One thing I've found as I've progressed on this hand embroidered lettering sampler is that, while there are lots and lots of hand embroidery stitches out there, not all of them are wholly suited to lettering. Since lettering demands clarity (after all, you want your reader to be able to read it!), it's important to select stitches that will produce clear text.

In this tutorial, I'm combining herringbone stitch (for the thick part of the initial letter) with split stitch for the rest of the lettering. For thread, I'm using Stef Francis silk, which is a first for me. I've got quite a few skeins of Stef Francis silk, but to tell you the truth, I've never used it until now. I wanted a rich purply color, and I wanted a thread with a bit more texture, so this thread suited my needs.



The thread is variegated, and, although it's silk, it has a bit of fuzziness to it, kind of like a soft wool. I like it a lot!



Between the two parallel lines that form the backbone of the L on "Lazy" I'm working a closed herringbone stitch. Basically, this is just herringbone stitch worked close together, so there isn't any space (or at least, not much!) between the stitches. So, first you go down in your fabric - a bit away from your last stitch in order to give you room to come up right next to your last stitch.



When you come up, you come up right next to your last stitch, to close the gap you left when you took your needle down into the fabric. To understand this clearly, it helps to know the movement of the herringbone stitch - if you're unfamiliar with it, check out my herringbone stitch video tutorial, which may be somewhat helpful.



When you cross over to the other side of your stitching area (to the opposite parallel line), you'll take your needle down into the fabric a little bit away from your last stitch. You can see the gap in the photo above. Then you come up inside that gap and cross back over to the other side, working in this manner down between the parallel lines.



As you get to the base of the spine of the L, where things narrow up a bit, just move your lines closer and closer, filling in as best as you can, keeping your stitch movement the same. It'll fill right in to a narrow point.



You can see pretty clearly where the variegation kicks in on this thread. After I stitched it, this block of color change was rather disappointing, but I've gotten used to it now and I don't mind it too much. I'm not really keen on variegation, when it happens in such segmented blocks of color. But, still... I liked stitching with this thread!



After finishing the spine of the L, I jumped down to embroider the base line of the L, using split stitch. Since I've already covered split stitch in a previous lettering tutorial, I won't bore you with the details - I'll just show you how the letters progressed from this point!



Here's the base line of the L. A hint on this thread: After stitching a bit with the same strand, it gets fuzzy just like wool does, so it's helpful to start a fresh piece, if you want a really nice looking split stitch. I am not quite satisfied with this base line. (But no, I didn't pick it out!)



I liked the curl on the top of the L much better. It was stitched with a fresh strand of thread.



Here are the rest of the letters, all worked in split stitch, too.



And here's the sampler so far! It's growing on me, the more I work on it. I like the variety of colors and stitches, and I think it would be fun to do a much more meaningful phrase (or saying, poem, proverb, etc.) in the same mixed-up manner - it'd make a great little gift for someone, to stitch up something like this, but with something a bit more profound, personal, or pertinent.

If you're just joining in on these lessons on embroidered writing, I've posted all the previous lessons in under the Hand Embroidered Lettering Index. You're welcome to check them out!

Next up in this series is a really bright and crazy word - with combined stitches and a few added touches to liven the word up a bit.

If you have any suggestions, comments, questions, and the like, don't hesitate to leave a comment below!

Enjoy the weekend!

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, November 20, 2009
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Split stitch is a perfect stitch for hand embroidering lettering and text. In this tutorial, we'll talk a little bit about threads and take a look at using the split stitch to embroider words. We'll also look at stitching an isolated French knot.

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

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



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

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

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

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



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

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



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



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



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



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

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



The U is split stitched just like the J.



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



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



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



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



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



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

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

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

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

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Posted By: Mary Corbet on Tuesday, November 17, 2009
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Moving on to the next word in the hand embroidered lettering series, today's tutorial concentrates on a satin stitched initial letter, with the rest of the word worked in chain stitch. After all, who says the whole word has to be embroidered with the same stitches?!

I'll be working with wool thread in this tutorial, embroidering the word "Fox." If you're a beginner at hand embroidery, you may wish to check out two videos: padded satin stitch and chain stitch. If you're just joining in on these tutorials, I've got an up-to-date index of all the hand embroidered lettering tutorials, if you want to check out some of the previous concepts covered.



For this tutorial, I'm using Simply Wool from Gentle Art, Inc. This is a fine wool embroidery thread, and I really liked working with it. It's a beautiful color of red, first of all, and secondly, the wool itself is slightly finer and softer than Appleton, while still retaining the typical look and feel of wool thread. If they had a broader color range (they only offer about 36 colors right now) and if it weren't quite so expensive, it would be my wool of choice. Compared to Appleton, though, it's really expensive - between $3-$3.50, depending on where you buy it, for 10 yards. (Appleton's about $1.30 for 27 yards, and they offer 421 shades right now).



The spine of the F in Fox is thick, and I'm going to satin stitch it first. I could satin stitch it without padding it, but for this letter, I want it to lift up off the fabric a bit, so that it is definitely bolder than the rest of the letters in the word. So, I'm padding the satin stitch along the spine of the F. To begin, split stitch along both parallel lines.



I stitched down the left line of the spine and up the right. Now, I'm going to add the padding between the two lines. I jumped over the left of the right split stitch line, and now I'm just going to fill that area between the two will very long split stitches - so, only about 3 or 4 split stitches straight down in lines.



You can see I ended up with 3 filling lines between the two outside lines, and again, those inside filling lines are made up of a few long split stitches. That's the padding - now it's time to start the satin stitching.



I'm working the satin stitch horizontal over the padded bar. On a shape like this, you can also stitch your satin stitch on a diagonal, but I used the horizontal on purpose. When you begin the satin stitch, don't begin right on the edge of the bar. Begin around half-way up the bar, and then stitch to one end. Then go back to your starting point and stitch to the other end.



The arrows in both pictures above demonstrate this idea of starting in the middle and working to each end.



For the small bar on the F, I worked two long straight stitches side by side over the drawn line. They were obviously thicker than the drawn line, but that's ok. I'm going to satin stitch over these straight stitches, in a manner similar to what is called "trailing." Trailing is basically an overcast stitch (like a small satin stitch) worked over a long thread or group of threads used for padding. With this little bar on the F, I stitched one straight stitch out from the spine of the F to the end of the little bar, then went back to the spine and stitched another straight stitch right next to the first. Then, starting at the end of the bar - not next to the spine - I worked the overcast stitch over the bar. An overcast stitch is technically the same concept as a satin stitch, but, again, much smaller. I think it's called overcast, because it is just going "over and over." In some old books, you see it called "over and over stitch."



There's the small bar.



For the longer bar at the top of the F, I did the same exact thing - worked two long straight stitches side-by-side, and then worked the overcast stitch over them, beginning from the outside edge and working towards the spine of the F.



When I finished overcasting the top bar, this is what it looked like.



But I didn't like this.



So I just added two more satin stitches at the top of the spine, to get it to look like this.



There's the completed F. It's nice and bold, and I really like the color!



For the other two letter - O and X - I'm using chain stitch. I began the thread on the O in the same manner discussed in the previous lettering tutorials, so that I started stitching the chain stitch at the top of the O.



I've arrived here back at the top of the O, where it is practically time to end the thread. I have room for one more stitch here.



And, in taking that last stitch, it slightly overlaps the first stitch. To end, anchor the last chain stitch in the middle of the first chain stitch. To end off your thread, turn your work over and run the thread under the stitches on the back of the O.



And there you have the F and the O.



I chain stitched the small bar of the X first.



Then, turning my work over, I worked the thread under the stitches already there, to the cross on the X, as indicated by the red large arrow. Then I brought my needle up to the front of the work and took some tiny "stepping" stitches over to where I wanted to begin the chain stitch on larger cross of the X. These stitches are indicated by the smaller red arrows. The purpose here is to keep my thread from traveling across the back of the work where it might be seen from the front. This keeps the back of the work nice and tidy.

Then, I chain stitched down the cross to the intersection of the X, stopped at the intersection (I didn't stitch over the other arm of the X), and then picked up the line on the other side, and continued to the tip.



And that is FOX.



And here is the sampler so far!

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 Wednesday, November 11, 2009
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Today's tutorial on hand embroidered lettering focuses on combining buttonhole stitch and stem stitch, on letters that have thick and thin lines. The word I'll be embroidering on the sampler is "over."

If you're just joining in on this series of tutorials, you might want to check out the tutorial on stem stitched lettering. Additionally, it is necessary to know how to work the buttonhole stitch.

For the word "over," I'm using is DMC's Alsatian Twist (size 12). It is a super-nice thread to stitch with, very smooth and it doesn't twist up much at all when you're stitching. I really like it!

Anyway, on with the instruction!



Begin your thread with the tacking stitches I described in the first stitching lesson. You can tack these stitches in the middle of the thicker part of the letter, since they will be covered up with the buttonhole stitches.



After starting the thread, I came up with my needle and working thread at the top of the O, and turned the hoop so that the O was resting on its side and I was stitching from left to right, as in the photo above.



I buttonhole stitched the side of the O, from left to right, down to the base.



When I arrived at the base, I moved from buttonhole stitch to stem stitch (an easy transition, as the outside "rope" of the buttonhole stitch is simply stem stitch), and I stitched the narrow part of the letter O, across the base, in the direction of the arrow in the photo above, turning my hoop to accommodate my stitching direction.



Now, with the O resting on its other side, I moved back into the buttonhole stitch up the side of the O.



When I got to the top of the O, I reverted back to stem stitch to close the gap at the top of the letter.



And there's the O.



To end the thread, take the needle to the back and run it under the stitches on the back of the O.



For the next letter, V, I started as I did with the O, making the anchor stitches in the wide part of the letter.



I began with a straight stitch first, from the outside of the thickest part of the V, towards the inside, then bringing my needle back up on the outside of the letter, where the rope-like edge of the buttonhole stitch will be.



Then I began the buttonhole stitch down the side of the V, keeping my work turned so that I was stitching from left to right.



As I moved towards the base of the V, where the letter became narrow, I switched to stem stitch.



The right hand side of the V is worked solely in stem stitch.



For the E, it was easier to turn the work completely, so that the letters were upside down. I began with anchoring stitches on the top part of the E, which is a thin line. The anchoring stitches will be covered by the stem stitch.



The thin line at the top of the E is worked in stem stitch.



In the photo above, you can see where I am moving into buttonhole stitch. The last stem stitch is on the lower line, and my needle is going down on the upper line of the thick part of the letter.



I worked the buttonhole stitch down the thick part of the E...



... and at this point, where the letter narrowed again to a single line, I moved back to stem stitch.



After finishing the base of the E, I had to move up to work the center cross on the E, so the needle needs to come up there. Instead of carrying the thread straight across the back of the fabric to that point....



... I turned my work over and ran the thread under the stitches already there.



And that completes the first three letters.



For the R, begin the same way as for the V, with the anchoring stitches and then a straight stitch on the edge of the letter.



Work the buttonhole stitch down the thick spine of the R, anchoring the buttonhole stitch by stitching directly over the last stitch with a tiny anchor stitch. Then, stem stitch the rest of the thin lines on the R.



And that's OVER.

Visit the index of these hand embroidered lettering lessons for more tutorials!

Enjoy!

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

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Posted By: Mary Corbet on Tuesday, November 10, 2009
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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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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.

Hand Embroidery: Lettering and Text 7: Working the initial letter in padded satin stitch makes it really stand out! The rest of the lettering in this tutorial is stitched in chain stitch. I used embroidery wool for this, in a beautiful red, and I've written up a little review of the thread (Simply Wool) within this tutorial.

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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Using lettering and text in hand embroidery can be a great way to make personalized needlework items. But sometimes it's difficult to know what types of stitches, threads, and stitching techniques to use when writing with your needle and thread. In this series of tutorials, we'll look at stitches and threads suitable for embroidered lettering, along with little tips and tricks for producing neat embroidered writing.

If you want to follow along with this series of hand embroidery tutorials, you're welcome to join me!

You can choose whatever text you wish. The idea here is to learn techniques and to get the feel of stitching lettering, so really, any text will work. If you are the type of person who likes to create "samplers" that can be used for decorative purposes, I suggest picking a quote, short poem, saying, Bible verse or something of that nature that you like, and setting it up in an attractive way using a variety of writing styles, so that you can practice using different stitching techniques and threads on the sampler.

For this series, I sat down with a piece of graph paper and pencil and wrote out a sentence using a variety of handwriting styles. Then, to expand the canvas a bit so that I have plenty of samples, I repeated words and filled out the space with lots of lettering.



Because the sentence covers all the letters used in the alphabet, I chose "The quick brown fox jumped over the lazy dog." Before I started writing out the letters, I determined the space I wanted to fill, using my hoop as a gauge. I'm working with a 10" hoop to give plenty of room for the text, with extra room to work out some small tutorials on the side. You might want to work within a smaller space, and that's just fine.



After writing out the text in pencil, I traced over it with a micron pen so that the lines were clear and dark. Fine tipped Sharpies or micron pens are essential tools in my tool box - perfect for this step in any embroidery project.



I'm using a piece of white linen for this project. It is a plain weave (not even-weave) medium weight linen with a relatively close weave. You'll want to use a close-weave fabric - for practice, pretty much anything will do (though you'll find a natural fabric like cotton or linen easiest to work on).

Because the linen is light enough and the lettering on the paper is dark enough, I didn't need a window or light box to trace. I ironed the fabric smooth, laid it on top of the lettering, and traced the lettering onto the fabric with a regular pencil.



With the fabric hooped up, I picked out a few colors of DMC stranded cotton to start with. I'll also be using pearl cotton and floche, and any other threads that come to mind during the series here.

If you plan to join along with the stitching, you'll also want a variety of sizes of embroidery needles (crewel needles) in sizes 3 - 9 or 10. I'll be using size 10 (for tiny text with one thread), size 8, size 5 and probably a size 3 for pearl cotton #5.

So, now I'm ready to stitch! I'll begin with the word "The" (why not?) using a very basic stitch, with a focus on starting and ending threads and "traveling" with your threads so that they are invisible from the front.

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

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Posted By: Mary Corbet on Wednesday, October 14, 2009
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Frequently, e-mails show up in my inbox requesting pointers on how to hand embroider text or lettering. Here are a few of the questions on this subject that have shown up in the last couple years:

What stitches should I use to embroider a name?

I'm hand embroidering a poem on a quilt. What type of lettering should I use and how do I stitch it?

How many strands of thread should I use to embroider text on a baby blanket?

I want to hand embroider a baseball cap but I don't know what stitches to use. Can you help me?

I'm using stem stitch to embroider a poem, but my stem stitch looks bad especially when I go around corners. Any ideas how I can fix it?

To answer all these questions and more, I've developed a plan...

... and I plan to work on the plan over this weekend. In the upcoming weeks here on Needle 'n Thread, I'll be presenting some short tutorials on embroidering lettering or text by hand.



Not to be confused with stitching monograms, embroidering text or lettering - especially multiple words - so that it looks good and is clear to read can be daunting. I want to address the subject so that beginners especially can get the hang of hand embroidered lettering without suffering too much grief along the way.

Do you have any questions about the subject that you would like to see particularly addressed? If so, now's your opportunity to bring them up, so I can address them in the tutorials!

If you've embroidered lettering before, I'd love to know what your favorite stitch is for lettering!

What do you think? Will this be a worth-while series of short tutorials? Any thoughts or suggestions?

Labels: beginner embroidery, hand embroidered lettering, hand embroidery information, Hand embroidery stitches, miscellaneous embroidery musings, needlework tutorials

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Posted By: Mary Corbet on Friday, October 09, 2009
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Posted By: Mary Corbet on Thursday, October 01, 2009
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The Long and Short Stitch Shading Lessons here on Needle 'n Thread are drawing to a close! Lesson 9 is the final lesson for the sampler, featuring a shaded leaf with a turned tip.

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

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

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

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

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



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



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



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



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



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



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



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

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



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

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

What to do?



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



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



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



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



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



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



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



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

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



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



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



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



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



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



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



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



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



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

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

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

You can find the PDF for this particular lesson here:

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

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

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

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Posted By: Mary Corbet on Friday, September 25, 2009
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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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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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Lesson Three of the Long and Short Stitch Shading series focuses on stitching to a point. I have to admit right off the bat, my stitching on these elements is not as good as I would have liked them to be! I suppose I could chalk that up to some kind of panic to get the lessons done, but really - it's a such a cop-out to offer excuses! I suppose you'll just have to take it as it is! The technique is there, anyway, and I'm sure that some of my "students" here will outstitch me on the finish - which is actually what a teacher always wants, isn't it?

If you're just popping in on this series of embroidery lessons on long and short stitch shading, you can visit the Index of Long & Short Stitch Lessons to find all the back issues of the lessons listed in one place.

Don't forget that I've also set up a Needle 'n Thread Flickr group, where you can post pictures and get feedback.

Our objectives in this lesson are to practice stitching long & short stitch to a converging point, keeping the correct stitch direction, and to understand how to reduce the number of stitches in smaller spaces (without bunching up the stitches) in a way that looks (more or less!) natural...

Materials:

1. Project in hoop or frame, with element two: triangles centered (lower left corner of the design.

2. #9 or #10 crewel (embroidery) needles

3. Small, sharp embroidery scissors

4. DMC stranded cotton (or equivalent) in the following colors: 158 (dark blue), 159 (light blue), 160 (medium-light blue), 161 (medium blue)

NOTE: The technique of the stitch is the same learned in lesson two. This particular lesson presents two challenges: keeping the stitch direction and reducing the number of stitches as the space gets smaller.

Procedure

Begin with the top triangle. Anchor your thread according to your favorite method, or use the method demonstrated in the video tutorial of lesson two, part one.

Work a split stitch line across the top line of the first triangle (the broadest part) in dark blue (158).

Beginning in the center of the top line, draw a vertical line to the tip of the triangle, then split the remaining distance on each side of the top line several times, drawing a straight line from any point on the top line to the tip of the triange, like so:



Triangle 1 - Top left triangle

First Row:

Bring your needle up through the fabric, about 3/8" below the split stitch line, in the top center of the box. Take your first stitch over the split stitch line and back into the fabric. Now, working down the row to the right, stitch in about four directional stitches more or less the same length, dividing up the row. (This is illustrated in the videos in lesson two). The difference here is that your stitches are not vertical - they point towards the tip of the triangle. After placing in your directional lines (which are "long" stitches), go back to the center and work to the right, filling in short stitches of varying lengths, moving down the row.



You want your stitches to lie next to each other, as they would in satin stitch, so make sure that you space them correctly - not too close that they bunch up, but not too far apart that you can see any fabric between them.

Continue working across the fabric to the right side of the triangle, altering the size of your stitches between long and short. Vary their lengths, for a more natural-looking shading. You want the bottom edge of your row of stitches to be jagged, but you still want to keep an overally consistent length across the longest points of your stitches.

When you reach the right edge of the triangle, end with a long stitch on the pencil line. This is approximately what your progress should look like so far:



Now move back to the middle and address the left side of the triangle, finishing the first row:



Second & Third Rows

The second and third rows are worked in 161 (medium blue) and 160 (medium light blue).

Bring your needle up from the back of your fabric into the first row of stitches, in the center. Then take your stitch down into the fabric, following your directional lines.



To help keep the direction of your stitches correct, pull your working thread to the tip of the triangle, so you can always see in what direction your stitches should be pointing.

You may add directional stitches if it is easier for you, or you may simply stitch from the center over to the right side of the triangle.



Go deep into the first row of stitches and vary the entry point of your stitches, following basically the same long and short stitch pattern from the row above. Remember, though, that the second row is not as wide as the first, so you can't fit in as many stitches. You won't be bringing your needle up into every stitch on the first row, so don't try! Try to gauge this as you go. Directional stitches may help you with this!



Continue working to the right side of the triangle...



... then go back to the center and work to the left side.

Follow the same procedure for the next row, working in the medium-light blue (160) and keeping in mind the following:

---- Keep your stitches directed towards the point.
---- Don't crowd them - there will be even fewer stitches in this row!

Work from the center to the right:



And when you finish the third row, it should look more or less like this:



Last Row

The last row is the trickiest. You should be close enough to the tip of the triangle that your first stitch reaches the tip. If you aren't, don't worry about it. Make the stitch shorter. The point is that you want this last row to feed into the tip, but in order to do that without building up a big bunch of stitches at the tip, you're going to have to "tuck in" some stitches.



All the stitches it will take to fill the top part of this row cannot fit into the tip of the triangle. So, you're going to work long and short stitches, but pretty much what's going to happen is that your long stitches will "overlap" the ends of the shorter stitches, which won't be "finished" down to the tip. And, you may find that you have to go back to fill in a gap at the top - to sneak a stitch in. At that point, you'll angle your needle underneath the stitches already there. (This is when you'll really find out how handy good lighting is!)



In the picture above, my needle is angled underneath the stitch on its left. I'm tucking the new stitch in, so that I don't have a bulky build-up at the tip.

Continue filling in this manner to the right side of the triangle, taking long stitches down to the tip when necessary, eyeing it to make sure your long stitches fit:



Then go back to the center and work in the same manner to the left side of the triangle:



Second Triangle

The second triangle is worked in the same manner as the first, but it is worked from the bottom (the broad base) to the tip, going upwards. Instead of writing out each direction, I've provided some pictures at various stages. You'll see it's the same exact concept as the first triangle, only your stitching direction is going upwards.



So, you have the split stitch line at the base, then you stitch from the center over the split stitch line.



Put in directional stitches if you want. I find they help, but some instructors say not to use them (although others say to use them!).



Fill in the first row in the same method as detailed above. I'm not super pleased with the edge on this first row - a bit too bumpy! You'll do better!!



Fill in all the subsequent rows up to the tip, and there's the finished triangle.



Move on to the triangle with the curved top - split stitch the top curved line in the lightest blue, and draw your directional lines with a pencil.



Fill in the first row in the same manner detailed above... notice that the first row is shaped like an arch. As you fill in the subsequent rows, you want to keep this arch shape by fanning your stitches around in that semi-circle.



Fill in your subsequent rows, fanning the stitches out in an arch as you stitch.



As you fill in the last row in the darkest blue, you may find you have to sneak some stitches in, but "tucking" them in.



The finished little element.

Congratulations! If you're with me to this point, you've finished element two and are ready to go on to element three, the circles, which are... a challenge! But a fun one!



And there's the sampler so far.

Here's a PDF version of Lesson 3: Triangles

Long & Short Stitch Shading, Lesson Three: Triangles

For all the other lessons in this series, check out the Long & Short Stitch Shading Lesson Index!

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

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Posted By: Mary Corbet on Tuesday, August 11, 2009
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Today's article is the continuation of yesterday's Long and Short Stitch Shading, Lesson 2. We'll be looking at the larger box in Element 1 on the Long & Short Stitch Sampler. This box is stitched on the diagonal, so it's a little more difficult than yesterday's vertical stitching.

If you're just joining in on the Long and Short Stitch lessons, you can visit the Long & Short Stitch Lesson Index to see a list of already published lessons and articles in this series.

Once you've worked through the first box in Element One on the sampler, it's time to move to the second box, which is the larger of the two boxes. This second box is set behind the first. Often, in needlepainting (long and short stitch shading), the elements farther back in the design are embroidered first, but we'll make an exception with these boxes! The first box was easier to stitch, so that's why we started with it.

Materials:

1. Project in hoop or frame

2. #9 or #10 crewel (embroidery) needles (I'm using #10)

3. DMC Colors: 814, 347, 349, 351, 353, 745, Ecru - note that 3855 (darker yellow) isn't used on this box

4. Small, sharp embroidery scissors

Procedure:

Begin by stitching a split stitch line around the box. Start on the left side and stitch up the left side and across the top of the box in the salmony-red 351. Stitch down the right side of the box and across the base line in yellow 745.



When you've finished split stitching the lines, go ahead and draw in your diagonal stitch direction with a pencil. Take a look at the diagram below:



The pink lines in the boxes above indicate the direction of stitching. Notice that on the second box, the direction is diagonal instead of vertical.

The first row will be stitched in the top left corner of the box, just underneath the smaller box. The first row is worked in dark burgundy (814). In the diagram below, you can see the basic shape of the first area to be filled:





Following the same directions from yesterday's post - the first part of lesson 2 on basic long and short stitch - work from the center point (just under the corner of the top box) towards the top line. Mark in your directional stitches before you begin - this will help keep you on the diagonal.



Then stitch from the center point to the left side of the box, following the direction of your diagonal lines and filling in between your directional stitches.



The second row is worked in dark red (347). Bring your needle up in the center of your first row, splitting the stitches as you learned in yesterday's lesson. Work from the center to the top line of the box, marking in directional stitches and filling in between them.



Move back to the center and work to the left side of the box, filling in the second row.



The next row is worked in bright red (349). Begin in the center and work to the top line and then back to the center to the left side of the box. Here, I began in the center and worked first to the left side of the box. (You can work in either direction first...)

When you get to the point that your long stitches would cross over the split stitch line at the base of the box, cross over the split stitch line and fill in the rest of the corner with satin stitch.



You can see that the last few stitches in the corner here are worked in satin stitch. You may not arrive at this point working the third row - you might not get here until the fourth row of stitching - and this is fine. It depends, you see, on how deep you stitch each row of stitches. But whenever you arrive at the point where your long stitches are going to cross over the corner, go ahead and cross the split stitch line, then finish the corner off with satin stitch.



This is the completed third row.



The fourth row is worked in the salmony-red (351). Again, as you come to the point where your long stitches want to cross the corner, go ahead and cross the corner and fill the rest of the area by working over the split stitch line toward the corner.



The fifth row is worked in the lighter salmon (353), and, as you work, notice that you will be filling quite a bit over the split stitch line on the right side of the box and on the base line of the box.



Work the sixth row in light yellow (745) in the same method.



And, finally, work into the corner of the box in Ecru.

Voila! You have finished stitching inside the boxes!



Next lesson - filling in an angled area that begins broad and works to a tip (triangles).

Long & Short Stitch Shading Lessons - Related Posts

Supplies

Lesson One: Setting Up

Lesson Two, Part 1: Inside the Box - Basic Long and Short Stitch (with three-part video tutorials)

INDEX of Long & Short Stitch Lessons

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

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Posted By: Mary Corbet on Friday, August 07, 2009
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Continuing with the series of long and short stitch shading lessons, here's Lesson 2: Inside the Box. In this lesson, we'll be stitching element one on the sampler, the two boxes in the top left corner.

If you're just joining us for the long and short stitch shading lessons, be sure to check out the previous posts in this series: Supplies and Lesson One: Setting up.

At the end of this post, you'll see a series of three videos on the basic long and short stitch. (I couldn't quite cram it all into one 10-minute video!)

Materials:

1. Project in hoop or frame, with Element One: Boxes centered in hoop (top left corner of the whole sampler)

2. #9 or #10 crewel (embroidery) needles (I use a #10)

3. Small, sharp embroidery scissors

4. DMC stranded cotton in the following colors: 814, 347, 349, 351, 353, 3855, 745, Ecru

NOTE: There is a difference between the step-by-step photos and the video tutorial for this lesson. In the step-by-step photos, I began the top of the box with bright red (349). In the video tutorial, I began the top row in dark red, (347) and worked six rows of color. The directions, however, are written with the bright red (349) as the first color, with five rows working to the lightest yellow (745). You can work the box either way, with five or six rows. If you work five rows, start with bright red (349). If you work six, start with dark red (347).

All stitching is worked with one strand of floss.

To Begin

1. Begin with the smallest box.

2. Anchor your thread according to your favorite method, or use the method demonstrated in the video tutorial, part 1.

3. Work a split stitch line across the top of the small box in bright red (349).

Draw vertical lines, from the center to each side of the box, to mark your stitch direction. Use a regular pencil for this. The vertical lines will help keep your stitches straight up and down. (This is demonstrated in the video, part 1).

First Row

1. Bring your needle up through the fabric, about 3/8" below the split stitch line, in the top center of the box. Take your first stitch over the split stitch line and back into the fabric. Now, working down the row to the right, space about six directional stitches more or less the same length all the way to the right edge of the box. This is illustrated in the video, part 1. after placing your directional lines (which are "long" stitches), go back to the center and work to the right, filling in "short" stitches of varying lengths, moving down the row.

2. You want your stitches to lie right next to each other, as they would in satin stitch, so make sure that you space them correctly - not too close that they bunch up, but not too far apart that you can see any fabric between them.

3. Continue working across the fabric to the right side of the box, alternating the size of your stitches between long and short. Vary their lengths. For a natural-looking long and short stitch (less formal and rigid-looking), stagger the length of your stitches between several lengths - some long, some a little shorter, then a bit longer, then shorter again, then shorter yet, then a little longer, then long, then short, then slightly longer, etc......! You want the bottom edge of your stitched row to be jagged, but you want ot keep an overall consistent length across the longest points of the stitches.

4. When you reach the right edge of the box, end with a long stitch on the pencil line. This is approximately what your progress should look like so far:



5. Now, move back to the middle of the box and work from the center to the left side of the box, doing the same thing.



6. If you're like me, one side will look better than the other. I don't know why this is! For me, the second half that I stitch always looks better than the first, even if I switch directions and stitch from the center to the left first.

Refer to the Long and Short Stitch Video, part 1, below, to see this technique worked out.

Subsequent Rows - up to, but not including, the last row

1. After the first row, each row is worked in the following sequence of colors:
---- Row 2: 351
---- Row 3: 353
---- Row 4: 3855

2. For subsequent rows, after the first row, bring your needle up from the back of your fabric into the first row of stitches, in the center:



3. Stitch some longer directional stitches from the center towards the right edge, dividing up the stitching area as you did with the first row (demonstrated in the video, part 2).

4. Stagger the entry point at the top of the stitches, so that some begin higher and some lower than the others. Work into the long stitches of the first row, about one-third the length up into the long stitches.

5. Work the short stitches of the second row high up into the first row of stitches, bringing the needle back down into the fabric to make a "short" stitch in the second row. Again, stagger your stitches, varying their length by varying where the stitches emerge in the previous row and where they go down into the fabric.



6. Continue from the center to the right edge, and then work from the center to the left edge of the box. You can find this technique demonstrated in the Long & Short Stitch Video, part 2, below.



You'll work each row in this manner, filling in the square, until you get to the last row.



Make sure that you're taking your stitches deep into the previous row, so that the colors blend well. Again, the video will help with this!



The Last Row

1. Split stitch the base line of the square in light yellow, 745.



2. Finish the last row in the same manner of the previous rows, but working the base of the stitches over the split stitch line, as you did with the beginning of the first row.

To help reduce "information overload" in one post, tomorrow I'll post the rest of Lesson Two, which is the second box, worked on the diagonal!

You may print, if you wish, a PDF of the entire lesson (including the second box):

Long and Short Stitch Shading, Lesson Two: Inside the Box (PDF)

Long & Short Stitch Shading Video Tutorial - Part 1



Long & Short Stitch Shading Video Tutorial - Part 2



Long & Short Stitch Shading Video Tutorial - Part 3



If you have any questions or comments, need clarification on anything, or have any suggestions that I'm able to implement concerning the lessons, don't hesitate to leave a comment below. Additionally, you can subscribe to the e-mail newsletter (right hand column) or my RSS feed to ensure you don't miss the next lesson! Advantages of the newsletter include that it's in a better format for printing (compared to the webpage) and you can reply directly to it to send me an e-mail (and attach pictures, if you wish).

Long and Short Stitch Shading Lessons - Related Posts

Supplies for Long and Short Stitch Shading Project

Lesson One - Setting Up

Long and Short Stitch Shading Lesson INDEX

Labels: embroidery lessons, long and short stitch, needlepainting, needlework pictures, needlework tutorials, pictures, stitchalong lessons, video tutorials

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Posted By: Mary Corbet on Thursday, August 06, 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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Do you remember a while back, when Jayashree shared with us her hand embroidered sari? Well, today she's sharing with us her tutorial on the embroidery technique called Kasuthi.

Jayashree's embroidered sari is worked in this technique, which is characterized by a geometric look:



Instead of re-typing Jayashree's tutorial here, I've saved it as a PDF file. Feel free to download it and give it a good read-through. It's got some great tips for embroidering over net (or scrim), and she even tells you where you can find the right fabric here in the States!

Kasuthi Embroidery Tutorial (PDF)

Thanks, Jayashree, for sending this along!

Labels: needlework tutorials, regional embroidery techniques

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Posted By: Mary Corbet on Wednesday, July 01, 2009
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After finishing the embroidery on the main part of the pall, I made a small, square, detachable back for it, so that the back can be removed and washed without having to take the whole pall apart for cleaning. The detachable back of the pall is made from linen, and it is hemmed all around with a small hem with mitred corners. Then the center is embroidered with a tiny red cross.

For the embroiderer, it's handy to know how to mitre corners on a hem. Imagine making a long table runner with a drawn thread line running just inside the hem. Wouldn't it be nice to know how to finish the corners on that hem so that they looked professional? What about a fine hanky, where people will see the back of the work? Sloppy corners just wouldn't do, would they?

So, today I'm going to show you how I created a quarter-inch hem on a small piece of linen and mitred the corners. You can take the concept to any proportion hem around a piece with 90-degree corners.



I began with a square of linen one inch larger all around than the finished piece would be. This allows for half an inch extra on each side of the fabric, out of which the hem (two quarter inch turns) will be made.



Using a stiletto that doesn't have a super sharp tip (it's not like the tip of a needle, more like the tip of an ice pick) and a ruler, I marked off my folding lines by "scoring" the fabric. You can use any tool here to make marking lines on the fabric, though you probably wouldn't want to use scissors or anything that would cut the fabric.

I scored the fabric in two quarter-inch increments on all four sides of the square. Scoring is simply running that tool firmly over the fabric, along the edge of the ruler. It marks the path of the of your folding lines with a slight dent in the fabric, making folding along the measured line much easier.



After scoring two lines in quarter inch increments (from the edge of the fabric) all around on all four sides, I finger pressed the hem in.

First, I folded the fabric from the edge inward on all four sides at the first quarter inch line. Then, I folded these folds (on all four sides) one more time on the second quarter inch line.

I firmly pressed each fold as I made it, using my fingers (not an iron).



Unfolding the folds, this is what the fabric looks like. You can see two distinct quarter-inch lines where the fabric was folded and finger pressed.



Notice the intersections of the lines.



See how the green dotted line passes through the diagonal on the second square in from the corner?



Using the diagonal on that square, form a cutting line by laying your ruler across the square diagonally.



Cut the corner off. A rotary cutter is helpful here, but really, you can just eyeball the cutting line along the diagonal and use scissors just as effectively!



After cutting the four corners off, finger press the diagonal cut an eighth of an inch in. The fold will actually be as deep as the lower tip of the remains of the second square in from the corner (the top of which you just cut off). Finger press this small fold right across the corner...



...and then, using your previous fold lines as a guide, fold your first quarter-inch fold all along the outside hem and finger press it is firmly again...



... and then make your second quarter inch fold all around the hem, finger pressing the turned edge in, and aligning the corners so that they fit up as in the photo above.



Then, pin everything. Since my square is relatively small here (the finished size is 6.25 inches), I didn't use many pins. Pin through the mitred corners to hold them in place, and then pin down the edge of the hem.



You can then do whatever kind of stitching along the hem that you want to do. I just used a regular small whip stitched hem. When you get to the corners, you want to stitch them neatly, either using a blind stitch or even a regular whip stitch.



I stitched inside the fabric in a blind stitch fashion, and then I pulled the thread tightly, to form a slight ridge where the corners meet up. This is actually a mistake - the corner should be smooth and flat - but once I did it on one, I went ahead and did it on all four, so that they match. (That way it doesn't look so much like a mistake!) There shouldn't really be that rounded bulge at the edge of the corner. One of the reasons for this (besides butting up the corners too tightly there) is that the small quarter inch hem is rather thick, in a small space, so it's kind of tight in there when you're stitching. Still, I could have avoided that with looser stitching on the corner, so keep that in mind as you stitch up your mitred corners.

And that is how you mitre corners by hand on the edge of a squared hem!

Hope you find the technique handy!

Labels: finish work, needlework pictures, needlework tutorials, pictures

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Posted By: Mary Corbet on Thursday, June 18, 2009
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Drawn thread embroidery is not relegated solely to even-weave linen. Today, we generally associate drawn thread techniques with even-weave, and it's true that it's possibly easier and more precise when it is worked on even-weave. But in the past, drawn thread embroidery was worked on all kinds of fabrics, including fine, high-count cottons and plain-weave linens.

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

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



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



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



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

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



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

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



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



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



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



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

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

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



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



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



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



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

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



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



I like the way it turned out!

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



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



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



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

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



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



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



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

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

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

Enjoy!

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

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Posted By: Mary Corbet on Wednesday, May 27, 2009
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The miniature embroidery piece that I framed last weekend went together pretty well, so I thought I'd show you how I framed it, step-by-step. It was really simple, and very quick! Of course, I'm no professional framer or "finisher" - I've always thought it would be a worth-while thing to take a class in finish work. Either that, or to find someone who wanted to enlist as my "personal finisher." Ha ha. Anyway.... here's how I framed it.

The first step was finding something to mount the embroidery on. Ideally, a piece of archival mat board works great. And, as a matter of fact, I did have a little scrap of mat board left over from another project. I knew I wouldn't need much for this one, so it worked out really well.



Measuring the opening of the frame on the back, I subtracted one-eighth inch from the measurement to give me room for the fabric around the mat board. I cut the mat board to fit the opening perfectly, minus 1/8th of an inch. A regular utility knife or craft knife or X-acto knife works well for cutting mat board, and I just use my sewing / cutting mat for cutting mat board, too. The self-healing mats are great - not only do they serve as my base for cutting with a knife, but they serve as my ruler in practically everything!



To make sure the piece of board and the fabric would fit the opening in the back of the frame, I lined up the design on the little board and pushed it into the frame. It fit fine.



I finger-pressed the edges of the fabric around the mat board so I would know where to line it up as I worked. First, make sure your embroidery is exactly where you want it to be. Then, fold each edge of the fabric over the mat board, and run your finger along the edge, to make a crease in the fabric, marking the spot where you want the mat board to fit.

After doing that, I cut the excess fabric off the corners, straight across.



Then I folded two opposite sides over the mat board, making sure my embroidery was centered where I wanted it. With a double-threaded sharp sewing needle, I "laced" back and forth between the edges of the two sides of fabric, keeping the stitches fairly close together and pulling tightly so that the fabric was taut.

Then I folded over the two remaining opposite sides and repeated the lacing on those sides.



I didn't really like the way the corners turned out - they're so unfinished looking. I briefly thought of tucking in that little edge and re-sewing the whole thing with mitered corners, but then I remembered that no one would see it! There's a good quarter inch all around the embroidery that is hidden by the front lip of the frame. Besides, the tweaker you see there in the photo tucked to the back of the mat board just fine. So I left it.



Next, I fitted the embroidered piece into the frame, and when I was certain that all was lining up correctly, I started working on finishing the back. I should have filled the whole space in the back, but instead, I used a smaller square of mat board right behind the embroidered piece, and then one more square of mat board cut precisely to the size of the opening, so that it fit very snuggly into the frame opening on the back.



You can see there's still a good amount of space there. It would have probably been wise to go ahead and fill that with little mat board squares until the last piece was flush with the back of the frame. Probably, nothing will happen to it - but I still have visions of someone picking up the frame and giving the embroidery a good poke, which would dislodge it.



After fitting in the two pieces of mat board, I selected a pinkish piece of card-stock that matched the pink in the embroidery. It's an "ok" match, anyway - not perfect, but it's all I had on hand.

I cut a square of paper to the size of the back of the frame.



A tiny bit of glue fixed the decorative paper to the back of the frame to give it a finished look.



I suppose you can tell I went about this rather haphazardly, but the finished result is ok, I think. It's nice to have it done, anyway. I think I'd like to find a teeny tiny easel to put the frame on for display. At this point, it's just leaning against the base of a statue on the table in my entrance way. Kind of lost and small and dwarfed. But... I like it!

Now, it's time to move on to other things! I've been experimenting with something drawn-threadish, and I'm hoping to be able to show that to you tomorrow, depending on whether or not I get close-to-finished today! I'm also in the middle of trying to draw a design for an ecclesiastical project I'm supposed to be working on already. I can't quite get the drawing where I want it! Oh, where is my Muse??? And, then, once I get that going for real, I've got a couple other needlework-related ideas brewing (or at least half-way brewing - they haven't come to a complete boil yet!). Now, for the invention of the 36-hour day....

Labels: finish work, miniature embroidery, needlework pictures, needlework tutorials, pictures

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Posted By: Mary Corbet on Tuesday, May 26, 2009
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Posted By: Mary Corbet on Saturday, May 23, 2009
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Here's a really simple drawn thread embroidery treatment that you can work with coral knots. Once you've bunched up threads this way, there are further possibilities of embellishment, too, so this is just a basic treatment which can be further expanded with other embellishment.

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



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

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



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

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

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



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



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

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

For further information:

More Drawn Thread and Whitework Embroidery

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

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

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

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Posted By: Mary Corbet on Tuesday, March 24, 2009
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Today, I'd like to show you how to make zig-zag bundles in your drawn thread work. It helps to understand basic hemstitch before moving on to zig-zags, so you might want to check out that tutorial if you're just getting started with drawn thread embroidery.

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



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

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

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



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



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



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



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



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



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



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

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



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

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

More Drawn Thread and Whitework Embroidery

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

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

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

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

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

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



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



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



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

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

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



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



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



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

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

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

More Drawn Thread and Whitework Embroidery

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

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

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

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

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

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



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



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



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



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



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



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



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



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



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

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

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

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

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

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

More Drawn Thread and Whitework Embroidery

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

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

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Posted By: Mary Corbet on Wednesday, February 18, 2009
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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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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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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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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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How do you keep your embroidery needles secure in one spot? Do you use a needle book? A pin cushion? A needle box, or a needle tube? I'll show you what I use. You probably won't be THAT impressed! But, hey. It works!

I've always wanted to make a Really Pretty Needlebook, one that looks nice but is comfortably functional and can hold a lot of needles and take up minimal space. I haven't done it yet. I made that felt tool / needlebook thingy, but that's not really what I had in mind, and that whole project was a bit of an accident, anyway. I was thinking more along the lines of something a bit more upscale, like the needlebook patterns you often see in Inspirations Magazine, or something along those lines.

Instead, my needle storage is a little... well. Haphazard, if you can call it that.

Just for reference, I'm referring to the needles I use daily - the ones I reach for when I sit down to embroider. One day, about a year ago, I was cleaning up. You know how it is when you're cleaning up? Well, when I clean up, I get into a kind of organizing frenzy, and I generally find that I am dissatisfied with the way something or another is organized (or not organized) in the mess I'm trying to clean up! On this particular clean-up day, I was cleaning up my needlework basket. I didn't like my needle receptacle, which was a plastic case called a Needle Safe, which has a magnetic base. All my needles invariably got dumped in there, only to become mutually attracted to each other and settle into various lumps of Magnetic Bliss. They didn't lay out where I could see them well. No, no. I just didn't like it.

So I improvised a little needle roll, telling myself it was only temporary, until I made my Ideal Needlebook.

For a year I've used this little Thirty Second Improvisation Job, and I realized the other day that I like it a lot! It has served me well.

If you're looking for a handy way to store your daily needles, you might try it, too. This is a super-easy way to make a needle roll, it'll take you about thirty seconds to make it, and, if you have some scraps of wool felt on hand, it won't cost you anything - not even time!

Here it is:



I took two scraps of wool felt in contrasting colors. I had some scraps of dark green and some scraps of a kind of cranberry color that were pretty nice, so I figured they'd do. They were both long rectangles.

The green felt is about 3.5 inches high and 8.5 inches long, but you can make it higher or longer or shorter or whatever size you wish, as long as its height is enough to accommodate the length of your longer needles. The cranberry felt is about half an inch smaller all around than the green felt.



I then cut two little slits in the green felt for a ribbon (the plaid strip in the diagram above). There's one slit on one end of the green felt, and one slit about two inches from the first slit, towards the middle of the green felt. They're just tiny slits, for a quarter-inch ribbon. I didn't stitch around the slits or anything. I just snipped them and ran a ribbon through them as illustrated, and that was it.

Then I placed the cranberry felt on top of the green felt. I didn't sew it on or anything.



The way I figured it was that the friction between the cranberry and the green felt would hold the cranberry felt in place. Actually, as I stuck needles in, the needles helped secure the cranberry felt to the green by passing through a bit of the green, too, but the felt is thick enough that the needles don't pass through the outside of the green felt.



I rolled it up from the right side of the needle roll, towards the sides with the slits, and tied the ribbon around the roll.

And my needles have been happily encased in this makeshift needleroll for a year now. It's a convenient, user-friendly roll that took about 30 seconds to put together.



It fits perfectly into my little tool box, which fits perfectly into my needlework basket!

So, how do you store your daily needles? If you're looking for a convenient way to store them and you have some scraps of felt lying around, try this! You might like it, too!

Labels: embroidery tips and tricks, needlecase, needles, needlework tutorials, organization, pictures

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Posted By: Mary Corbet on Wednesday, December 17, 2008
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Continuing with the various ways you can start and end your threads in hand embroidery, this picture tutorial shows you how to use anchor stitches when embroidering a line. If you're not familiar with this method of starting threads, you might find it a bit strange, but bear with me! Read through the tutorial, and you'll see why it's useful to know how to do this.

Using this technique for starting your threads only requires you to work from the front of the fabric. You don't have to turn your fabric over to run your threads under anything, and you don't have to keep a finger on the back of your threads to make sure you're crossing over the thread on the back. This is straight-forward, front-of-the-work stuff. Knowing how to start a thread working solely from the front of your work - and still not using a knot - can be very handy...

This works best with a thicker line stitch. If you're working a very fine stem stitch line, or a back stitch line, you might prefer a regular waste knot. Still, you'd be surprised how invisible you can make these anchor stitches, even on relatively fine lines.

I'm going to be stitching this line with the heavy chain stitch.

Method of Work

Begin by placing a knot near the end of your thread. Here, I've left a tail that's unnecessarily long. You don't have to have a long tail - the closer your knot is to the end of your thread, the less thread you use. However, you do want enough of a tail after the knot to be able to pull up on your thread before you cut it.



Within an inch (or even half an inch) of your starting point, take your needle from the front to the back of your work so that the knot is on the top of your work.



Between the knot and your starting point, take one tiny backstitch. Here, because this is a loosely woven fabric, I can easily take a stitch over one thread. In a fine, tightly woven fabric, you might pass over two threads. But you're aiming for a relatively tiny back stitch, in any case - over one or two threads of the fabric, depending on the weave of the fabric.



Working away from the knot and towards your starting point, bring your needle back up to the front of the work just on the other side of the tiny backstitch.



Now take your needle down into the middle of the backstitch, splitting it. As you pull this stitch, you want to apply enough tension to sink the stitch into the first backstitch. Don't pull so hard that you distort your fabric or stitches - just enough to pull the second stitch well into the first.



Still working away from the knot and towards your starting point, bring the needle back up to the front of your work, just on the other side of your second stitch...



...and take it back down into the stitch before. Essentially, you've just made three split stitches, only you're splitting your stitches from the top, rather than from underneath.



Pull that third stitch enough to bring it down into the second. Here, you can see it's sitting up a bit.



Pull up firmly on your thread tail, and snip off the knot, right above the fabric. The thread will boing down to the other side of your fabric.



And now you're ready to stitch. Looks bulky, doesn't it? Hard to believe it can be covered and not noticeable...?



Here's the beginning of that petal, worked in heavy chain, covering up those stitches. You'd be surprised, actually, how well these anchor stitches can be covered up with a line stitch, even line stitches finer than the heavy chain. I've used this method for regular stem stitch and the anchor stitches have been invisible.

Pros of Using Anchor Stitches on a Line

1. The technique doesn't require much thread, so there's very little waste.

2. You can work solely from the front of the fabric. This is especially handy when you're working on a larger piece that's a pain to turn over.

3. It's fast - there's no turning over, running under, or anything like that. You jump straight in to stitching.

Cons of Using Anchor Stites on a Line

1. On the very finest lines, they could be visible. But ... you can make them fairly invisible with a little practice.

2. I can't think of any other ones. Can you?

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

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Posted By: Mary Corbet on Sunday, September 28, 2008
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Here's a little photo tutorial for another common way of beginning your threads when you embroider. This is a good method to use when you're going to be stitching on tighter curves, but you can also use it on straight lines, or filling, or any time you start a thread!

I call this an "Away Waste Knot," to distinguish between it and the waste knot I described earlier. "Away Waste Knot" doesn't have a very good ring, though, does it?

The Away Waste Knot: Method of Work



I'm going to stitch around that curly shape on the right. Start with your fabric up, a knot in the end of your thread, and take your needle down into your fabric from the top a few inches away from the point you intend to start stitching, so that your knot is on top of your fabric (as shown above).

Now, it will make things a whole lot easier if you take your thread down into your fabric at least three inches (and possibly more) away from your starting point. It is also wise to make sure your thread isn't crossing the design, if there are "blank" areas in the middle of the design. To eliminate any difficulty of catching your thread with your stitches after your thread has crossed over a blank area (risking visibility on the front), make sure the path between the knot and where you're starting isn't in line with your stitching.

I didn't do that, and you'll see what happens here - but it isn't a big deal on a design this small...



Well, that was easy enough, wasn't it? Stitch whatever you intended to stitch....



... and then pull up on your knot, and snip it close to the fabric. You need to pull up a bit on these knots before you clip them close to the fabric - you want the tension from pulling up on them to "boing" the thread back under the fabric for you.



This is the back of the work. You can see that I've cut the knot off, and the thread is just hanging there, waiting. It isn't stitched over (except for one tiny stitch, where it crossed over the design).



Thread the thread back onto your needle. With the limited length of your thread here, a needle threader would come in really handy.

I suppose you've probably noticed that my thread here is really too short for much manipulation with the needle. If your length of thread is longer, then at this point, you would simply take your threaded needle, and, passing under the back of the stitches, you'd wrap your threads on the back of the stitches to secure them.

I don't like using a super long length of thread with this type of knot. Well - I take that back - it depends on the thread. But if I'm working with a more expensive thread, or a specialty thread that I don't have much of, I don't want to waste a lot of it.

But, if the thread is too short, you're not going to be able to manipulate your needle... and you won't be able to wrap around the back threads. So what do you do? I have two different approaches.



The first approach is to take the needle eye first through the back of the stitches. But this can be really incovenient, because it means you have to un-thread and re-thread in order to move your needle around.

So, in comes the tool....



I use a tiny crochet hook that I keep in my tool box, just for this. It's a #12, so it's small enough to slide under (hook face down) behind the back threads, grap the thread, and pull it through beneath the stitches. You can very quickly pass your short thread underneath 5 or 6 stitches with ease this way.

They make tools for this, too - specialty tools. But I crochet hook will cost about a dollar, and it comes in handy for lots of little things, so it's nice to have one on hand. The disadvantage of the crochet hook is that it graduates in size up the handle, so it isn't suitable for passing under a long row of stitches. But it works great for passing behind one or two stitches.

Ok, so, last step: Trim up the little tails of your threads to neaten.

Pros of the Away Waste Knot:

1. It's easy. You don't have to mess with anchoring the beginning thread right away, so you can launch straight into stitching. You also don't have to worry about crossing over the thread as you stitch, as with the regular waste knot.
2. It is a good way to secure threads neatly, after you're finished stitching with that thread.
3. It works great when you're stitching something on a tight curve, where a regular waste knot wouldn't work.

Cons of the Away Waste Knot:

1. It can make you a lazy stitcher. I do know people who riddle their work with these kinds of knots, planning to cut them at the end. Unfortunately, in the meantime, they've stitched over the crossing threads on the back.... and over them again... and so forth, until the back of the work is a mess. I think, in their eagerness to keep stitching, they don't stop to think that, at the end, they're going to have to take probably even more time to finish off threads, since they have a clean-up job to do, too. It's just better not to be lazy about starting and ending threads correctly. You'll be much happier with the finished results of your work if you take the time to run your threads under with each thread, or at least with each section or motif of a larger work.

2. It can be very wasteful! It uses up more thread than most methods of starting your threads. If you want to use this waste knot the easy way, you'd allow yourself a minimum of three inches (and really, for ease, probably more like four) to work with at the end. Considering there are ways of starting a thread that take up less than an inch of thread, this approach comes off as pretty wasteful. Now, if you're working with a thread that's inexpensive and readily available, and in fact you have a surplus of it yourself, it's not a big deal. But when you're working with a thread that costs $3 - $5 (or more!).... well. Three or four extra inches every time you start a thread can really add up!

3. It can be inconvenient if the knot is not far enough away. If you don't have a tool to pull that thread under, it can be a regular pain in the neck. You could use the eye of your needle just to "scrape" the thread under if you had to, but that really is a pain, and you can distort your stitches on the front, doing so.

But, though the cons seem to outweigh the pros, the away waste knot has its place and can be quite convenient to use. So ... try it! See what you think! And let me know how you liked it, if you do give it a try!

You can find more ways of starting and ending your threads under Tips and Tricks for Hand Embroidery, in the article titled Starting and Ending Threads.

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

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Posted By: Mary Corbet on Thursday, September 25, 2008
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Posted By: Mary Corbet on Wednesday, September 24, 2008
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Posted By: Mary Corbet on Tuesday, September 23, 2008
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One of the most frequently asked questions I receive via e-mail is "How do I begin my embroidery thread without using a knot?" Way back when Needle 'n Thread first started, I wrote a post (with a really corny title) about waste knots. But sometimes, it's better to see it in pictures, so...

I worked up a series of photo tutorials on starting threads when you embroider. There are several ways to begin your embroidery thread, and I'll be covering my favorite ways with these tutorials over the next week or so. I'll also categorize them in an easy-to-find index.

The Waste Knot

We'll start with the easiest one (in my opinion...), the waste knot, which is great to use when you're stitching along a line. It's very convenient to use when you're beginning a thread that is not adjacent to any other embroidery stitches, although I sometimes like to use a waste knot even if I am adjacent to other stitches, too.



You begin on the front of your fabric, and yes, you do use a knot! Put a small knot at the end of your thread. Then, with the top of your work facing up, take your needle down into your fabric about an inch or so down the line from where you will begin stitching.

You want to head towards the waste not as you stitch. I'm going to use a stem stitch here.

Take your first stitch forward, then turn your work over:



I'm turning the work over here, so you can see the back. Usually, when I use a waste knot, I don't turn the work over. I use a finger to move the thread on the back up and down, to make sure I'm crossing over it. Once you get used to the whole concept of a waste knot, you'll also get used to manipulating the thread on the back up and down, so that you don't have to turn your work over.

Each time you come up to the front of your work from the back, you want to cross over that thread that's lying across the back of the line you're stitching, so that you are, in a sense, couching that thread down.

Alternately, some stitchers like to pierce through the line of thread on the back, rather than cross over it, stitching through the back thread down the line. I don't really like doing that, especially if I'm using a thread that has any "fuzz" to it, because the fuzz can pull back up with your stitching. Also, I think on some threads, splitting the thread tends to weaken it or fray it, which would make this whole concept somewhat useless!



On the front of the work, you want to stitch up to the knot, checking the back to make sure that you're crossing the thread (or using your finger on the back of your work to move the thread up and down so you can cross over it).



When you're within a stitch of the knot, pull up on the tail of the thread to lift the knot off the fabric, then snip the thread right under the knot, close to the fabric.



On the back of the work, you will have a neatly couched line, and your thread is now secured without leaving a knot in your work. Simple, isn't it?

Pros of the Waste Knot

1. It's very easy to use for straight lines and gentle curves, and it works great for surface embroidery, needlepoint, cross stitch, and other counted techniques.
2. It conserves thread, compared to some other ways of starting threads. At the most, you lose around an inch and a half of thread in the anchoring process and in the knot.
3. Once you get used to it, you can manage a waste knot solely from the front of the fabric, which is convenient.
4. It's a great way to start a new thread when you're not working adjacent to any other embroidery stitches (or even if you are, if you want).

Cons of the Waste Knot

1. To work it efficiently, you need to get used to it. Until you can manipulate your thread without turning your work over, it'll take time and it'll be a bit of a pain to have to turn your work over to make sure you're stitching over the back thread.
2. There are other ways of starting your threads that do not use as much thread as the waste knot.

If you've never used a waste knot, go ahead and try it out! Let me know what you think!

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

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Posted By: Mary Corbet on Tuesday, September 23, 2008
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Slowly but surely, some completed summer embroidery class projects are still rolling in - this one is the kitchen towel with the flowers along the edge. In preparing a photo or two of the embroidery on the towel, I realized it presented a good opportunity to point out some tips on using the stem stitch.

I want to make it Really Clear that I'm not "picking on" the embroidery on this towel. Who could deny that, whether for a semi-beginner (this is done by one of the girls who has taken embroidery class before) or one who's been stitching a lot longer, this towel is really well done? The stitching is very nice, the color choices are great, and I like the way she alternated the colors on the flowers in pairs.



I should have taken a photo of the back of this towel, because it was really impressive - very neat, no straggling threads, very tight lines that kept the threads from showing from the front.



I think she did a great job on the towel! Still, in looking at it, I found a "teaching point" to demonstrate something about the stem stitch. If you ask the embroiderer what stitch she used to embellish the towel, she would tell you "stem stitch." But between you and me... she didn't! She used a combination of the stem stitch and the outline stitch!

And here's the teaching point: stem stitch and outline stitch are not the same stitch - but they're easy to get confused, especially when you're working around curves, or changing directions on your lines.

Take a look at the embroidery a little closer - I wish I had a better shot, but this'll do to make the point!



The red arrows point to the stem stitched lines in this piece. Notice how they retain the visibility of the separate threads, while creating that rope-like overlap of the stitches? That's the signature of stem stitch. Just about all the other lines and curves you see in the towel in that photo are outline stitch. The individual "S's" are not clear - the line is a bit more "solid" looking as far as the thread goes.

So, how do you achieve the "signature" stem stitch - what is required to produce that look? Here are some tips:

Assuming you're working with S-twisted thread (that's just about any standard cotton floss, and most twisted silks)...

1. If you are moving from left to right along your path, always keep your working thread below your needle.

2. If you are moving from right to left along your path, always keep your working thread above your needle.

3. Turn your hoop as you stitch, to keep the direction consistent, so you don't get confused on the whole left-to-right, right-to-left thing. If you turn your work, you can pretty much always work from left to right (for right-handers) and right to left (for left handers).

4. When you take curves, it doesn't matter so much if the working thread is on the inside of the curve or the outside - what matters is the direction in which you're stitching and where your working thread is, in relation to where your needle comes up. So make sure you're applying the rules above - and, if you're worried about the stitch moving into the curve because you don't have the working thread to hold it back (because you're coming up above your stitch), take smaller stitches, and you'll be able to take the curve fine.

So othere are a few quick pointers on stem stitch. The stitcher who worked the towel above just confused the "above the working thread" or "below the working thread" thing as she changed directions stitching. It's funny how such a small difference in placement can change the finished look of a stitch, isn't it? ... well, that all goes back to thread twists (S-twist vs. Z-twist).... but we'll save that for another day!

To see the stem stitch worked out, check out the Stem Stitch Video Tutorial in my Video Library of Stitches, where you'll now find a whopping 50 stitches to learn!

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

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Posted By: Mary Corbet on Tuesday, July 22, 2008
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Ok - I'm excited about this! - here's my write-up on preparing a slate frame for an embroidery project. I hope my photos aren't entiredly insignificant and silly!
I mentioned yesterday that I found a source for hand-made embroidery slate frames here in the US... if you're looking for a slate frame, do check out that post!

Slate frames have been around forever - well, certainly since the Middle Ages, and anyway. They're made up of four parts - two rollers (top and bottom) and two stretchers (sides, with peg holes).

The advantage of a slate frame is that, with them, you can achieve and maintain perfect tension for stitching. In fact, of all the methods I've used of mounting any fabric for embroidery, nothing compares to the excellent and even tension you can achieve with a slate frame.

Now, that being said, and as I mentioned yesterday, setting a project up on a slate frame (or "dressing the frame") takes a wee little bit 'o work. And the larger the frame, the more work. Normally, you should be able to accomplish dressing a frame in a couple hours, if your fabric's prepared and you don't run into any hitches along the way. I'm going to go step by step through the whole process, including preparing the fabric.

I started by preparing the fabric. I'm using Alba Maxima linen from Legacy, a nice medium-weight, sturdy, smooth linen. The first thing I did was shrink the linen. (I've already posted on preparing linen for embroidery - scroll down to the shrinkage section!).

Then, I sat down and did some figuring. I hate figuring...



The project I'm preparing is about 22 inches long, and about 13 inches wide. But I'm taking advantage of the width of the frame and killing the two proverbial birds with one frame-dressing job: I have another project that I can work on the same piece of linen. The second project is about 7.5 inches wide and 14 inches long. So I will situate them both on the same piece of linen. And that means I have to stitch both of them before I can cut either of them off the frame.

I determined exactly what size linen I would need to accommodate both pieces, and decided that using the frame to its full capacity, without having to roll the top rollers, would be fine. I decided to set up a piece that's 23 inches wide and about 26 inches long. That gives me plenty of room for seam allowances on both finished pieces, as well as some "doodle room" on the fabric itself.

Next, it was time to cut the fabric out. I laid out the linen and the requisite tools.



Don't get any ideas about that rotary cutter! It's not that easy!

I measured the linen and marked my cutting spot with a pencil. I measured an extra inch on each side and an extra half inch top and bottom, for the turn-overs on the fabric edges.



So - 25 inches wide (with an inch on each side to turn in) and 27 inches long (with a half inch, top and bottom, to turn in). I actually cut 28 inches long, to compensate for a sloppy cut (more on that below).

At this point, it would be nice to lay out a ruler and slice the piece with a rotary cutter - so quick, so easy. But this is the thing: You need your fabric cut exactly on the thread. If you do everything right from the very beginning of this process, you will have no regrets later (after all the hard work). So cut your fabric on the thread.

There are several ways to go about cutting your fabric on the thread. When working with linen, many needleworkers say to draw a thread out, creating a cutting line, and then cut your fabric.

On the Alba Maxima linen, drawing a thread out of the middle (especially after shrinkage) is a Royal Pain in the ... Fingers. So I do it this way:



I make a small cut at the pencil mark, then pull up on the thread to the left of my scissor blades. I keep this thread pulled up from the fabric as I cut, and it provides a nice cutting guide. Relatively quick, and sure beats drawing one thread out of the whole piece to mark a cutting line.

At this point, you may well be thinking "This is already too much effort..." but hold on! It really gets much worse!

Still, persevere! It is honestly worth it in the end.

Once your fabric is cut, make sure that all sides are on the thread. For this piece of fabric, to get the size I wanted, I had to cut two sides on the thread, one side was selvage, and the fourth side was jagged from a previous sloppy cut. This fourth side needed to be straightened out. The easiest way to do this is to pull off all the stray side threads, until you can pull one long thread from the entire width of the fabric. Let me explain with a photo:



See the wispy threads sticking off the side in the background? Those can be pulled out, until you've got a straight edge visible on your fabric.



You'll end up with a bit of fringe, but that gets trimmed off.



So there's the straight cut on the thread as a remedy to a sloppy cut.

Now, iron the fabric. Purists may not do it this way, but I'll admit that I use starch and steam on my linen. I wouldn't necessarily use the starch, except that I'm planning to put my design directly on the linen with pencil, and I find the pencil washes out better when I use starch. I really like the Niagara starch in the pump bottle (rather than the aerosol kinds, which tend to flake). I'll wash the whole piece before I do the finish work on it (sewing up the project), so the starch will be rinsed out, anyway.

Now, it's time to fold the edges of the fabric to prepare it for lacing. The top and bottom edges of the fabric will be folded in half an inch. These will be sewn to the canvas strips on the rollers of the frame.



I fold up the top edge half an inch and finger press it along the thread of the fabric (as best as possible), then run the iron over it, then pin it, starting from the center point out.

For the sides of the fabric (they'll attach to the stretcher slats with the peg holes), I turn it up an inch, finger press, then turn in half an inch (into the fold, to make a kind of casing), iron it, and pin it from the central point outwards.



Above, you can see the top edge of the fabric (the pinned edge in the photo) and the one of the sides, folded in to form the half inch casing.



Cut a piece of string a little longer than the length of your sides - not much longer, about an inch - and tuck the string into the casing formed by the double turn on the fabric. The string will help support the fabric when it comes to pulling it with the lacing.

For the lacing string, by the way, I use regular 2-lb weight string found at the hardware store.

Now that your fabric's ready, it's time to attach it to the frame. Gather your supplies and pull a chair up to a table that will easily accommodate the size of your frame. Just like in cooking, the whole process is a lot easier if you have all your "ingredients" on hand first!



At this point, your frame is in four pieces: the two top and bottom "roller" bars and the two side "stretcher" bars (with the peg holes in them).

You'll need the following:

Scissors
Thread - I use topstitching thread, doubled.
String - regular 2-lb weight string from the hardware store
A stiletto or awl - you have to put some serious holes in the side of your linen; this tool is essential!
Various needles, including a very large tapestry needle and a smaller sewing needle or crewel needle
A ruler
Cotter pins or pegs that came with your frame


The fabric is attached to the top and bottom bars (roller bars) first. These slate frames from Evan Burroughs come with a strip of canvas attached, and with the center point marked on the bar.



Line up the center of the top of your fabric with the center point on the canvas strip attached to the top bar. (Top and bottom bars are the same thing...)



Pin the center point of the fabric to the center point of the canvas strip.



Working from the center out to one edge, pin the fabric to the canvas, every couple inches. Then repeat this, going from the center out to the other edge.



Oversew the center point to the canvas. Again, I'm using a topstitching weight thread, doubled.



And oversew both of the ends.



Then, stitching from the center point to the outside, and removing the pins along the way, use a herringbone stitch to sew the linen to the canvas strip. If you've pinned everything carefully, you shouldn't have any buckles at all.



When you're finished sewing it on, and you flip it over, it looks like this.

Now, repeat the whole process on the opposite roller bar, so that both top and bottom edges of your fabric are attached to the rollers.



Lay out the frame so far on the table, with the top of your fabric facing down. You're ready to lace up the sides.



Mark the undersides of the side casing in one inch intervals, and get your stiletto out. Pierce the fabric with the stiletto, making good-sized holes.



Really good-sized holes!! If you have an awl, you might be better off using it. A stiletto is great for the initial piercing, but I really had to work it to get adequate sized holes.



Slide the stretcher sides into the holes on the roller bars...



...get your cotter pins and the plastic guards that came with them out...



... and stick the cotter pins in to hold the frame together. At this point, you aren't stretching the fabric from top to bottom (or obviously from side to side). You're just sticking the pins in to hold the rollers in place while you do the lacing.

Stretching comes later...

If you've persevered to this point, this is the beginning of the "fun" part, the part that characterizes the slate frame.

You're going to pull out a good length of string from your ball of string. I would say you want at least five or six times the length of the side stretcher bar. Remember - it's always better at this point to have TOO MUCH string than too little. You don't want to get to the end of the lacing and find out that you're out of string. Aaaaaaaaaagh.



Start with a slip knot at the top of the stretcher bar. It's important to use a slip knot!! You want to be able to adjust the tension on this string, so you'll need to be able to loosen or tighten that knot easily.



Thread your Very Large Tapestry Needle with the end of the Very Long String, and start lacing. Take the needle down into the linen, underneath the side slat of the frame and up around the slat, then back down into the linen - do this moving down the line of holes.

You may find that you need to revisit the holes in the linen with your stiletto here and there.

At this point, your aren't concerned so much about tension. Just get the sides laced. As you lace, try to keep the edge of your fabric parallel with the stretcher bar. This is a bit hard on the first bar, since you don't have anything you're pulling against, and it's easy to pull the fabric towards the bar. But resist the temptation, and keep the fabric parallel to the bar as much as possible.

When you reach the end of your lacing - arriving at the opposite roller bar - tie your string off with another slip not.

Now, in exactly the same manner, lace the other side!



Now, you're all laced up. But you're not finished. Notice that the linen looks a bit wavy and rippled? That's because nothing's been tightened up yet.

At this point, if your project is being stitched on silk or damask or some other very fine fabric and being backed with linen or muslin, then you've only just added the backing to the frame. You need to now add the fine fabric. To do this, you tighten the frame "a little bit" - enough to remove noticeable ripples - but not all the way with the final stretch. Take your fine fabric (which you have already cut on the thread and that's already ironed and ready to mount), and situate it on the lining that's stretched on the frame. The ground fabric (the fine fabric) and the lining (the muslin or linen) must match up with their grains. Match up the grain, pin the ground fabric onto the lining all around, and then sew it onto the lining, from center points out on each side, smoothing it as you go and making sure there are no wrinkles or buckles in it. Use herringbone stitch to sew it, crossing over the lining onto the ground fabric, and so forth. Once all four sides are sewn down, you're ready for the last step, which is the final stretch...

So, on my frame here, I'm not using a different ground fabric lined with linen. I'm embroidering the linen. So I don't need to add ground fabric. I'm ready for the final stretch.

Because this is a large frame, I'm going to use a combination of hands and feet here - which was really impossible to photograph!

Stand the frame on the floor. You'll have the ends of the stretchers (which pass through the rollers) touching the floor. You've got your cotter pins in the side slats already. Rest your foot on the protruding edge of one side of the bottom rollers, and then, using the heel of your hand, push down on the top end of the side slat, and with your fingers of the same hand, pull up on the roller.



The top of that side slat is really pushing into the heel of my hand, because I'm using the top of the slat for leverage to pull the roller up.

If necessary, use both hands - but remember, you need one to move the cotter pin!

Pull the roller up as high as you can, holding onto the bottom of the frame with your foot. When you've stretched it as much as you can, replace the cotter pin below the roller, and put the plastic sleeve on the back of the cotter pin.

Now do the other side, lining it up in the corresponding hole exactly opposite on the other side slat.

Turn the frame over, so that what was the top roller is now the bottom roller, and double check your pins and holes on the sides slats. Make sure all is lined up well.

Now, adjust your lacing one last time, pulling each side tight by working down the lacing and then adjusting the slip knots. Do both sides.



And there it is!!

If you've persevered to the end and done it right, you're ready to embroider on the best surface ever! A lot of work, but worth the effort!

The whole process took me about four hours, but I had to prepare fabric, and the frame is a large one, which increases the time for hand stitching and the lacing.

That reminds me - I forgot to mention the obvious. You can use your sewing machine to sew the linen to the top and bottom rollers. I prefer to do it by hand, but some people use their machines. It would save some time!

So, would you go to the trouble to set up a slate frame? Or do you think it's just too much? It'd be interesting to hear readers' opinions on this one!

Enjoy the weekend!

Labels: embroidery tips and tricks, historical needlework, needlework pictures, needlework tutorials, pictures, slate frames

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Posted By: Mary Corbet on Saturday, July 05, 2008
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Continuing on the the embroidered monogram on a linen guest towel, today I want to show you how to manuever around curves with padded satin stitch. If you haven't read the articles yet on the guest towel, you might want to check out the first article on setting up the guest towel and the second article with an update on the stitching.

These are photos of the curves on the "B" monogram. Satin stitch takes curves - even tight curves - well, if you keep in mind the concept of "fanning" your stitches. I want to show you two things in this post: 1. the pictures without any markings, so you can see the stitches; and 2. the pictures of the embroidery with lines showing the change in direction on the stitching.



Here's the curly-que tail on the back of the "B."



Here's the base of the back of the "B."



Here's the tight loop on the inside of the front of the "B."



And the inside of the front of the "B," from a different angle.



And this is the curl at the top of the front of the "B."

The curly-que on the back tail of the "B" and the inside loop on the front of the "B" are the tightest curves. The principles are the same, whether you're working on a tight curve or a gradual curve, so we're going to look at the tight curves, since they are usually the more difficult to work around!



When you're working around a curve - whether tight or gradual - your stitch direction changes. You want to ease your way around the curve, but in tight spots, that easing has to be done a little more dramatically!

So as you work around a curve, you fan your stitches. The stitches on the inside of the curve need to be a lot closer than the stitches on the outside. But the trick is to not overlap the stitches, no matter how close they are on the inside; otherwise you'll lose the smooth effect of the satin stitching.



This photo shows a bit better the dramatic change in direction. The outside of the curve (especially when working a padded satin stitch, as the padding helps hide the fabric underneath) can even be spaced a bit further apart than normal, in order to compensate as you work around the tighter curve. However, if you aren't padding your stitches, you'll want to make sure there is complete coverage of the ground fabric.

The trick to making tight loops look good is keeping your stitches as close as possible on the inside of the loop, without allowing them to overlap, and spacing them "just far enough apart" on the outside to allow them to fan properly and to get your stitches going in the direction you want them to go!

Satin stitching on a curve is not hard - it just takes practice. One thing that might help is trying your stitches from different directions. Try coming up on the inside and going down on the outside of the loop. If this doesn't work well for you, turn it around - go up on the outside and down on the inside. Stick with what works best for you. I bring my needle to the front of the fabric on the inside of the loop and take it down on the outside, because I think it's easier to see exactly the stitch direction.

Another helpful trick, if you're not padding your satin stitches, is to mark your stitch directions in pencil inside the lines. This will help guide you around the curve. If you are padding your satin stitches, you could use a contrasting color of thread - just regular sewing thread works! - and baste in some directional lines that can be pulled out when you're finished with the curve.

Ok, I'm going to finish this project today, so I'll post photos of the completed monogrammed towel, washed and pressed and ready for display as a class sample, soon!

If you're taking up a monogramming project, feel free to send me a photo! I'd love to see other people's work!

This project is in four articles, besides this article. You can find the other parts of the project through the following links:

Part I: setting up the project, transferring the design, discussion of threads

Part II: stitching, information on padded satin stitch and other stitches employed, some trouble shooting.

Part III: that's this article!

Part IV: The finished guest towel!

Labels: embroidery tips and tricks, linen, monograms, needlework pictures, needlework tutorials, pictures, whitework

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Posted By: Mary Corbet on Friday, June 20, 2008
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Previously, I mentioned that we're using iron-on patterns for my embroidery classes this summer. Actually, I'm beginning to re-think that! Ironing on a repeat pattern can be a bit of a hassle! Still, it worked, so I thought I'd show you how I did it.

The first embroidery project that I mentioned using an iron-on pattern was the monogrammed linen guest towel. Putting the pattern on the guest towel as a pretty simply endeavor - it was just one letter, after all.

But I wanted to iron on a repeat patter, to decorate the edge of a kitchen towel. So I contemplated how to line things up and get the pattern on the towel in such a way that the design - a straight line of flower-like motifs - began and ended with the same figure.



This is the pattern - it begins with the 8-pointed spoke, and ends with the four-petaled flower thing. If you transfer it once, then repeat it, your beginning motif and ending motif won't be the same... you could flip the pattern, but then you'll end up with two of the same figures in the middle. So that's something I had to take into consideration.

I knew that the design had to be centered, and that it had to be lined up with the base of the towel. To mark the center of the towel and the line along which to transfer the pattern, I thought about using a pencil. However, I didn't want to risk leaving a residue that might not disappear, especially considering that the heat from the iron might set the pencil marks. I also thought about a water-soluble pen, but this presented the same problem - you shouldn't iron over water-soluble ink, because it sets with the heat.

Soooooo. This is what I did.



First, I laid the towel out to measure it and to check how the repeat pattern would fit. I figured it would take two patterns, plus one of the single motifs. Then I measured up my towel and prepared to mark it.

Instead of using anything that leaves an actual mark on the fabric, I decided to use a little bone folding tool. These are tools that are usually sold in the paper crafts area of craft stores. They're used to score paper to make a folding line. Alternately, you can use a piece of sanded, smooth wood with a tip on it, or a burnisher used in other art forms, or probably even the back of a kitchen knife (not the serrated edge!).



I lined up the towel on a straight edge, then measured up a couple inches, where I wanted the top of my design to be. In measuring, I noticed that the fabric was not exactly cut on the grain. It's just slightly off. I was tempted to follow the grain of the fabric, but that would've made the design slightly crooked. So I measured from the base of the hemline on the towel and kept the line even.

I used a ruler as a guide, and drew the bone paper scoring tool firmly across the line which would mark the top of the design.



This left a definite crease in the fabric.



Then I measured the center point, and used the same tool to mark the center of the towel. Now I had my positioning marks in place, without using anything that actually marked the fabric.



After this, I took my pattern and carefully measured it, marking on the back side (the un-inked side) a quarter inch line. This is what I used to line up the design with the mark on the towel.



I pinned the iron-on transfer ink-side down onto the towel in the correct position.



Pinning the pattern is essential for ironing on a repeat embroidery design! If you eyeball it without pinning it, and you apply the iron, you risk not getting a transfer and having to re-apply the iron-on, which is virtually impossible.



Whenever I'm ironing anything for embroidery, I always use an old pillow case underneath the piece. The instructions recommend putting something over your ironing board cover, anyway, in case the ink bleeds through.

So I applied the iron to the back side of the pattern for about 10 seconds, as prescribed in the instructions in the iron-on transfer book. When you do this, it's important to place the iron directly on the transfer, apply firm pressure, and don't move the iron back and forth.

And this is what I got for the first transfer:



The picture is partly blurry (out of focus), but so is the design on the fabric. The ink, especially with the first transfer, seemed to fuzz out a bit - not actually bleed in an irreparable way, but just "spread" in a kind of fuzzy way. This may very well be the quality of the transfer. I did not notice anything like this on the monogram.

Anyway, after you've held the iron on for the prescribed amount of time, unpin one corner of your design and check the transfer. You want to make certain it transfers! And if you take the pattern off, and only part of the design transferred, you're pretty much sunk, as it's really hard - if not impossible - to place the design in the exact same spot. And if you don't, you end up with duplicate lines (like double vision!).



Now it's time to line up the next repeat. By the way, I suggest using pins with a steel head or a glass head, because it is likely the iron will have to rest on the pins.

With the second application of the transfer, you will need to hold the iron on a bit longer.



You can see that the transfer is not nearly as dark the second time. But I prefer it like this! It's visible enough to embroider over, but not dark enough (and the lines aren't wide enough) to worry about not being able to cover it up.



Still, part of the repeat didn't transfer, so I applied the iron for a few more seconds - and I ended up with a sort-of dark pattern in some areas.



Now there's the question of the "balance" of the design. I wanted the whole line to begin and end with the same figure, the 8-spoke little design. So I cut my transfer, and isolated that one figure. I measured the distance from the center of the flower to the center of the spoke design, and lined up the isolated piece.



And I ironed it and checked it - very pale on the third application, but that's ok! I like it that way. So I left it.

In some of the books I was using, they suggest placing aluminum foil under your fabric before ironing on a used transfer, to increase the strength of the pattern. I don't know if this technique works - I should try it! - and I don't know if it's applicable to just a certain type of iron-on pattern. If anyone's tried that, I'd love to hear about how it works!



So that's the extra motif...



And that's the center of the towel. You can definitely see the difference between the first transfer and the second!

The whole process was somewhat time consuming, but not that bad, actually. If I were doing a stack of towels, I'd do each step at the same time on all the towels, then move on to the next step. That might speed the process up!

If you have any input or advice on ironing on a pattern, or a repeat, do share!

Labels: embroidery tips and tricks, iron-on embroidery transfers, needlework tutorials, pictures

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Posted By: Mary Corbet on Thursday, June 19, 2008
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Well, it isn't embroidery, but it IS needlework! There are a lot of sites out there on knitting and crochet - but I came across this one that looks as if it's just starting out, and it promises some interesting stuff...

Hooked on Needles is a site dedicated to knitting and crochet. The name - which may conjure up images that aren't quite related to homey arts - implies that there's more to it than just crochet and knitting, though, as needles are used in --- well, seems obvious to say --- other kinds of needlework, too. And in scrolling through the site, I did see some samples of embroidery (on an Irish dancing dress) and a crocheted lace collar.

But what really hooked me (SORRY! I couldn't help it!) are the photo tutorials on the baby's crocheted hat (looks very simple - like I might even accomplish it!) and changing color in crochet.



Back in the day, for a needleworker to be considered "trained" (and I think the same holds true, actually, today in some professional courses!), they had to know the basics of more than just the kind of needlework they were passionate about. To be a well-rounded textile artist, being familiar with other elements of the textile world is a good thing.

I don't claim to be a "textile artist" - embroidery is my hobby - but I do like the idea of a well-rounded education. I bet that even the best painters who work in oil have at least an understanding of how water-colors work, don't you think?

So I started looking into polishing up my crocheting, with the end in mind of doing some tiny crocheted trim for an embroidered piece. And then I landed at this particular website and liked, especially, the hat tutorial and the one on changing colors. I started thinking that you could put the two tutorials together, and make a Really Cute and Colorful baby hat!

Don't get me wrong, though! I'm not going to yarn! My needle 'n thread will continue to be occupied (obsessed, even) with embroidery! But what do YOU think? Do you think it's useful for the embroiderer to be at least somewhat aware of other needlework techniques, such as knitting and crochet? Or do you think that, for embroiderers to become Really Good at what they do, they should focus solely on embroidery and not get distracted by other possible needlework interests? I'd love to hear your thoughts on that!

Labels: knitting and crochet, miscellaneous embroidery musings, needlework tutorials, yarn

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Posted By: Mary Corbet on Monday, June 16, 2008
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I've been playing with embroidery on paper lately, because I'm making a sign to announce my summer embroidery classes. As I goofed around designing the sign, I thought about how simple it is to design your own embroidery pattern for paper. I thought I'd show you how to design something simple for embroidery on paper, using a small note card as a sample project.

Keep in mind that embroidery on paper should be done on at least cardstock weight paper. With the interest in handmade greeting cards these days, you can find beautiful paper available at almost any crafting center. I'm going to use just a standard piece of "parchment" (in green) card stock, bought in a pre-sized package.

Assemble your supplies first. You'll need the following:

Ruler, pencil, pen (I use macron art pens in various sizes), graph paper (especially if you're doing a geometric design), paper (if you're not doing a geometric design, you can use regular paper to doodle out a design), a piercing tool, a piercing pad, and scotch tape.

Some shortcuts if you don't have the specific supplies on hand:

Graph paper: if you don't have any on hand, print it. You can print your own graph paper in different sizes right off the internet. Incidentally, that site also lets you print hexagon graph paper, which could be very handy for this type of project.

Piercing pad: Do you have any craft foam on hand - the kind that you use for kids' crafts, that you can cut letters and so forth from? That's inexpensive and perfect for this. If not, a couple layers of regular craft felt will work.

Piercing tool: I actually use the handle to my tambour needle, and I replace the tambour needle with a fine eyeless needle. You can also use a regular crewel needle that you embed in a cork (the eye goes into the cork).

Now for the fun part. What do you want your design to look like? I'm going for something a bit bold and larger, and geometric, since I'm exploring possibilities for smaller hands.

Measure out and mark the size of your note card (or project, whatever it may be).



Decide on the width of the edge around the design and mark it off.



Originally, I was going to have a half inch all around, but I decided to reduce it to a quarter inch.



I left the original line there, because ... well, because I was too lazy to start over! So I'll just incorporate it into my design!



Daisy stitch works great on paper, and it's a favorite stitch for kids, so I started with evenly-spaced daisy-stitch flowers. I could've stuck with just a decorative edge, but that's kind of boring.



So I added some evenly spaced diamonds. These will be stitched with straight stitches.



And since the card doesn't have any text on the front, why not cover the whole thing? It's still looks kind of plain, so...



I added dots and connected some lines.



Cut your pattern paper to size (I made a mistake and cut mine a little short on one end, but that's ok). Line up the edges with your card, and lightly tape a couple edges onto your piercing mat or felt or whatever you're using...

Then, holding your piercing tool - or cork and needle - or tambour hook - vertically, pierce the pattern in each place where the graph paper lines converge with the pattern. Those are the starting and stopping points for your stitches.

To make this easier to see, I would suggest drawing your design with a lighter black pen, or with a pencil, and then using a red pen to put dots on the paper wherever you're going to need a hole.

Make sure you put the dots (or pierce the paper) where the graph paper intersections are - not necessarily where your design is drawn. The graph paper intersections will keep the design symmetrical. In some parts of my design, I didn't quite hit the intersections on the graph paper.



After you've pierced the card, hold it up to the window or a light to check your piercing. You can see I missed some spots on the left there. The paper pattern and the card stock will stick together, so don't worry about the pattern shifting. If you haven't peeled off the paper pattern, the holes are still stuck together.



Once it's all pierced, peel off your paper pattern. It'll be nice and bumby on the underside.



When you start a thread, you tape the tail to the back of the card. I cut up a bunch of tiny little tape squares and line them up on the edge of the table so that I don't have to stop and cut every time I start a thread.

Remember that paper is harder on thread than fabric is, so you may have to change your thread out more often than you would with fabric. In fact, it's best just to cut shorter lengths if you don't want to waste thread.



Keep your pattern close by while you stitch, so you can remember what the holes are for!

I used one strand of Satin Floss by DMC for the green lines, and two strands of the same for the pink and yellow. In the middle of each yellow diamond, I'm putting a little green seed bead.

Well, there you have it. It's simple, and really, you can let your imagination go when you're playing with this type of project. If you want to do something more "flowy," like scrolls and vines and so forth, just remember that wherever a line of your embroidery project intersects another line of embroidery, you want to have a hole. I find it easiest to pierce the beginning, ends, and intersections of scrolly lines first, then to go back and pierce the wholes between those points, spacing them evenly.

I'll be exploring this a little more as I prepare for the kids' summer embroidery classes, so I'll cover scrolly patterns and fonts a bit down the road!

I hope you find the tutorial handy! Have fun with it!

Labels: embroider on paper, needlework pictures, needlework tutorials, pictures

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Posted By: Mary Corbet on Thursday, May 15, 2008
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Dorset Buttons are buttons embroidered around a ring and filled with simple stitches. They are colorful, relatively easy to make, can decorate anything from clothing to accessories, and present an endless variety for embellishment, texture, and color.

Dorset Buttons have been around for a long time! It was a cottage industry in England (specifically in Dorset, hence the name). Read the history of button making in Dorset - it's pretty interesting! These buttons are a neat little chapter in the history of textiles. Sadly enough, when button-making machines came along, this vital cottage industry died, leaving many families poverty-stricken, since they were no longer able to rely on their craft of button-making for survival.

On a website called "The Sampler," there's a wonderful step-by-step tutorial for making Dorset buttons.



Take a look at the tutorial, and you'll see that the options of embellishing these buttons are really endless! A little knowledge of embroidery stitches will help - buttonhole stitch and the ribbed spider web will come in handy.

Once the outside of the button is done and a foundation is laid inside, you can dress the thing up to your heart's content!

I think these buttons would look great on chunky sweaters, on totes, on knitted winter caps ---- and on and on and on! I also think (though I haven't tried it yet) that they would be a good project for younger embroiderers on winter days! I may test that latter theory - if winter ever gets here!

Enjoy the tutorial! And thanks to Craftypod for supplying it!

Labels: embroidered buttons, embroidery resources, historical needlework, needlework tutorials

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Posted By: Mary Corbet on Thursday, October 11, 2007
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