floor every now and then, allowing the thread to hang until it untwists itself. Still, even if you do this fairly regularly, you are bound to encounter the slip knot at some point in your stitching career. We all do. It's inevitable.

To remain sane despite these irritating little intruders, the trick is to know how to deal with them.



Here's the slip knot in all its sneaky little glory. Right smack in the middle of a whole length of stitching, it quietly meandered in and took hold.

In some types of embroidery, a tiny slip knot here and there may not be a big cause for concern - especially in framed pieces that won't be handled much, as long as the slip knot has not caused an unsightly bulge, it can probably just be left there. Without regular jostling, laundering, and so forth, it is unlikely that it will loosen and cause any problems.

But on this particular piece, there is the danger of the slip knot loosening in laundering and regular handling. Also, because the embroidery will be stretched tight over a thin piece of mat board, it is likely that, over time, as the fabric becomes softer with use and washing, the knot may be visible from the front. Under these circumstances, I think it's important to go through the effort to get rid of it.



The first thing I did was insert my needle eye-first into the base of the knot, to loosen it and undo it. A slip knot will just "slip" back over the loop and undo itself, most of the time.



Then, using the needle, I pulled the loop out as far as I could from the fabric, to see how much thread was available. This is when I discovered that part of the knot had actually been stitched through, so I couldn't really just "slip" it off.



It was obvious that I would definitely have to cut the thread. I pulled the loop as far out from the fabric as the thread would allow, and cut the farthest distance away, so that I would have as much thread as possible on each side of the cut.

Now, had the knot just slipped over the loop, I wouldn't have cut the thread - I would have have simply continued on to anchoring the loose thread, without cutting.



Once the thread was cut, though, I could dislodge the stitched part of the knot. I was left with two tails of thread - short tails that could not be conveniently re-woven.



As much as I possible, I want to keep the bulk down on the back of this piece. So I threaded a needle with one strand of regular DMC floss, which I used to secure the tails. The single strand of DMC floss is much finer than the #20 coton a broder that I'm working with.



Folding the first tail on the left back to the left on top of the stitching already there, I whipped over it with the smaller thread.



Continuing along the line of stitches, I whipped over the other tail on the right, which I folded to the right on top of the stitches. The whole bit is looking a little messy at this point!



Then, I wove the smaller thread (the one strand of DMC) back under the stitches, pulling snuggly to tighten up the line on the back and pull all the stray bulk in.

There! The line is much neater, the knot is gone - I don't have to worry about the tails coming loose or about any little bump becoming visible on the front over time! And it really took very little time or trouble to accomplish the clean-up job. In fact, it took me a lot longer to explain how I fixed it than to actually do it!

If you notice that a slip knot has formed on the back of your work and you're still within a stitch or two of it, just take out the stitches and remove the knot! You'll be glad you did, even if it is a pain in the neck at the time. Another big problem with slip knots is that the loop of thread can get caught up in other threads as you work, causing an unsightly mess on the back of your work! So, if one sneaks in and you are still relatively close to it while working with the same thread, backtrack and remove it!

To avoid slip knots as you stitch, pay attention to your thread. If you pull through and you notice that your previous stitch doesn't show any sign of tension, chances are your thread is caught up on the back. Also, the more you stitch, the more aware you are of your thread length. If your thread seems suddenly to be much shorter, chances are you've got a knot!

How do you deal with these types of knots, discovered after you've finished a bunch of stitching? Do you just leave them there? Do you whip over them with another thread, leaving the knot in place (I do that, if the thread I'm stitching with is very fine!)? In short, how do you deal with unsuspected knots on the back of your work? Do share your tips and tricks with the rest of us!

Labels: embroidery tips and tricks, needlework pictures, pictures, whitework

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Posted By: Mary Corbet on Thursday, June 11, 2009
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Eventually, you are guaranteed an in-depth look at my current embroidery project - I promise! - along with all kinds of explanations, information, troubleshooting and whatnot. Today, in fact, besides the little annoying slip knot, I have another problem to fix...

But, given a bit of limited time right now, I'm going to show you instead some of the stitching, and pretty much leave it at that!

Now, I suppose you are probably expecting something grandiose. Something so Complex and Time-Consuming that your sympathy will be aroused as you contemplate my sweating over a looming deadline while having to stitch some intricate technique...

Oh, golly. Please don't be too disappointed!



Yep. That's backstitch, all right!

But don't underestimate the backstitch - it has come through for me before, and I think it will this time, too.



That line on the right is really what I am going to achieve with it - whipped backstitch, to be precise. There are other more complicated ways to make a nice thin, firm line in embroidery, but the whipped backstitch is a fairly quick and painless way to do so while still achieving nice-looking results.

I've never considered backstitch a very "formal" or elegant stitch. At best, on its own, I'd call it clean-looking and sometimes even "cute." But elegant or formal is a bit of a stretch. Whipped backstitch, on the other hand, dresses the backstitch up a bit, smooths it out, and turns it into a precise line stitch that looks good on slight curves and even around tight corners.

Believe it or not, despite its simplicity, whipped backstitch can be a bit more time-consuming than other line stitches (such as stem stitch), only because whipped backstitch takes two steps - first the backstitching, then the wrapping. But the latter part goes fairly quickly.

A hint: when you finish your backstitching and are getting ready to whip the stitches, switch to a tapestry needle with a blunt tip. Much easier!

Once the backstitching is finished, I'll progress to filling up certain spaces with very tiny seed stitching and lots of it. That's the time-consuming part!

Today, I have to deal with an onslaught of high humidity that has taken its toll on the framed-up fabric! What was all smooth and tight yesterday morning is ripply and loose and warped-looking today. I'd turn on the AC to elminate the humidity, but Kansas being what it is, it's only 64 degrees out! Thank goodness for evertite frames. If tightening doesn't do it, though, stay tuned for Plan B!

Labels: ecclesiastical embroidery, embroidery tips and tricks, needlework pictures, pictures, whitework

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Posted By: Mary Corbet on Wednesday, June 10, 2009
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Last week, between the relative chaos of ending another school year, I managed to get out to the studio and set up this ecclesiastical embroidery project. The project is another pall, this time with a different design on it.

The design for this piece of embroidery comes from a book called Designs for Church Embroidery by Thomas Brown & Son. I'm lucky enough to have an old copy of the book - it was a catalog at one time, actually - but it has since been reprinted by Lacis, and you can find it in their online catalog. Just search the title, and it'll come right up.

I altered the original design a bit. It was originally just a circle with the "M" that you see in the middle. I added the tips and the little fleur de lys to it, to make it a bit more decorative.



The Bohin ceramic pencil came in really handy for the transferring of the design. I used the greenish-blue ceramic lead, and it worked quite well. The pencil gives a crisp, fine line. Before I used it, I tested it on a piece of scrap linen, writing with various amounts of pressure on the linen, then trying out the eraser - which worked fine on the light to medium pressure lines - and I also rinsed the fabric, which took out all but a trace of the heavier pressure lines. I was satisfied that it would work ok for white-on-white embroidery.

Ideally, when you're working white-on-white embroidery, it's a good idea to use blue for your transfer. The dressmaker's blue pencils work fine, for example, as does dressmaker's blue carbon, both of which are available in the notions section at most sewing stores. You see, white absorbs the blue, so even if a trace is left on the linen, it isn't normally noticeable, and with time, it goes away. When you use grey or red for a transfer in whitework, the thread will pick up the color and will be tainted grey or red. But with blue, even if the thread picks up the color, you don't see it - it absorbs into the white, making it seem brighter.

I don't really know why this is, but I'm sure there's some sort of scientific reason!

Anyway, I liked the Bohin pencil. I haven't started stitching yet, but I think the transfer will be fine for white-on-white.



Here's the design, transferred. The pall is a 6.25" square piece of linen, made like a pocket, with the top side decorated. I cut the fabric 16" long and 9.5" wide to give plenty of room for seams and for mounting on a stretcher bar frame. The fabric will be folded in half, to make the pocket, then the two sides of the pocket will be sewn up, and a 6.25" square piece of mat board inserted into it. Then the last side is hand stitched closed. Lace of some sort is generally applied to the edge by tacking it on after assembling the piece. I like to use hand-tatted lace, as I think it looks quite nice on a pall. Tacking the lace on allows for removal of the lace for cleaning purposes, in case of need.

One of the most frequent questions I get asked via e-mail is how to transfer an embroidery pattern after it is printed or drawn. I do have a list of links that deals with this question in various ways under the Tips and Tricks for Hand Embroidery section. For this project, I'm using a light box to trace the design. You can use a sunny window with equally good effect, though it is sometimes a bit harder on the arms if your pattern is complicated and takes time to transfer!

My next step after transferring was the frame up the piece, which I've already done, and then to pick out threads, which I've already done as well. Now, it's just a matter of stitching! I'm going to use #30 coton a broder on this, in white. I think. I'm oscillating between #25 and #30, actually, though I don't think there's that much of a difference between the two sizes to justify hesitation!

This will be the project I'll be stitching on for at least the next week, I figure. I hope to have it done by the end of the upcoming weekend, if all goes well. Once it's done, I have one more to do, too. Although I like doing this kind of work, I have to admit that I don't normally like making two of the same things in a row, so for the second one, I've chosen a design I've done before, but not for a while.

And then, once these two projects are finished, I can move on to something that involves color - and I can't wait to show you what that is! I'll tell you tomorrow!

Coming up this week on Needle 'n Thread: a special give-away. Once you see tomorrow's article, you'll probably be able to guess what the give-away is!

Now that the school year is officially over, I'll be able to devote a little more time to embroidery projects, tutorials for the website (in various forms), and some other projects, all of which I'll be keeping you up to date on!

I hope you've had a great weekend!

Labels: ecclesiastical embroidery, embroidery tips and tricks, linen, needlework pictures, pictures, whitework

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Posted By: Mary Corbet on Sunday, May 31, 2009
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Aha! I bet you thought I'd given up on expanding my video library of hand embroidery stitches! I finally managed to re-video (if that's a word) turkey work!

Turkey work, also called ghiordes knot, is an embroidery technique that creates a plush pile. It's great for dimensional embroidery, stumpwork, and the like. I've seen many a bumblebee embroidered using Turkey work, as well as thistle tops and other grass / flower motifs.

The term "Turkey work" has nothing to do with the bird, by the way. It's from Turkey, the country - it's a rug stitch commonly used there, and the technique has been adapted into surface embroidery. This is a fun technique - not so much in the stitching, which is rather bland (more or less, just a backstitching technique, where every other stitch is left in a loop), but the trimming and fluffing is Great Fun!



This is a clump of Turkey work from the top. It's four rows of loops. In the video, I only stitched two rows, to show you the technique.



This is the pile from the side. Pretty, fluffy stuff, isn't it? I used a whole piece - all six strands - of DMC stranded cotton. You can use any kind of thread for Turkey work, but I like stranded cotton, and as many strands as feasible, because it separates into a nice, thick carpet when fluffed.

A couple points:

1. The closer you work the rows and the smaller your "locking" stitches - and the closer together your loops are - the thicker your pile will be.

2. An eyebrow comb is a handy thing to use for fluffing, but if you don't have one, just run your needle through it until you get the fluffy look you want.

3. In the video, I worked both rows from left to right, but you can work the rows in either direction as you return on each row. Just reverse the way the stitch goes. Once you get the hang of the movement of the stitch, you'll be able to figure that out, no problem!

By the way, I'm back to considering whether or not I should script these videos before I actually open my mouth and start yammering...

Here's the video:



For more hand embroidery stitch videos, check out my Video Library of Hand Embroidery Stitches!

Labels: embroidery tips and tricks, Hand embroidery stitches, needlework pictures, video tutorials

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Posted By: Mary Corbet on Saturday, April 18, 2009
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Before Easter, I was playing around with the idea of embroidered Easter eggs. Thing about it - spring colors, Easter egg decorations - a great combination for fun embroidery (and something I thought the kids would like!) Because of time constraints, I didn't get very far, but I thought I'd show you what I threw together and how easy it can be to stitch on a stuffed anything.

The Easter egg - which actually looked more like a football at first - is made out of some wool remnants I had lying around. I cut out four marquis-shaped sections, using two colors. Taking one of each color, I sewed them together, right sides facing, then I did the same with the remaining two colors, then placed the two sewn together pieces right sides facing, and sewed those together, leaving a little turning hole in the last seam. All this was done by hand - it would go a lot faster by machine and would look a heck of a lot better! Anyway, this was just an experiment.

Next time, by the way, I'll use six sections and hopefully the finished product won't remind me of a kid's stuffed football!



This is the egg, with a few layers of embroidery worked on it. Next time (next year?) I'll work a few more rows and do something more elaborate with the tips. The possibilities are really endless as far as the embroidery goes - you could get really elaborate with something like this! Beads, ribbon, a variety of stitches...



From top to bottom, I used fly stitch, double feather stitch, herringbone, daisy stitch and French knots, and buttonhole wheels.



Embroidering on a stuffed figure is pretty easy, actually. You begin with a knot in the end of your thread, take the needle in some distance away from where you intend to start...



...wiggle the needle around a bit in the filling, then pull the thread through, so that the knot catches inside the filling and secures the thread.



Work your stitches in a "sewing" method - that is, taking the needle in and out of the piece in one swoop - and then, when you get to the end of your stitching, anchor the end of the stitch as you normally would....



...bringing the needle either out in a seam, or out underneath a stitched area...



...and take a small securing backstitch, to anchor the thread. It's best if this can be done in a seam, where the backstitch can't be seen, or, again, inside some stitched area where it will be hidden.



Bring your needle out of the stuffed figure anywhere, and cut the thread close to the surface, pulling a bit on the thread so that, when it's cut, it is pulled into the inside of the stuffed thing.



See! It's gone. Wow. Those seams are really ugly. A sewing machine will eliminate that messy look, I think!



You can see here a view of the egg on a "corner." To ensure relatively straight paths along which to embroider, I first used regular white thread and basted a running stitch line around the egg. Once the line was embroidered, I cut the white thread and pulled it out. You could probably even use something like a fabric masking tape to mark the line and then baste, to get a really straight line.

I'm pretty sure I'll do this again, but next time, I'll make a pattern for a six-panel egg, and I'll use a machine to sew up the seams. I suppose any fabric would work - wool felt would probably work great!

Another option would be silks and brocades and fancy fabrics, for a dressier look. And, of course, you're not limited to egg-shapes. You could do spheres... think Christmas ornaments and so forth. I'm contemplating a similar project for my kids' embroidery classes this year.

So that was my stuffed egg adventure. I love the colors! But now that Easter is over, I think I'll move on to other needle 'n thread adventures!

Labels: embroidery tips and tricks, holiday stitching, needlework pictures, pictures, wool felt

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Posted By: Mary Corbet on Friday, April 17, 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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The purpose of today's article is both instructional and inspirational! I usually post reader's embroidery projects because I find them particularly interesting or inspirational, and I think it's nice to see what others out there are doing with their needles and thread. Here's a beautiful metal-thread embroidery project which features satin stitching...

Christiana embroidered this fleur-de-lis in satin stitch, using #1 silver Jap. The design she's using is from Tanja Berlin - one of the elements on her goldwork sampler. But Christi says she doesn't like filling with purl, so she wanted to try satin stitching instead, using the #1 silver Jap, which is a very fine metal thread.

She chose a blue silk ground, which sets off the silver beautifully.

In communicating over this project, we sent pictures back and forth and discussed the methods and so forth, and she took notes on what she was doing, which she subsequently scanned and sent along, too. So what I've done here is put together her project so that you can see how she did it, and maybe pick up some tips and tricks along the way.



Christi was working on her goldwork feather and the fleur-de-lis at the same time, so both projects were set up on a slate frame. Notice that the slate frame is dressed with linen, then the ground fabric (blue silk in this case) is basted onto the linen, so that she is working through both the linen and the silk. This is normal for most ecclesiastical work - and goldwork in general - that, behind the ground fabric, there is another layer of supporting fabric. Specifically, in ecclesiastical work, it is typical to set up a slate frame with a piece of linen, then mount the finer ground fabric on the linen. Often, when several small motifs are being worked, they'll be set up on one frame to save time and linen.



She used tissue paper to tansfer the design, tracing the design onto the tissue paper then using dark blue thread to stitch over the design to transfer the pattern. Using the dark blue (same color, more or less) as the ground fabric eliminates problems later, if the tacking threads can't all be removed. They aren't as noticeable!

For the top part of the fleur-de-lis, thin felt is used to pad the shapes. Christi stitched over the felt with a fine white thread to secure the felt to the fabric. This method of securing the felt differs from person to person and technique to technique. When I secure felt, I generally stitch very tiny stitches along the outside of the felt. This causes the felt to stand up a bit in the middle. Stitching over the felt as Christi has done helps minimize the height of the felt, which is what she wanted.

Instead of using felt on the arms of the fleur-de-lis, which are narrow and spindly, she discovered something: when removing the tissue paper from transferring the pattern, she noticed that the tacking threads held the tissue paper pretty firmly in place on the arms of the fleur-de-lis. She wanted the arms to be less padded than the top part of the design, and she thought that perhaps the tissue paper would serve to barely lift the thread off the fabric, to provide a white background behind the silver, and to give her a sharp edge for satin stitching. Maybe she didn't have to use felt on the arms after all, and this could save her a step!



And that's what she did - she left the tissue paper from the transfer on the pattern and stitched over it. She said it worked really well and it's a technique she'll use again. You can see in the photo above the tissue paper still attached to the fabric...



Here are the two arms and the base completed. Funny how the cameral makes the threads look more gold than silver... but really, it's silver!

Now, with the base of the design, Christi said she had some problems deciding how to stitch it, and here are her notes on the subject. You can click on them to see a larger version.



When satin stitching different shapes, it's important to take into consideration the length the stitches will cover in the longer parts of the shape. Stitches that are too long can loosen over time. Also, they don't always lie well. So this was good thinking, to split up the design!



You can see here the base of the design. I think it looks good, but I understand why it would have been better to split the design into three, instead of two, stitching areas.



Satin stitching around curves can be tricky, and one of the most common problems is keeping "perfect" stitch direction. Christi didn't like her shifting stitch direction in the areas marked, so she noted that for future improvement. Um.... well, the truth is, we always look at our own work more critically. I think this looks good.



After finishing the satin stitching, she outlined the main part of the design with silver pearl purl.



And here's the finished piece - really beautiful!

Thanks, Christi, for sending the pictures along and the explanation of work!

I hope you enjoyed seeing this project, and that you picked up some ideas from her experiences working it!

Feel free to ask any questions...

Labels: embroidery tips and tricks, goldwork, needlework pictures, pictures, readers embroidery, silk

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Posted By: Mary Corbet on Sunday, March 15, 2009
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Have you heard of The Silk Mill? It's a company in the UK that produces silk thread for needlework. It's a nice company - professional, friendly, and... silk producing. What more could you want? I had the opportunity to try out some of their threads this week, and so I thought I would introduce them to you.

The Silk Mill produces an amazing color range of silk threads for hand embroidery and other needlework techniques. They have over 500 colors, and it looks as if they are producing new colors with regularity.



Along with the packet of threads came a very nice brochure with all the colors (with corresponding names and numbers) illustrated. I'm just weird enough to really enjoy spending time looking at these types of brochures. I read them. Yes, I do! Like a book. There isn't a lot of information in the brochure, but I read the names of all the colors and look at the colors. I am sure this is a result of my fiber infatuation, but at the same time, I think it's also an attraction to color. I find the variety of names we give to colors fascinating!



The brochure groups the colors according to... well, colors! So in the yellow group, you'll find great names like Tiger Flower Yellow, Golden Sultana, Corn-on-the-cob, Saffron Crocus, Yellow Wagtail, and so forth. In the Orange list, some of the colors are Glazed Carrots, Firecrest, and Mexican Sunset. In the pink list, try Salmon Mousse and Popsicle Pink!



Besides individual skeins of colored silk, the Silk Mill packages skeins in different "theme" colors. For example, the package I'm reviewing here is titled "Winter at the Beach," and the colors correspond to a wintery beach. There are color packs (they call them mini-sets) titled enticing names such as "Moonlight and Champagne," "Summer Dress," "Winter in the Woods," and so forth. And all the colors work for the names! I love that!



You can purchase The Silk Mill threads individually, but they are more cost effective if purchased in groups of ten, or in mini-sets or full sets.



Here, you see my first set of Silk Mill silk, "Winter at the Beach." It's a five-skein set. The sheen on the silk is quite nice! This is monofilament silk, so the sheen is much higher than that of spun silk (like Soie d'Alger).



The skeins are actually a twist that, when untwisted, come apart into a large circle.



To untwist the skein, just find the knot that holds the bunch together. Once you find the knot, hold onto it and take the twist out, until you have a large circle. I'll show you below how I prepare this type of thread for stitching, in order to avoid frustration from tangling...



The silk is stranded - 6 strands in a bunch, like DMC floss.



After I opened the skein into a large circle, I cut the point where the knot was, so that I had a bunch of very long strands of silk. I divided the bunch into three equal lengths. You can divide it just in half, but I think the stitching length would be too long, for reasons mentioned below.

After cutting the threads to my stitching length, you can see that I had a rather boingy mass of silk... which would be a pain in the neck if it were left just like this - destined to knots and disorder... Plus, I don't like the boinginess of some silks. I prefer, if possible, to calm that down a bit.



Here, you can see that the thread is significantly "calmer." How did I manage it? I put the kettle on for a cup of tea, of course! I didn't think it right to play with silk from the UK without enjoying a good cuppa!

As soon as the tea kettle was whistling, I took the silk bundle in my hands, holding one end in one hand and the other in the other, and moved it back and forth in the steam coming out of the whistling tea kettle. I do this with a lot of different types of threads and have never had any adverse effects. I don't leave it soaking in the steam - I just pass it through. It goes straight immediately.



Once the thread was straight, I let it sit while I found something to hold it with. I used a key tab, as demonstrated in my previous article on thread organization and key tabs. Using the method shown in that article and the article on preparing coton a broder, I looped the silk onto the key tab ring and loosely braided it. I secured the end of the braid with a slip knot made out of soft cotton thread, gently and loosely secured. Now, I can pull one individual strand at a time from the braid.



At last! The comparison: on the left, one strand of DMC. On the right, one strand of Silk Mill silk.

Do you notice something? Look closely at the twist. I didn't notice this until I lined these two threads up for the picture. DMC is an S-twisted thread. The Silk Mill is a Z-twisted thread. If you are already familiar with rayons and some other silks (I believe Trebizond is also Z-twisted), you have stitched with Z-twisted threads. It doesn't make much of a difference in stitching, except with a few specific types of stitches. For example, if you work a stem stitch with a Z-twisted thread, it will look more like outline stitch (the stitches will roll around each other and be less distinguishable). If you want your stem stitch to look like a stem stitch, with the "rope" look and more noticeable separation in stitches, when stitching with a Z-twisted thread, you have to actually work an outline stitch. Also, with bullions, you twist the thread around the needle in the opposite direction. But for most stitching, the difference is minor, if not at all.

Back to the strands themselves: you can see that one strand of DMC is slightly smaller than one strand of Silk Mill silk.



Looking at a thread is never enough to tell you whether or not you will like it. You need to stitch with it! Put the thread through some paces and see how it feels. The thing is, I can never really "know" a thread until I stitch with it quite a bit. Still, a little bit of stitching should tell you right away if it's likely you'll like it.

So I stitched a few small bits. First, I stitched a little satin stitch swash. I also worked the chain stitch using two strands together.



I worked some cross stitches, stem stitch, Holbein stitch (double running stitch) and back stitch, and some split stitch.



Conclusions:

1. The silk is beautiful! It feels good in the hands - it doesn't snag or anything like flat filament silk is prone to do. It's smooth and luxurious feeling. The colors are vibrant and consistent. The thread is soft and fine.

2. I found it requires short lengths for stitching. As I neared the end of lengths of thread I was playing with, the thread started to exhibit some definite fuzziness. In short lengths, it performs fine (14 - 15").

3. It stitches beautifully. The sheen is nice, and thread, though boingy at first, behaves ok. In this regard, I would classify the ease of managing the thread somewhere between managing regular cotton and managing rayon (which I always find to be more persnickity than other threads). The stitches looked nice, and the sheen is exceptional.

4. Would I buy the thread? The brochure I received says the skeins are £2.75 each, or £2.50 for 10 or more. Mini-packs (5 skeins) are £8.50 each, and larger sets range from 11 skeins in a certain color group at £19.50 each, up to 27 skeins for £39.50. On the brochure, there's also a sticker that indicates that all skeins are £2 each, so perhaps there's a price reduction thing going on there? Also, on the website, you can see deals such as 10 skeins for £17.50...

With the current exchange rate, £17.50 ends up to be about $24.35 - $24.50. So one skein of silk would be $2.43 - $2.45US. And you know what? That's not a bad price! Of course, there's shipping to consider, but even with shipping, if I were ordering a larger order, I still think the silks would be a good price. This all depends, of course, on the fluctuation in the exchange rate, but right now, it's not bad! If the skeins are £2 each, the work out to about $2.70... I think the economical way to go is to buy them in packs.

So... would I buy Silk Mill silks? I think I would! In fact, I think I will! I like them! I like the threads - especially the feel and the sheen; they have a magnificent color selection; and they are reasonably priced.

Just for the sake of comparison:

Treenway Silks: 10 yards - $5.00
Soie d'Alger: @ 5.5 yards - $3.75 - $4.00 (it's got seven strands in each length, though)
Caron Waterlilies: 6 yards - $5.75 - $6.35
Needlepoint, INC: 5.5 yards - @$4.00
Thread Gatherer Silk 'n Colors - 7 yards - @$6.50 - $7.00 (12 strands per length)

So, if you're looking for silk, and you want to try something new, try the Silk Mill silk threads! If you order from them, tell them I sent you!

And let me know how you like the threads... I'd like to hear other people's opinions on them! Have you tried them already? Do you like them? What type of needlework do you use them for?

And, finally, just so you know - I'm not affiliated, this isn't a paid advert or anything like that! It's just my review and my opinion... you may have a different opinion - if you do, don't hesitate to share!

Ahhh. It's Friday - enjoy the weekend!

Labels: embroidery resources, embroidery tips and tricks, needlework pictures, pictures, silk, threads

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Posted By: Mary Corbet on Friday, March 13, 2009
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Is there a better combination in the world of needlearts than goldwork and silk? You'd have to twist my arm to make me believe there is! I'm a sucker for both of them - but in combination, I'm completely twitterpated! Every time I get into a goldwork project, I find I have tunnel vision - I spend the day looking forward to getting back to the project! Well, I've recently set up a small goldwork project, and here's the beginning of it...

The gold in this goldwork project will be gold passing thread. If you're not familiar with what gold passing thread is, feel free to look at a few previous articles: gold passing thread up close, the Agnus Dei project, the golden pomegranate, or my goldwork Christmas ornament from this past Christmas - all of them make liberal use of gold passing thread.

In this technique, which is called Or Nué, the gold passing thread will be couched with colored silk to form a picture. I've recently run a couple articles on Or Nué techniques (Margaret's goldwork flower and Christiana's goldwork peacock feather) if you want to get more of a sense of what the technique is all about.

Here, I'll be going step-by-step through the process of Or Nué embroidery, and I'll tell you up-front, I've only worked the technique a few times, on simple projects. This little iris is more complicated than any Or Nué I've done before, and I will undoubtedly be troubleshooting along the way!

I'm off to a bad start, anyway. Let me show you what I mean...



Here's the design, traced onto tissue paper. It's from 4000 Flower & Plant Motifs: A Sourcebook by McCallum - an excellent book for little motifs perfect for embroidery. I modified the design slightly.



After laying in some (really sloppy!) color using prismacolors and centering up the design, I added in that swashy looking line, because I'm thinking I'll work the gold thread in some other pattern besides just a straight line. I don't think this particular swash is going to be my gold thread guide, though....



The next thing to do was to consider colors of silk. Actually, the next thing was to consider TYPES of silk. I wanted a fine thread, to ensure that I didn't end up with too much bulk over the gold threads, which could distort and push them out if I didn't space them correctly. It was at this point that I noticed that none of my finer threads were available in the same colors - or in any extent of color - compared to my rather haphazard collection of Soie d'Alger. Now, Soie d'Alger is my favorite thread for needle painting (long and short stitch - like this needlepainted iris, which is actually worked in DMC cotton). I found as I was planning out this goldwork project that I was thinking too much in terms of needlepainting. This may pose a problem later - we'll see!



Anyway, I had a good collection of purples and greens in the Soie d'Alger, so that's what I decided to go with.



I selected a palette. I think these are way too many shades of color!! (And I know you're probably wondering about that coral. So am I!)



I'll probably end up using these two purples...



... and these two greens predominantly.



So, colors selected and pattern more or less messily prepared, I headed to my light box to transfer the pattern onto the fabric.

And here comes Mistake #1:



I outlined in black, using a micron art pen. Oh dear. It didn't occur to me until later that I really don't want those harsh black lines on the surface of the fabric. I know that there will be some space between the gold threads - not a lot of space, but some, nonetheless. I don't want any vague black outline peeking through...



And this could be Mistake #2, but I don't know yet. I used prismacolors (soft lead colored pencils) to lay the color in on my fabric. Normally, this would be done with watercolor paints, but .... mine are packed away, and I was over-eager. I tend to think it'll be ok.

Regarding the black line, I'm planning on couching stitches long that black line, so I'm hoping they will be sufficient cover up. We will see!

After I finished transferring the design, I mounted the linen on an Evertite Frame, which have fast become my favorite frames. (I don't have a slate frame that's small enough for this project). Now, my next step is to prepare all my supplies and put everything together in one basket for easy access. Then, I'll set up my Needlework System 4 stand with the frame in it, and have that ready for those 15 minute moments when I can take a few stitches during the week!

So that's my current colored project! I'm still working on the whitework sampler, though not regularly. I'll be dividing up a few days a week for whitework, a few days a week for goldwork now. I did finish my miniature embroidery piece, and will show you some photos of that tomorrow.

What are you up to? Do you have any projects going? Are you blogging progress on any projects? Feel free to share a link to your blog, flickr account, etc., below, so that we can see what you're up to, too!

Labels: embroidery tips and tricks, goldwork, needlework pictures, pictures, silk

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Posted By: Mary Corbet on Tuesday, March 03, 2009
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Strangely enough, this is not a "my favorite things" post, nor is it a foodie post, nor am I going to show you the big mess I made spilling olive oil all over my needlework. But if I were making a list of favorite things, I'd admit that these three would be on it, in some form or another. And if this were a foodie post, either olive oil or sugar (or both) would probably be in the mix. However, if I had spilled olive oil on my needlework, the title of this post would be unfit to publish! No, no. It's none of the above...

This is a needlework tip!

I'm suffering from "winter hands" right now. No matter what I put on them - I slather them with lotion several times on a daily basis - I can't eliminate some of the chapped areas. Part of the chap comes from working with my hands, whether it's doing dishes, doing other daily chore-ish tasks, writing (with pens), writing on a chalk board (oh, horror! I hate chalk this time of year!), or even developing needlework calluses. But part of it is just simply the time of year. It's winter. The heat in the house dries things out, and the lack of humidity in the air outside, along with the cold and the wind, doesn't help!

And so, now and then, I find myself getting lizardy.

And when it comes to working with threads, lizardness isn't pleasant! I can't stand the snagging. Cotton is bad enough, but try working with flat silk! Aaaack! The frustration is endless.

And that brings me to this tip - an easy way to smooth up your hands using ingredients you probably have in your cupboard: olive oil and sugar.



Pour a tablespoon of olive oil in a dish - a small bowl works best (much better than a little measuring cylinder).



Add about a tablespoon of sugar. The mixture doesn't have to be precise, or anything. You just want to create a wettish pumice, really.



It's amazing how yellow olive oil looks with sugar in it. Mix the oil and sugar together well....



... and glop the stuff into your hands. MMMmmmmm. Doesn't that just look - oh, nasty? This consistency works great for me - most of the mix stays together, but there is enough liquid in it that a little bit oozes its way through the fingers.

Now, scrub your hands. You can do both sides, and while you're out it, concentrate on the finger tips, giving them extra attention.

Once you've worked the mix around on your hands for a while, use soap and warm water to wash your hands thoroughly, then pat them dry on a towel. They're feel great!

It doesn't necessarily eliminate every bit of roughness on the hands, but it certainly minimizes the snagging. A daily treatment while the hands are really rough will make a difference, too.

Any tips for hand treatments when dealing with winter skin? Do share!

Labels: embroidery tips and tricks

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Posted By: Mary Corbet on Monday, February 23, 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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A few months ago, Pamela Alley e-mailed me a kind of photo tutorial on how she organizes her cotton floss, and in Inspirations #61, there's a little blurb on how to set up a skein of coton a broder for use. Pamela's method (which is for stranded cotton) and the method in Inspirations #61 are similar, despite the difference in thread types, and they are both the way I've normally organized my coton a broder (but not my floss), so I thought I'd show you here...

Coton a broder is a specialty DMC thread, used for whitework, cutwork, etc. It's perfect for use in monogramming. It makes beautiful satin stitches. Coton a broder isn't widely available. Even most specialty needlework shops don't carry it, or if they do, it's in the larger sizes (#12 or #16) only. You can purchase coton a broder in size 12 (largest) through size 40 (smallest), in strange increments that make little sense to me. They go 12, 16, 20, then by 5's. #16 coton a broder is about the same size as floche, but they have a different number of plies that make up the thread - coton a broder is a 4-ply thread, floche is a 5-ply thread. I order my coton a broder from Lacis. Sold as "cutwork thread" or coton a broder (you'll find it called both on the Lacis website), it comes in white and ecru in most sizes, and in size 25, it comes in a variety of other colors, too. I just buy white. If I want this type of thread in color, I go with floche, as it has a wider range of colors and shades.

Ok, so that's the thread.

The thread comes in a skein, but it isn't a pull skein, like the kind regular stranded floss comes in. It's a loop that is looped again back on itself.



The higher count threads make up shorter, fatter skeins, while the lower count (larger threads) make up longer, skinnier skeins.



On the label, you'll see the size of the thread marked, as well as the length of thread in the skein.



To prepare the skein for working with, slide both labels off (there's a small "DMC" label on there, which I don't find necessary to keep). Save the label with the thread number on it, because you'll use that for identification of the thread.



When the labels are off, look for the little tied-up area, where part of the bundle is tied perpendicular to the rest of the skein.



Hold the skein at the little tied area (just holding the bunch that is tied), and give the skein a gentle shake. It will fall out into a long loop.



Cut the skein where it is tied, and remove the little tying thread. I also cut the skein a second time, just opposite of the first cut, so that I have perfect lengths of threads for working with. Now, you don't have to do this - some people like working with longer lengths of thread. I personally can never stand working with a thread more than 16" - 18" long, and 20" is pushing it for me! Why? Well, for one thing, I can stitch faster with shorter lengths of thread. For another, after a while of stitching, threads start to fuzz up. Using shorter lengths ensures that I don't get fuzzy threads. I'd rather go through the rigmarole of starting and stopping a thread than put up with fuzzy threads!



There's the nice clean cut. Use sharp scissors, by the way! Using dull ones to cut this bunch of threads will make it harder for you to thread your needle later on - or at least, will require you to trim up before you do.



Now you have the long label with the thread size on it, and your skein, cut to working-sized threads.



Thread the skein back into the label.



Then separate three sections of thread and work a soft braid with the three sections, so that the label is at the top.



Selecting a thread from the top near the label, pull one side out of the braid, then pull the other side out, and you're ready to stitch.

This is a nice way to organize threads, especially threads that come on looped skeins, like coton a broder and perle cotton.

Incidentally, I have another way I'm organizing my whitework threads right now, too - it is a combination of this method and another, and was the result of stopping in at an office supply store the other day. I'll have to show you my weird set-up one of these days!

Do you have any thread organization tips? Feel free to let the rest of us know how you prepare your thread and organize it for a project!

Labels: embroidery tips and tricks, needlework tutorials, organization, pictures, threads

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Posted By: Mary Corbet on Friday, February 13, 2009
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There are several different ways to go about transferring your hand embroidery design to your fabric so that you can stitch it up accurately. I've written about some of them already, which you can find indexed under Tips and Tricks for Hand Embroidery (under Editor's Floss, always at the top of the right column on each page of Needle 'n Thread!). I've never actually written about this particular method of design transfer because I don't use it often. That may change - thought it takes slightly more time than tracing, it's accurate, lasting, and easily visible.

I think most embroiderers have their favorite way of transferring designs, which they probably stick to pretty regularly. Of course, the manner of transferring a pattern is going to change with choices of fabric and thread.

If you're stitching, for example, on dark fabric, it isn't likely that a regular pencil is going to help much for tracing the design onto the fabric. Neither would a water-soluble fabric marker, really. If you're stitching on white fabric with white threads, you can run the risk of discoloring your threads if you use too soft a pencil and too heavy a hand when tracing your design! Prick and pounce takes a long time - and it's a multi-step process: first you have to prick the design carefully, then you have to pounce the powder on (and sometimes that includes making a felt roll to do so - or even making your own pounce!), and finally, you have to use a tiny paintbrush and paint in all your lines. Oh, then there's the dressmaker's carbon method - which works ok, but what if you end up with a super messy line that you can't cover with your stitches, and you hadn't intended to wash the piece? Or you can't wash the piece easily because you're using non-color-fast overdyed specialty floss? Oh, the options go on and on... and there are many of them.... but they don't all work in all circumstances (except for maybe prick and pounce, but golly - it can be a tedious job to pounce a whole pattern!).

Transferring your embroidery design using tissue paper actually does work in most circumstances. I can't think of any circumstance in which it wouldn't work, really. This is how you go about doing it.

First, you need some supplies: tissue paper, a fine tipped pen, thread, a sharp needle (crewel needles or sharps are fine), and some other miscellaneous things that are nice to have on hand but not necessarily essential.

When deciding what thread to use, I suggest a regular sewing thread that's the same color as the embroidery floss you're using, more or less.



The first thing I did was trace the design I'm using onto the tissue paper. Now, this paper is a bit weird, and I don't exactly know what it is. It was lying around the office - a big roll of it - forever, and my boss finally told me I could take it home if I wanted it. It's a very lightweight yellowish-brown paper, a bit like pattern paper but slightly crisper and very sheer. It's used in our school maintenance and building department to do overlays on building projects, apparently. I use it for everything that requires pattern tracing - mainly because it was really cheap (as in, free)... You can use regular wrapping paper tissue for this part - one thin sheet.

Using my magnetic needleminder and a few refrigerator magnets, I positioned the tissue paper on my embroidery frame.

Now, keep in mind I made a pretty big mistake in this whole process, but it doesn't really change the process - hopefully, it will just serve as a deterrent to you, so you don't make the same mistake!



As you can see, I'm using a green thread to transfer the design. This is the mistake I made! I could have very easily used white thread, and it would not have been as noticeable in this piece (which will be stitched in white). Using green thread requires me to do some very serious (and tedious) thread picking as I go. If I had used the same color that I would be stitching in, then any residue would not be noticeable - but green has an uncanny way of making itself visible on white! That was one of those forehead slapping moments. I used the green because I thought it would look better in photos! I didn't even think about the ease of stitching! Rats!

Using small regular running stitches, stitch over the entire design. The stitches can be fairly widely spaced on open, longer lines, but as you work into detailed and curvy areas, keep your stitches a little smaller and close, to make sure the details can be seen when the tissue paper is removed.

Don't use knots in your sewing thread! Just anchor it as you would if you were basting. You want to be able to pick the design threads out easily.



Make sure that you cover every line in the design, unless there are parts that you know you can "eye-ball" as you stitch. Those little hairy dashes in between the elements of the design are where I anchored my basting thread, by just taking two or three small straight stitches into the paper and the fabric.



Once you've finished stitching, it's time to remove the tissue paper. Gently, pull the paper up and back, away from the stitching. Don't pull it too high in the "up" direction - I find it better just to kind of pull it back low on itself. This keeps the stitches from pulling up out of the fabric.

You'll notice that some bits of tissue still stick in the fabric - that's ok, you can deal with them after you've gotten the majority of the paper off.



The tissue paper will be easier to remove in the larger, open spaces of the design. Still, don't just tear and yank off! Take it easy as you remove the paper.



Once the paper's more or less gone, take your tweezers from your tool box and pick out any remaining little shreds. Once you're finished, you'll have a good representation of your design on your fabric, and it won't smudge, it won't rub off, it won't disappear - you can work with confidence at any pace you wish, without worrying about your embroidery design!



I can't help reiterating a word of warning here, now that the green is so visible! You can imagine how easy it would be, if this were stitched in a fine white sewing thread, to stitch right over that sewing thread with my white embroidery cotton (coton a broder), covering it up for the most part, but not worrying if I don't quite get it. I would, of course, still remove as much as the white sewing thread as possible as I stitched - but if I didn't get it all, I wouldn't have much to worry about as far as visibility is concerned.

I used one strand of green floss. This is a huge mistake! Not only can I not leave a shred of it - it would be too obvious - but because it's floss and not sewing thread, it fuzzes more when being picked out.

So - don't make my mistake! It served well for the pictures - the white sewing thread would not have shown up as well - but it won't be as easy to stitch as it would have been if I had used the white sewing thread!

Give tissue transferring a try, if you're inclined! It's perfect for transfering a pattern especially to dark fabric. There are plenty of ways - tracing being the easiest - to transfer a design to light fabric, but with dark fabric, we often get stuck. This method works great for dark fabrics!

What method do you use to transfer your embroidery designs? Do you see any pros and cons of trying tissue paper? Would you personally bother with this method of transfer, or not? Beginners would especially benefit from input from other embroiderers, so if you have time, drop a comment about the way you transfer your designs! Thanks!

Labels: beginner embroidery, embroidery design, embroidery tips and tricks, pictures

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Posted By: Mary Corbet on Thursday, February 12, 2009
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Here's another sample of a reader's ventures in hand embroidery. Margaret Cobleigh is a regular whiz when it comes to improving embroidery kits! And this one is really breathtaking....

Not long ago, I received an e-mail from a reader regarding working kits. She asked if she was allowed to change the stitches or the threads, if she wanted. At first, I assumed she might mean that she was using the kit for instruction in a group or guild project, so I suggested she contact the designer. But it turns out, she just wanted to know if it was right to make a change from what the designer or publisher intended. (She didn't like the threads or colors and she wanted to try some different stitches).

To all such questions, I send out a resounding YES!

If you're working a project from a design or kit that you purchased, and you're working the project for your own personal pleasure, it stands to reason that you can make adjustments that you will find pleasing. In fact, many of the embroidery kits found on the retail market are indeed sub-quality, in my experience. I'm not talking about kits by designers such of Tanja Berlin or Trish Burr, or even specialty kits found in local needlework shops. I'm talking about those "brand name" kits (Bucilla, Leisure Arts, etc.) that are widely found in hobby, craft, and sewing stores, and that often leave the stitcher feeling a bit stunted when it comes to creativity. Sometimes, too, such kits - especially put out by lesser-known companies - will offer threads that are not the best quality. I remember, for example, getting a crewel kit years ago that had "crewel wool" included in it. Now, Appleton crewel wool is fine. And it's not expensive. But the stuff in this particular kit was bound with a white band that read "wool" - nothing else - and the wool itself was over-fuzzy, and within few a few stitches began to fray apart. It was awful! Needless to say, I changed it!

Don't be stunted by the limited scope of a kit. If you see a kit you like and you want to try it, go for it! But if you find it isn't meeting your expectations - either in choice of color, materials, stitch suggestions, etc. - feel free to make some changes! In that way, you personalize your work, too.

Margaret made some vast changes on this particular tea cloth, which is a Fleur d'Lys kit from Anchor, titled "Spring." I have the same kit, but when I first got it, I had a really hard time getting into it, because I didn't like the color and stitch choices. Well, Margaret had the same difficulty, and she overcame it.

It's difficult to tell you the thought processes that go on when making changes in a piece of embroidery, so with this in particular, to show you the specific changes Margaret made, I'm sharing with you (with her permission) the PDF file that she sent me, taking me through all the changes she made (with photos!).

This is the finished cloth:



You can click on that to get a larger version. Compared to Margaret's finished piece, the original is flat and really boring! Margaret added real depth and life to the whole thing by changing the stitches, adding more stitches in some motifs, and by adding more shades of color. The whole piece has really come to life!

If you'd like to read about the changes that she made in working the kit and see some interesting before and after photos, here's the PDF:

Spring Tea Cloth - Fleur de Lis kit stitched by Margaret Cobleigh

Margaret mentions in her article another tea cloth from the same company - the Strawberry Tea Cloth. Do check out her photos of that piece, too - it's really pretty!

Thanks, Margaret, for sending along the information!

I hope everyone enjoys it, and I hope it gives you some creative motivation to make changes in your embroidery pieces if they aren't measuring up to your expectations!

Labels: embroidery design, embroidery tips and tricks, needlework pictures, pictures, readers embroidery

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Posted By: Mary Corbet on Tuesday, February 10, 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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Squizzing around the craft, embroidery, and art blogs - not to mention a few favorite cooking websites - I counted no less than 41 Valentine-related projects, ideas, patterns, or recipes. Wow. People really get into Valentine's Day.

Just so I wouldn't seem too entirely cold-hearted, I decided to get into the spirit and make up a tiny little simple heart pattern for hand embroidery that I could set up for my eight-year-old niece, who is needling me to embroider with her. So, here's the little design we're going to use (she's going to use!), and I thought I'd pass it on to you, if you want it.



And here it is in a PDF: Little Heart Design for Hand Embroidery

It's not super-complicated. For an eight year old, it will be well worked in back stitch, French knots, and daisy stitches. You could dress it up a bit - making the scallops half buttonhole wheels so they show up better, or what-have-you. Emma's going to work hers on a red cloth napkin, in white. I'll show it to you if she ever actually finishes! And, who knows, maybe I'll stitch one along with her, to keep her going.

If you do decide to go with a red towel or cloth napkin or something of that sort, make sure you pre-wash the fabric first! (Several times, even, if necessary!) I like to rinse darker colored fabrics (like the red cloth napkins we'll be using) with either vinegar, or with salt if I don't have vinegar on hand. This is something my sister does when she buys fabric to make children's clothes. She says it fixes the color, and I believe her. I've never actually tested the theory by doing any comparisons, but maybe some day I will...

I wrote a Valentine's poem, once upon a time and as a bit of a jest, for a fellow I worked with a while ago - and all this heartsy stuff just makes me feel like sharing it with you. (It actually surprises me that I do things like this, and still come back to face you the next day!)

Will You Be Mine?
(by me)

I thought I'd ask
If you'd be mine,
Could you be
My Valentine?

There's no one else,
This much is true...
So I'll have to settle,
And just take you.

I want no hearts,
I don't eat candy,
But flowers are nice,
And jewelry's dandy.

You have no money?
You can't buy flowers?
No jewelry either?
My heart sours.

On second thought,
If you don't mind,
To be your sweety,
I'm disinclined.

Yes, it's true. I'm sorry. I tend to be a bit of a cynic sometimes.

Well, I hope the pattern comes in handy, anyway!

Enjoy your weekend!

Labels: embroidery tips and tricks, free embroidery patterns, miscellaneous embroidery musings

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Posted By: Mary Corbet on Saturday, February 07, 2009
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Today's particular topic tends to put me into the state of Embroidery Frenzy. I always feel as if I'm singing the same song to all of you dear, patient readers! "I want to do this! ... I'm going to start that soon .... I need to start this project, that project, do this, do that!!!! To much to do, not enough time!" I'm sure, to an extent, every fanatic needleworker is in the same boat. There are so many projects I want to do - so many little tips and techniques I'd like to show you - but, regretably, so little time.

Here's one technique that I'd really love to dabble and experiment with, and convince others to try their hands at. It's called Or Nué - it's a goldwork technique involving couching gold threads with colored threads to produce a painted-like picture with a gleaming gold foundation.

This particular example of embroidery over gold threads comes again from Margaret Cobleigh, who faithfully sends me pictures of her projects so that I can drool and grumble and glow green with envy! Truthfully and seriously, she's a great source of inspiration for me and has become a great correspondent on all things embroidery-related! And, on top of it, she generously provides me with pictures of her projects for Needle'nThread, so I can pass on some neat stuff to you!

Last year, Margaret participated in a workshop that had as one of its projects this little Or Nué flower. It's a small piece, only 1.5 inches square, but it took many hours of what I think was probably rather meticulous stitching to complete it.



This is the work in progress. You can click on that photo for a larger version, so you can see it a little better. The gold thread is the same size as Japanese gold #8, and for this project, she used imitation gold. The threads used are DMC stranded cotton which have been waxed. The gold thread is wound on a wooden spool (called a koma, used in Japanese embroidery), and all the threads you see are the different colors that are used to couch the gold. You have to have the threads all working in the project at the same time, so that you can switch from one color of couching thread to the other.

The technique works this way: on the ground fabric is painted the design to be embroidered. Over that, the gold is couched. In the places the gold does not pass over the design, it is couched with gold-colored couching thread. Wherever the gold passes over the design, it is couched with colored floss. When couching with the colored floss, care is taken to space the couching stitches in such a way that the gold is not completely covered, so that it does, here and there, shine through.

Shading can be achieved in Or Nué a couple ways: you can use darker and lighter shades of color to couch the gold, or you can also vary the distance between your couching stitches. In the latter technique, to achieve a darker shading of color, your couching stitches would be closer together (often touching and covering up the gold completely). As the design moves to a lighter shade, the couching stitches move farther apart, and the thread may even be changed to a lighter color.

In this design, the shading is achieved by the color of the floss. In its finished state (below), the colors are somewhat muted. I don't know for sure, as I haven't seen the piece in person, but I think that the muted colors can be attributed to a few things: the nature of the technique, with the spacing here and there between the stitches; the fact that, next to the gold, the thread is bound to look a little muted; and, finally, the waxing of the thread probably dulls it down a little bit, too.



I think this is a beautiful little project, and beautifully stitched!

I was trying to think of a way for beginners to try Or Nué without spending a lot on real gold threads, and without having to paint a canvas. The thought occurred to me that a small, simple flower printed on fabric (you can buy sheets of fabric that pass through a bubble jet printer) would suit for a foundation to try the technique on. Then, instead of real metal threads, you could invest in one of the less expensive metallic cords put out by companies like Kreinik, and use DMC for your colored couching threads. If you're eager to see how the technique works, this would be a relatively inexpensive and accessible way to try it out!

I couple tips to keep in mind, if you do decide to pursue a testing project: gold passing thread (which is what the gold is here) is normally couched in pairs. That's how Margaret did it here. I've seen Or Nué worked over one passing thread at a time, which would allow the stitcher to achieve meticulous detail. When couching the colored threads, often the build-up of thread between the gold causes the piece to bulge as it fills out. Some books recommend a hair of a space between the gold threads - not enough to show a lot of fabric or anything. But just enough to make the colored couching threads fit comfortably. Playing with the technique a bit will give the stitcher a sense of the right spacing between the gold to avoid bulging.

Finally, if you've been hanging around Needle'nThread a while, you probably recall that I've written about this whole subject before. I've got one article in particular on Or Nué with good links and resources in it, if you're interested in reading up any further on the subject.

Well, once again, I shall leave you as I moan the same old song....

All I need is Time. Doo da doo da doo. All I need is time, time. Time is all I need....

Or maybe it's that other song...

Oh give me time, lots of time, with my Ott light up above.
Please fence me in!
Let me spend every minute on the stitching that I love.
Please fence me in!
Let me be by myself in the evenings, please!
In linen, and gold and silk threads up to my knees!
Send me off forever so I can stitch at ease...
Please fence me in!

It's really amazing to me that I'm about to hit the "publish" button and make such an utter fool of myself......... Seriously, though. I suppose we do what we can, when we can. Thank goodness for weekends!

Have a Happy Friday! May you find plenty of time on the weekend to enjoy some stitching!

Labels: embroidery tips and tricks, goldwork, needlework pictures, pictures, readers embroidery

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Posted By: Mary Corbet on Friday, January 30, 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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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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A few queries came in this week about the tools required to get started in goldwork or any other metal thread embroidery (one reader is particularly keen to work with copper threads...) To answer the question, I thought I'd show you my goldwork "tools" - they aren't all tools, and there aren't that many!

I only have one "specialty" tool for metal thread embroidery. I think the experts must have other tools that they use, but perhaps not. Most books I've seen don't have too many items beyond these. And again, they're not all tools, technically...



The background of this photo is a velvet board - a thin piece of mat board with velvet mounted on it, used for cutting metal threads and keeping them in place while they're being cut and while you're using them. I've heard that beading boards work ok, too - they apparently have some kind of nappish surface of sorts, I suppose. It's the velvet nap that keeps the metal threads in place, and keeping them in place is a good thing, especially when you pre-cut several pieces of purl for chipwork.

I have two things I use for cutting and holding the metal threads, actually - this red board and a piece of black velvet as well. The black velvet is not mounted on a board, and while I don't use it for cutting, I've found it's handy for resting the cut threads on, especially when I may have to pack up a project while it's still underway. With the loose black velvet, I can fold it up carefully over the pre-cut threads and put it in a box. When I unfold it, the threads are still there...

From left to right, the rest of the tools, most of which many stitchers probably have in their needlework basket:

1. A decent pair of tweezers

2. A sterling silver mellore - This tool is used specifically for goldwork. Its main purpose is to help with manipulating gold threads without damaging them. It can also be used as an awl, to widen the plunging holes for the metal threads. You can find mellores made from other material besides sterling, and, incidentally, the mellore is not absolutely essential to goldwork. I've manipulated threads with the back of my tweezers....

3. Beeswax, used to strengthen couching thread

4. A plunging needle or plunging lasso - This is just a large eyed needle that you can either thread your metal threads into, to pull the ends to the back of the fabric, or you can string a piece of cord through the large eye and use that as a lasso to pull the metal threads to the back of the fabric. This is a #22 chenille needle, which seems to work ok in most cases.

5. A pair of scissors specifically for goldwork. I have three pairs of scissors specifically for goldwork, actually - and the other two I like much better than this pair! The scissors should be small and very sharp, and nice pointed tip is helpful. It's good to have a pair that is specifically for goldwork and that can be distinguished from your regular embroidery scissors. One of these days, I may invest in a pair with a fine serrated edge, but so far, the scissors I have (which are all typical embroidery scissors by gingher) have served me well.

6. A selection of couching threads, which I already explained when discussing where to find silk couching threads.

So that's it! Nothing really out of the ordinary is essential for goldwork, except the metal threads themselves. I like the fact, by the way, that Tanja Berlin gives the option on her website of ordering sample sizes of all her gold threads. The sample sizes are 9" each, and they vary in price according to the type of thread. But 9" is a good size to play with, and will go a fairly long way with most of the metal threads, except maybe passing thread. Remember as well that gilt metal threads are less expensive than the 2% threads, so if you're planning to play and practice, choose gilt.

Enjoy!

Labels: embroidery resources, embroidery tips and tricks, goldwork, needlework tools, pictures

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Posted By: Mary Corbet on Friday, January 16, 2009
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As a follow up on how to use pearl purl, here's another option for this beautiful real metal thread. It still involves couching, but for this technique, you use a colored embroidery thread.

When you stretch pearl purl, the coils open and it looks even more like a spring. The gold thread (I always have a problem calling goldwork threads "threads" for some reason!) has nice spaces between the coils for couching, and if you couch in every other coil, you can achieve a different and interesting effect.



Although I already showed you this little motif when I was discussing goldwork on a crazy quilt square, I thought it worth while to bring it up again, to demonstrate what you can do with stretched pearl purl, and to show you how it looks next to regular pearl purl.

In the photo above, the last inside circle at the base of the motif is stretched pearl purl, couched in every-other-coil with red silk buttonhole twist. Directly above the stretched pearl purl is pearl purl #3, and above that, pearl purl size #F1.

To use stretched pearl purl, cut about half the length you need for the line you want to cover.

To stretch, grip each end of the pearl purl with your fingernails (well, I find it easiest to use my nails between the last coil or two). Pull gently with consistent pressure from both hands until the pearl purl has doubled in length.



If you have coils on the end that are still closed, either stretch them or cut them off. Make sure that your length of pearl purl covers the line you want to cover, though, before you cut!! Once you've determined that you have the right length (or a little longer, even) than you need, you can thread your needle and get ready to couch.

Silk buttonhole twist worked really well here. You can use heavier threads, too, like Trebizond, or you can use regular stranded floss - but you'll probably need three strands or more for the color to show up well. Thread your needle and anchor it (either using a waste knot, or running it under threads already there). Bring your needle to the front of your fabric at the point you want your line to begin, and stitch over the first "valley" after the first coil. Then skip a valley, and stitch in the next. Continue stitching in every other valley between the coils until you reach the end of the line. Try to end with a couching stitch.

If you need to snip your gold to fit the line, snip it, then take your couching thread to the back and run it under the stitches on the back to secure it.

This is a very simple technique, and makes a really pretty line of gold, accented by whatever color you choose for a couching thread.

Another tip: though I usually will always wax a regular couching thread when I'm working with pearl purl, when I'm using the floss as a decoration (as in this technique) I don't wax the thread. The thread just looks better when it isn't waxed!

So, if you're game for goldwork, here's an easy technique to try!

Have fun with it!

Labels: embroidery tips and tricks, goldwork, hand embroidery information, Hand embroidery stitches, silk

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Posted By: Mary Corbet on Tuesday, January 13, 2009
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My favorite real metal thread is pearl purl. It's a strange name, eh? Pearl purl is called "pearl purl" because it is "purl" (coiled metal without a core) and because it looks like a line of golden little pearls because of the size of its coils. I thought I'd give you a little expansion on an excerpt from my "Goldwork on Crazy Quilting" article I recently finished, to introduce you to pearl purl and show you how it's used.

You've probably already caught on to the fact that I love goldwork. I think it's such a gorgeous form of surface embroidery - it would be hard to top, actually, when considering beautiful surface embroidery techniques. In history, goldwork was reserved for the very wealthy or for ecclesiastical use. But today, as metal thread embroidery becomes very popular once again, it is an accessible technique for many stitchers, thanks to excellent instructional books that are available (you can read some of my needlework book reviews, which include several on goldwork), thanks to the fact that more specialty needlework shops are beginning to carry goldwork supplies, and thanks to the internet, which makes finding and ordering needlework supplies a lot more convenient than it used to be!

There are several different metal threads that I would classify as favorites: smooth passing thread, check purl, and pearl purl. Out of those three, if I had to narrow it down, I'd say that pearl purl is my favorite metal thread of all, for three reasons: it's awfully pretty (!), it's versatile, and it's relatively quick to work with.



Pearl purl is made out of a thickish metal wire that is coiled like a spring. It comes in long lengths that you cut to fit whatever line or curve you're embellishing. It's one of the harder metal threads, but it is flexible. In its unstretched state, it takes both gentle and tight curves quite well. It also takes corners and angles well - a firm pinch with the tweezers will square off the pearl purl, or bring it to a sharp point.

If you want to practice with pearl purl, you'll need a couple simple supplies: a length of pearl purl, couching thread (I use Kreinik gold colored silk couching thread in size 0), a small needle (size 10 crewel works well), beeswax, and small sharp scissors to use for cutting metal threads. If you are going to venture into metal thread embroidery, it's a good idea to have at least one pair of small sharp scissors to use solely for metal threads. Real metal threads can be pretty rough on a pair of scissors, so don't use your best embroidery scissors to play around with them, unless you don't mind making your best embroidery scissors your metal thread scissors!

Here's how I used pearl purl to create a simple vine-like motif.



I began by drawing out a pattern on my fabric. Any line design of a flowy nature works well for practicing with pearl purl. I used a fine tipped art pen and just drew some scrolly things that fit in the corner of this block.

The ink bled a bit due to the type of fabric, but I'm using a large pearl purl (#3), so it will cover the lines just fine.



Run your couching thread over a cake of beeswax a couple times, then run it through your fingers a couple times to distribute the wax and make your thread smooth.

Lay your pearl purl on your vine motif to measure approximately how much you'll need to cover the first scroll. Cut it a little longer than you think - it's always better to have to snip off a few extra coils at the end, rather than running short!



To cut the purl, snip it between two coils. Here, I'm cutting a pearl purl #2, just for the sake of this demonstration. You can snip closer to the point of your scissors if you wish, but pearl purl #2 and #3 are rather tough metal - I find I need more leverage when I cut them!



You can clean the cut ends up with your scissors if you need to. Sometimes, a little shard will stick up - you want to remove anything like that, either by snipping a bit off with scissors, or by pinching the shard down with tweezers. In any case, the side of the cut on the coil gets turned down next to the fabric when you couch it, so that a full coil is showing on top.



I find it easier to begin by couching in the second coil, then couching in the first coil. Bring your needle up in your ground fabric at the beginning of the line you want to cover. Then take your needle back down over the gold, and pull through until a small loop of your couching thread remains. Sometimes, it's easier to make the loop, then stick your gold thread into the loop. Pull down on the thread gently until it's snug on the pearl purl.




You want the thread to rest between the coils, not on top of a coil, because you're going to tug it down into the coils so it isn't visible.



Give the thread a good little pull from the back. You don't have to yank it. A quick tug will pop the thread down between the coils, where it will disappear. Usually, you'll even hear a popping sound, but not always. I find it's better to give a pressured pull from the back, than to really yank on the couching thread. A "tug" is better than a "yank."

Once you couch the first and second coils of the pearl purl down onto the beginning of your line, proceed to couch the rest of the metal thread until the line is covered. Couch the thread in every third or fourth coil on straight lines or very gentle curves. As the curves become tighter, couch in at least ever other coil, so that the purl takes the curve smoothly.



As you come to the last coils to cover your line, couch in each coil for the last two or three coils. Snip any extra coils that extend beyond the line, then use tweezers to pinch down any shards, and to turn the coil (if possible - it's not always possible) so that the least amount of the cut is visible. In fact, in the two ends showing above, the coils should have been turned better, so that the whole cut wasn't face up!



These two ends are a bit better, since the coils at the very end are complete.

Once you get your vine couched, you can embellish it however you wish! I used spangles around mine.

Pearl purl is a relatively easy type of metal thread to work with, and you can vary the look of the pearl in several different ways.

In the meantime, if you're game to try metal threads, you can find them through specialty shops listed at the end of this article on goldwork supplies. The larger sizes of pearl purl (2 and 3) are more expensive than the finer pearl purl, because of the quantity of metal and gold used to produce them. But even if you just buy a little bit, it'll go a pretty long way. In fact, Tanja Berlin sells sample pieces of all the goldwork threads she carries, which is a nice way to get introduced to them.

If you have any questions about pearl purl - or if anything was unclear in this little tutorial - don't hesitate to ask!

Labels: embroidery tips and tricks, goldwork, needlework pictures, needlework tutorials, pictures

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Posted By: Mary Corbet on Friday, January 09, 2009
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Posted By: Mary Corbet on Saturday, January 03, 2009
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Here's a great example of the "less is more" theory. In thread painting - which is also called needle painting, long and short stitch shading, silk shading, or many other and varied names - the smooth blending of colors and shades is what the embroiderer tries to achieve. Take a look at these two pictures, and you'll see what I mean by "less is more."

These are two versions of the same needlework kit, and both versions were stitched by Margaret Cobleigh, who kindly sent along the photos. I had mentioned her improvement of this pansy kit a while ago, but since she's getting ready to teach a class in thread painting, she dug out both photos to show her embroidery group the difference between the two projects. I thought it would be interesting to line them up together in one post, to demonstrate why, as Margaret put it, two threads are not always better than one!



Here's the first version, worked according to the kit instructions, which called for two threads in the needle while embroidering. Notice especially the lower petals of the pansy, the light shades on the outside and the black on the inside. I wouldn't look at it and call it "bad" - but it certainly isn't as smooth and blended as I expect thread painting to be. It's thick and heavy-looking and the color breaks are rather chunky.



Here's the second attempt. The only difference is that Margaret used one thread, instead of two. To see the point clearly - that one thread works better than two when you're trying to shade using long and short stitch - look especially at the middle petal on the right side of the pansy. I think it illustrates the point best. In fact, all the lower petals show very well a smooth blending of shades. Overall, the blending in the whole piece is much smoother, not nearly as chunky or heavy looking.

So there's a tip for those of you who are thinking about venturing into thread painting this year... better results are achieved with one thread! It's always tempting to double your thread when you're covering space in embroidery. After all, you'll cover twice as much space in the same stitching time if you're using twice as much thread! Well.... even if that is true, you may not be as pleased with the results! This holds true with long and short stitch shading (shown here) as well as with satin stitch. You can get a far smoother satin stitch with one thread than you can with two or more.

On another note, I realized I forgot to wish everyone a Happy New Year yesterday! But then, New Year's Day is never really the day I start the "new year" - resolutions and all that. It's still a holiday, after all! So, on this Second Day of January, 2009, please be assured of my sincere wishes for a very happy New Year to all of you. May you fulfill all your plans for this year in health and happiness.

Thank you as well for all your very kind comments on my recent weekend stitching marathon. A couple questions crept up in the comments - I'll answer those there soon.

Have a great Friday, enjoy the weekend, and I'll keep you posted on this weekend's project as I finish it! It's a fun one!

Labels: embroidery tips and tricks, needlepainting, needlework pictures, pictures

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Posted By: Mary Corbet on Friday, January 02, 2009
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The article on the needle roll made out of felt sparked a couple questions about what I keep in my needlework toolbox. I never really considered carefully what should be kept in a needlework toolbox; instead, my collection of tools has grown pretty much out of need. It's an eclectic bunch of little things, all of which I have found use for in varying degrees of frequency. No doubt, the ideal contents of a toolbox will vary among embroiderers.

This is my stash of tools that I keep encased in a box in my embroidery basket.



Upon first opening the box, this is what you see - a more or less generally cluttered disarray of stuff.



There are, of course, scissors. I have eight pairs of scissors, but only three that I use regularly. One is used exclusively for goldwork, and the other two are used interchangeably for snipping threads and bits of fabric.



There are three measuring instruments: a small retractable tape measure (courtesy of Hedgehog Handworks), a 6" x 1" quilter's ruler, and a hem measurer (for lack of the correct name of that thing). I use them all pretty frequently, but probably the hem measurer and quilter's ruler most often.



You'll also find some... well, tools, for lack of a better categorical name. From top to bottom: tweezers, a laying tool, a tiny crochet hook, and a mellore all get used pretty frequently. I use tweezers to manipulate goldwork thread, to pick up tiny things, to pull out thread bits, and so forth. The laying tool (with a sharp tip that can be used as an awl) is used to keep threads in line. The crochet hook comes in handy for pulling threads through in tight spots. And the silver mellore is used to manipulate metal threads.



I keep some very large needles on hand - these are upholstery needles. I don't use them much, but they come in handy for lacing up fabric and so forth. The needlethreader is rarely used, but I do admit that in a tight spot, for teeny tiny needles (minute beading needles and sometimes a #12 crewel), I use it if I need to. And you can also see a bunch of cotter pins that anchor the slats on my slate frame.



This is a leather thimble. I never use a thimble, normally, but sometimes, if I'm working on something that's tough to get a needle through, I do slip this on for extra protection on my middle finger, which is the finger I generally use for pushing my needle. I have a permanent callus on that finger from my needles, but if I'm using a smaller needle, it often has the uncanny ability to find the one weak spot in the calloused area, where it decides to slip eye-first into my finger. That can be painful. So now and then, and leather thimble can be helpful.



I keep three types of pencils and pens in my toolbox: two are micron art pens, one is a mechanical pencil, and the other is a white chalk pencil for marking on darker fabric. You just never know when you might need to make an adjustment in a pattern or draw something on a piece of fabric. I use all three of these fairly often.



This is a spool of silk couching thread that I use for goldwork. I don't know why I keep it in the box, but I do. I think it's just so that I have some thread in there.



This is a magnetic needleminder. All my metal tools in the box find it at one point or another. I use this on larger projects where I might have several threaded needles going at once. Right now, I'm not working on any large projects, so it's in the box!



This is a brick of beeswax for waxing threads, especially for goldwork. You never know when the urge to wax your thread might strike! But when you're working with metal threads, most of your couching thread will need a nice coat of wax on it. I love beeswax. I like the smell of it!



This beautiful tool was treat. I bought it when Twining Thread was still in business. I miss Twining Thread! This is called a Soldier's Friend. It's made out of the slickest, smoothest, prettiest wood. Around the notches, you can wind extra lengths of thread, and the end comes off the handle to provide a storage place for needles. I don't "use" it a lot, but until the other day, I did have thread wound on it. Isn't it pretty? It's probably the most decorative of my tools, and the least used. But I do like it, and I have used it, so it's not really just a decorative, non-functional tool.



This is a mother of pearl thread ring. I usually have six or so of these floating in the bottom of the box, either in the large size or the small size. But right now, I've got the rest of them trussed up with thread.



And, finally (you might find this odd!), I keep fingernail clippers and an emery board in there, too, for smoothing or clipping fingernails when they become snaggy. I don't like sitting down to embroider, only to discover a chipped nail before I start, and then having to go find these two items! So I bought a set specifically for my tool box, and you'd be surprised how often I actually DO use them! They're great to have right on hand!



Along with all this is my needle roll, and it all tucks very nicely into this box with a little silk ribbon embroidery on the lid. The box has a pretty firm magnet seal. It holds the lid closed even upside-down with all that stuff in it, so if it tips over or is knocked off the couch, or whatever, it usually stays tightly closed.

I have other tools that aren't kept in this box. In fact, I have two more similar boxes, but I don't use them much, and the tools I have in them aren't as serviceable as those shown here.

So that, my friends, is what I keep in my box. What do you keep in yours? Is there any item you're surprised I don't have? Or anything here you think particularly odd? Out with it! Let's talk tools!

Labels: embroidery tips and tricks, needles, needlework tools, pictures, readers questions

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Posted By: Mary Corbet on Saturday, December 20, 2008
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