I'm still playing with the idea of translating Quaker motifs (that are normally worked in cross stitch) into designs suitable for surface embroidery. Here's a free hand embroidery pattern of a bird-in-tree Quaker motif suitable for surface stitches.

Now, this is a pattern I really want to stitch. The first Quaker pattern I posted for surface embroidery stitches looked fun, but since I had already stitched it on paper in cross stitch, I find I'm a bit more eager to try a different design. I played again with some of the Mary Wigham designs offered on Needleprint, and this is one that I like a lot. I think it could be fun.

I "updated" the bird a bit after finding it a bit difficult to translate the gridded bird into something smoother for surface work. If you don't particular like this bird, you can always sketch your own into the design, I suppose! (Don't worry - I won't be insulted!) In considering the bird, I wanted something suited to more than just an outline stitch. The wings, tail, and crest give some room for playing with fillings.

Here's the pattern:



The double lines around the outside of the pattern would be a good place to practice composite stitches, like the raised chain band, or double herringbone stitch. Ladder stitch would work well there, too.

I'm thinking about filling the trunk of the tree with stem stitch in several shades of brown, working the branches in stem stitch in brown, and working the leaves in a couple of colors of green using daisy stitch. The small berries would be worked in red French knots, and I think the bird would be worked in a variety of stitches in red, though I'm still contemplating that one.

I was thinking this might a good design for a Christmas ornament, too. What do you think?

Here's a PDF of the pattern:

Quaker Motif #2 for Surface Embroidery Stitches

Enjoy!

Labels: free embroidery patterns, Hand embroidery stitches, Quaker designs, sampler

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Posted By: Mary Corbet on Wednesday, October 07, 2009
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Right now, Quaker motifs are very popular for counted cross stitch, and I really love the look of them. When I was working on this perforated paper embroidery project last week, I couldn't help wondering if Quaker motifs would 'work' with surface embroidery stitches. So I'm going to try an experiment.

I've drawn up a hand embroidery pattern based on the Quaker motif I used on the paper project. It is, in shape and layout, pretty much the same design, but the use of surface embroidery stitches, I suspect, will change the look of the design quite a bit.

Here's my line version of the motif:



Here's a PDF of the same pattern:

Hand Embroidery Pattern: Quaker Motif for Surface Embroidery Stitches

Ussing the PDF, the pattern should print at approximately 4.5 inches square. It can probably be taken smaller, but for this test run, I thought a medium-sized medallion would work best.

I'm going to combine a variety of stitches on this piece, sticking with the notion that the Quaker motifs generally come from samplers. My plan so far includes the following stitches:

Palestrina Stitch
Mountmellick Stitch
Satin Stitch
Long and Short Stitch
Fly Stitch or Fishbone Stitch (haven't decided which on that one yet)
Daisy Stitch
French Knot

I'll be working on this project over the next few weeks. I'll be stitching on a sturdy linen (Thank you, Méi! I can't wait to use some Portuguese linen!), but I haven't decided 100% on the threads yet. I think it will take some playing to figure out the best options.

What think you? Will this come off, or should I leave the Quaker motifs in their regular form, as counted cross stitch pieces? What's your take?

Labels: Embroidery Projects, free embroidery patterns, Hand embroidery stitches, Quaker designs, sampler

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Posted By: Mary Corbet on Wednesday, September 23, 2009
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Last time we visited the Long Dog Sampler that my niece and I have been plodding through together, I was saying good-bye to it for a time, due to this commissioned project that I needed to design, set up, and stitch. Well, you know... I'm always full of a million excuses (a negative characteristic that I'm trying to correct in myself!), but the fact of the matter is, I never did quite put the thing away like I was supposed to! A reader asked in one of the comments not too long ago how this project was coming, so I thought I'd show you an update...

Now that summer has arrived, my niece has launched into her sampler with a little more concentrated effort. I haven't seen her latest stitching endeavors yet, though. Hopefully, next week I'll be able to catch up with her on that. She told me she plans to listen to audio books (she's a great fan of Agatha Christie) and stitch away. Sounds like an ideal summer plan to me!

After I told you I was bidding farewell to this project for a time, I discovered that I could slip the whole project into a nice basket and keep it more or less available, regardless of other work to do. It's much easier to take this project out and put a few stitches in when I have a few minutes than it is to go out to the studio, where I'm working on the ecclesiastical piece! So I've kept this thing next to the sofa in the living room, and have managed a few sessions on it here and there, as time allowed.



I've managed to put in almost three whole bocks up there on the right.

Each of these little blocks is less than an inch square, but in each of those little squares, there are 729 little stitches, so they actually take a while to do.



The sampler is pretty colorful, and no two motifs are the same, which is nice. While the actual stitching may get a bit repetitive, the changes in pattern and color make the piece interesting to stitch. It's kind of fun, filling in those little blank squares with color and shape. There's no stress at all involved in this kind of stitching, so it really does make a good, relaxing summer project!



This is perhaps the oddest square I've stitched so far. It doesn't seem to fit the style of the other squares, and the colors are quite bright and almost garish. At first, I didn't like it. I didn't like the zig-zag pattern or the color arrangement. But what's strange is that, just as I was coming to the end of this square, I found I did actually like it, somehow. I liked the way it filled in so tightly, and how all the colors formed their little own zig-zaggedly neat little rows. Overall, I wouldn't call it "me-ish," but I like it!



This top half of the grey and pink square is perhaps one of my favorite elements so far. I like that "carnation" look, typical to 17th century petit point slips and other historical embroideries.

I'm glad we undertook the project. It's given me a better appreciation for counted techniques. And I still do intend to carry the whole project through to then end, which, for me, is a good sign that I'm enjoying it.

I haven't stitched on this for a couple weeks now, but I am still keeping it next to the sofa, awaiting the next 15 minute break that I can devote to it!

Now, this is the thing: two weeks from yesterday, the embroidery piece I (finally) got set up the other day is due. I bet you know what that means! It's the only thing I'll be stitching on now. I must get it done! I have so many other projects, too, that I want to start! I'm also going out of town in two weeks - before I go, I want to set up several "on-the-go" embroidery projects that I can work on while I travel. So, keep your fingers crossed for me, that I actually do get something accomplished! THANKS!

If you haven't signed up for the Trish Burr Embroidery Kit Give-away I posted yesterday, do take a minute to read the post and add your comment!

Enjoy the day!

Labels: counted thread embroidery techniques, needlework pictures, pictures, sampler

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Posted By: Mary Corbet on Thursday, June 04, 2009
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I've been stitching along rather diligently on the Long Dog sampler that I'm working with my niece. Though it doesn't look like much progress, considering the time I've had to work on it, I think it's coming along well. I thought I'd give you a quick update and then talk plans!

This is a project I started as a stitch-along with my niece, who is learning counted cross stitch in one of her classes. The sampler is called "Angel Pavement," and it's produced by Long Dog Samplers.



This is the progress so far. The outlines of all the "memory blocks" around the edge are complete, so now it's just a matter of filling the rest of them in. Each of those blocks is slightly less than one inch square.



These are my favorites so far. I love the colors and the designs of all three.

Now, onto the question of a hiatus. Wow - time really flies, doesn't it? For those of you who don't know, I am a teacher. I teach English at the high school level, and I also teach six hours' worth of college courses a week (two courses), in the field of education. It almost seems as if the school year just started. As the year comes to a close, things are getting hectic, to say the least!

On top of the end of the year activities, I'm faced with a project with a deadline. A few months ago, I agreed to embroider a pall (a small altar linen) for a woman whose grandson is being ordained a priest this summer. As yet, I still haven't started that - it's due in the middle of June. Heh heh. Oh sheesh. I do tend to procrastinate. I always claim I work better under pressure, and in some cases, I do. In other cases.... well.... The inspiration for this project just hasn't hit me, and the more pressure I feel over it, the more distant my Muse seems! Not a very good situation!

In addition to the above, my family is descending upon Kansas next week, to celebrate my mother's 75th birthday! There are eight children in my family altogether, and all but one will be here, along with some grandchildren, husbands, wives, etc. It'll be fun! Hectic, but fun!

Plans, plans, plans! So I'm planning on taking a hiatus from the sampler here for a bit, until I get all the upcoming major stuff out of the way! You may bid it farewell, then, until the (hopefully not too distant) future!

Labels: counted thread embroidery techniques, needlework pictures, personal, pictures, sampler

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Posted By: Mary Corbet on Thursday, May 07, 2009
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Last week, I mentioned the Long Dog Sampler that I'm using to teach my niece how to do counted cross stitch. Here's an update on our progress...

The Long Dog Sampler, Angel Pavement, is proving fun to work, due to the variety of little motifs. I'm glad we chose 28 count linen to work the sampler on - it is ending up looking like little petit point squares, which is nice.

By the end of the weekend, we had both worked several of the designs within the squares on the sampler, leaving the backgrounds blank. I don't know if this is the "best" way to go about this kind of work. I was thinking it might be a better idea, stitch-wise, to have several working threads going at one time, and simply stitching in rows. If we did this, I think the stitches would end up much more precise.

However...........

It just seems more fun to work the design in the square first, then fill in around it with the background. Any avid counted cross-stitchers out there? Is there a "right" or "wrong" way to approach stitching completely filled areas? Let me know!



You can see in the first square at the top that the background has been filled in. In the subsequent squares, the design is being worked first, and then we're filling in the backgrounds.



So far, I haven't made any changes in the sampler, except on this square. On the original design, the date is 2007, but I thought it appropriate to change the 7 to a 9!

Last night, I did start stitching in the background on this purple bird fellow. The background is a pale yellow. It's amazing how the color of the background really changes the look of the motif, and I'm eager to finish the background so I can compare a before and after, with the yellow background stitched in.

On the third block down in this strip, the background is black. I think that will drastically change the look of that square.

Anyway, so far so good. That's pretty much where we are right now, though my niece may be a bit further ahead than I am at the moment! I need to meet up with her some time this week so we can compare results!

Other than that project going right now, I've been doing some studio cleaning and book organization, and planning another project which I will share with you soon. After a very rainy weekend, I was hoping for a sunny week to film two videos I want to make for you. Unfortunately, the rain lingers! But all the green things are growing - so when the sun does show itself next time, I'm sure it's going to be a brilliant spring world out there!

I'm still debating about this needlework shop hop for the coming weekend. Six hours of driving?! I'm not sure! Now, if I had a chauffeur and I could embroider the whole time, that would be decidedly different!

Enjoy your Wednesday!!

Labels: counted thread embroidery techniques, needlework pictures, pictures, sampler

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Posted By: Mary Corbet on Wednesday, April 29, 2009
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Oh, that title is SO misleading! I should clarify! "Rather Rare Needlework Pursuits.... for ME." There are types of needlework that I really get into (and I'm always game to try anything), there are types of embroidery that I love. You've probably noticed that most everything I do falls in the realm of surface embroidery of some sort - and often into what's called "free style" surface embroidery. But, lately, I've taken up a project that doesn't.

This project belongs to a category of needlework that is not so rare - in fact, I'd venture to say it is the most commonly worked type of needlework, as far as volume goes! Yes, it's true. I've taken up a counted cross stitch project.

I'll admit - and I mean no offense to any needleworker out there - that I'm a bit of an embroidery "snob." I am not a huge fan of counted cross stitch. In fact, if I were to nail down my feelings about counted cross stitch, I'd go so far to say this about it: I do not like counted cross stitch. Period. It is simply not my "thing."

My first ventures into any needlework as a kid in the 1980's began with counted cross stitch, and because of that, I do owe a certain debt to this type of needlework. Still, it wasn't long before I branched out into regular surface embroidery and got away from The Grid. I prefer - vastly - the variety offered by other surface embroidery techniques, and I find counted cross stitch rather boring!

Still, admittedly, counted cross stitch has changed quite a bit since the '80's - styles, types, looks, materials, etc., for counted cross stitch have become much more varied since those earlier years of Aida Cloth and DMC. And the resurgence of interest in "antique" needlework sampler styles adapted for counted cross stitch has a certain amount of appeal for me. Still... I'm not a counted cross stitch fan.

Oh, boy. Then why, you might ask, have I taken up a counted cross stitch project - and not just any counted cross stitch project, but a rather large and time-consuming one? Well, it's like this:

My niece is taking a home economics-type course in high school (9th grade) that has a needlework component. In the first semester, they focused on surface embroidery, and in the second they are focusing on counted cross stitch. And she was disliking the experience greatly! The 14-ct Aida cloth, the rather mundane '80's style pattern and colors were just not her. Also, it seems they were not instructed well on gridding up the design, centering things, and forming their cross stitches in consistently the same direction. She was frustrated! At first, I was inclined to smuggly think, "That's ok - I don't like counted cross stitch either!" but then I thought this was not a fair approach! Besides, knowing the ins and outs of working a charted design is helpful, so the knowledge would be good for her.

And so, the whole situation put me in mind to instruct her correctly on counted cross stitch techniques, and to show her the vast world of patterns and materials available so that she would not be left with a bad taste in her mouth over the experience. We started looking at samplers and so forth, and she got more and more interested in historical samplers and recreations. Eventually, we fell across a Long Dog sampler that she tought would be "really fun" to work. It is called "Angel Pavement," and it looks like this:



She liked all the little squares with different designs in them, the variety of motifs, and the colors.

Having piqued her interest in this type of design, even though it is a bit of a daunting undertaking for a beginner, I asked her if she wanted to work it. She was darned eager. I suggested that we both work through the sampler at the same time, to keep each other on track. She agreed enthusiastically, so I ordered the sampler charts, linen (28 count Cashel from Zweigart), and the threads (regular DMC - silk would be too expensive for something this large, and, to tell you the truth, I can't bring myself to use silk on counted cross stitch...)



We began by gridding out our fabric. With any counted cross stitch design, it is always desirable to at least mark the center of your fabric so that the design lines up properly in relation to the center point. In more complex designs, it is a good idea - and saves a lot of time and frustration later on - to mark off even intervals on the fabric as well. So we worked lines of running stitches over every ten threads on the fabric, to give us a graph on the fabric that would make referencing the chart a lot easier.



Often, 28-count linen is worked over two threads, but we're working over one, which will make the design small, but which also reduces a bit the "pixelized" look of counted cross stitch. The little individual squares are less than an inch square, which is small. However, their size doesn't really reduce the time it takes to work each square. The stitching is small and... well.... monotonous. Cross stitch. What can I say?



This is about as far as we've both gotten. But don't think this was only a few minutes of stitching! There are 729 of those tiny X's in each of those squares. It does take time!

We mounted our fabric on Evertite frames, and are using magnets to hold the part of the chart onto the fabric next to our stitching. To make the stitching go as quickly as possible, I use two hands - one above the work and one below.

Unfortunately, to be able to mount both samplers on frames, I had to dismantle my whitework project! Ugh! I gave up whitework for counted cross stitch? It almost seems sacrilegious! (Kidding, kidding!) But, I have another project I must start (a commissioned ecclesiastical piece), so I wouldn't be able to devote time to the whitework right now, anyway.

So that's what I'm up to! Don't worry - Needle 'n Thread is not changing into a counted cross stitch website! Aaaaack! But to be fair, counted thread techniques are certainly legitimate forms of needlework, and there are some aspects about this project that I really do like. I like working with colors, for example, and this project has plenty of color in it! And I like to see things develop. And I like the fact that it's giving my niece something to work on with enthusiasm.

There you have it, then! Any comments? Do you think I'm totally nuts?

I'm beginning to wonder, personally....

Labels: counted thread embroidery techniques, needlework pictures, pictures, sampler

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Posted By: Mary Corbet on Monday, April 20, 2009
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Last time I was playing with my whitework embroidery sampler, I was beginning the cutwork motif. Here, I've got the pattern for you AND the incredible progress I've made on the cutwork motif! How exciting!

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

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



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

Cutwork Design for Hand Embroidery

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

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



Oh. I know you're impressed!

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

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



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

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

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

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

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

Enjoy the pattern - hope you find it useful!

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

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

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



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

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



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

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

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



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



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

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

For further information:

More Drawn Thread and Whitework Embroidery

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

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

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

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

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



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



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

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

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



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

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

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

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



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



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



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



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

Suddenly realizing...

?

What?

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

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

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

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

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

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

So, this past weekend, I placed a monogram:



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

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

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

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



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



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



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

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

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

Have a terrific Wednesday! (Halfway there!)

Here's my "further information" blurb:

More Drawn Thread and Whitework Embroidery

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

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

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

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Posted By: Mary Corbet on Wednesday, March 18, 2009
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Not a whole lot to show you on the whitework and drawn thread sampler, but at least I did manage a wee bit of stitching. This is the progress so far...

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

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

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

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

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



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



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

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



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

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



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

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

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

More Drawn Thread and Whitework Embroidery

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

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

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

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

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



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

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

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



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



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



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



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



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



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



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

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



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

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

More Drawn Thread and Whitework Embroidery

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

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

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

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Posted By: Mary Corbet on Friday, February 27, 2009
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I love working on the whitework embroidery sampler! Exploring the different drawn thread techniques has been fun, and I'm itching to start on some other techniques, such as satin stitch over trailing. But, as with every long, slow project, a break is a good thing! So I'm going micro...

A while ago I showed you this unbelievable miniature embroidered sampler, remember?



I've really fallen in love with the little thing - the more I see it, the more I like it. I'm planning on having it framed in a regular frame, with a tiny hole in the mat...

So, here I've been, mulling this idea of miniature embroidery over in my head.

I know it isn't anything new - some people apparently do miniature embroidery for the fun of it, with no distinct purpose. They like it, like I like goldwork. Others create little miniature projects for doll houses. Still others like the notion of petit point on silk gauze (which I'm dying to try - on 72 gauge!). There are plenty of miniature embroidery books on Amazon.... though some are apparently just "small" motifs stitched on regular fabrics. So I know I'm not talking novelty here.

But for my 'break' from the whitework sampler, I decided to go micro, and see about this miniature embroidery thing. This has forced me into an area of needlework that is not necessarily my favorite - I don't particularly care for (sorry!) counted cross stitch! Oh, don't get me wrong - there are some counted cross stitch items these days that I find really attractive and that I think would be great fun to work. I like the historical samplers, and the Quaker look, and I really like some of the Long Dog samplers - they're pretty neat. But my stitching preference isn't counted thread techniques. (I suppose you probably already know this if you've been reading my blog for a while!)

Still, I think it's worth venturing in for a try. First, I'll try counted. Then I wonder what it would be like to go micro with regular surface embroidery. Teeny tiny - super-duper-tiny - surface embroidery stitches on a wee sampler might be something worth trying.

But, for now, I'm counting. I selected a design that I have from a Sweetheart Tree kit I bought a few years ago when I was on vacation. Then, I picked out some linen. The choice was between two linens: Legacy's shadow work or Legacy's alabaster angel. Alabaster angel is 48 threads per inch. Shadow work runs around 56 threads per inch (I counted approximately 7 threads per 1/8 inch). I stuck with the alabaster angel for this first project. The shadow work linen doesn't have much "body" in the individual tiny threads - it's a relatively sheer linen with space between the weave. This is nice, but I wanted to make sure the stitches were duly supported. Plus... well, truth is, on the very sheer fabrics, you really have to be concerned with the back as well as the front, and I will admit it - I didn't want to bother so much about the back! (Tsk, tsk! Shameful, I know!)

With this miniature embroidery stuff, especially on fabric that's 48 threads per inch, a full cross stitch is too much when working with one strand of regular cotton floss. So the half cross stitch is what I'm using - tent stitch.

I've run into a couple little problems:

1. My needle is very small. Tiny needles have a tendancy to sink into the side of my thumb and cause the skin to split. *sigh* And it hurts like the dickens. Perhaps I should consider a "thumble" of sorts.

2. Tent stitch normally works pretty well when translating from a cross stitch desigh, but it doesn't always work. Because of the one-way direction of the stitches, certain parts of the pattern become a bit disjointed, when they shouldn't be. In some areas of the design, this is easily resolved with stitching in the opposite direction, though I realize this just "isn't" done in petit point, from what I understand! In fact, the design has quite a few half cross stitches indicated, as well as the direction in which they should be worked. So it does help to change the direction of the stitching to fit more with the design.

3. The design relies heavily on beads for accents. I don't think they make beads small enough! The Mill Hill petite glass beads loom over the stitching like giant doughnuts!

4. I made the funniest (most ridiculous) stitching mistake ever. Well, I think it's funny! Perhaps most people won't notice it, though, so I'm not going to mention it now. I'll wait for the photos. Even then, I might leave you to guess!

The design itself is normally over 5" square, when stitched according to directions on the little kit it came in. With the fabric I'm using, it's just barely 1.5" square.

Now, the nice thing at this point would be a photo.... but not yet! Look for it later this week. I'd like to finish the whole piece first.

Other than this, I'm DEFINITELY setting up a little (little, but not this little) goldwork project this week. Christiana sent me some photos of a beautiful little piece of goldwork (Or Nué) that she's been working on, involving a peacock feather, and I just can't stand it anymore! I must set up a project! And so I shall. I might even do a feather of sorts, too. Maines des Merveilles has a beautiful issue full of feathers, and I've never had a chance to do anything with them. Christiana's is really beautiful, and as soon as she gives me the okeedokee (she made it as a gift...), I'll post the pictures.

All that being said, I'm still enjoying the whitework sampler.

Don't forget to sign up for this month's embroidery stash give-away if you haven't already - 12 different types of embroidery threads to try out! I'll announce the winner tomorrow.

Enjoy the day - hope you have time to get some stitching in!

Labels: counted thread embroidery techniques, Embroidery Projects, miniature embroidery, sampler

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Posted By: Mary Corbet on Tuesday, February 24, 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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Ok, here 'tis. This is the only needlework project I've really had going lately. It's not a high-pressure-type project, which is nice. Basically, it's just an exploratory, experimental kind of project. I'm playing with whitework techniques, and this is what I've done so far.

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

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

Here's the sampler so far:



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



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



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



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

We'll go back to that later, too.



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



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

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

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

Have a great Monday!

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

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Posted By: Mary Corbet on Monday, February 16, 2009
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The hemstitch is commonly used in drawn thread work. While adding a decorative edge to a drawn thread area, it bunches together the remaining threads. These bunches of threads can then be further embellished or arranged.

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

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

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



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



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



Pull the thread through...



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



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

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

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

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



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



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

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

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

Enjoy!

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

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Posted By: Mary Corbet on Monday, February 09, 2009
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I suppose there are a few things I should clarify about the whitework technique embroidery sampler that I've been messing around with! First, though - thanks very much for your responses to my question about fabric.

Many of you could see the decision coming, methinks: I did change the fabric to the darker linen. The deciding factor was the question of photography. I get better pictures on darker fabric, especially when the stitches need to be seen.



You can see that the contrast makes the stitches a lot clearer. In choosing between the two fabrics, I was choosing between this fabric (the darker shade) and a shade lighter than this, but not white. The original fabric I started working on was almost a golden color, but, in close ups and with any kind flash or bright lighting, the fabric tended to wash out, so the stitches were not as noticeable.

I also decreased the size of the whole piece. I think it's 16" x 18" now, which is much easier to work on.

Now, to explain the whole sampler. I'm afraid the term "whitework" only refers to technique. I realize it is not properly "whitework," since it is not done on a white ground fabric (which is usually the case with real "whitework"). The point of the samper for me is to explore different types of whitework techniques, demonstrating "how to" and troubleshooting and whatnot as I go. In the process, I'll work up a few photo tutorials of different techniques for you, like the one on re-weaving the edges in drawn thread work and the one on finishing the edges with satin stitch.

The finished piece isn't meant to "be" anything, other than a sampler. I'm not trying to create a gorgeous work of art or anything, although I do hope it comes out fairly nice! I have no idea what it will look like yet, when finished, but I have blocked out a drawn thread section and a small Ukranian sample, and I've transferred a Schwalm design on the fabric, using Christine Bishop's book, Schwalm Whitework Embroidery (the link will take you to my review of the book).

Besides this sampler, which isn't meant to be my sole occupation for the next however long it takes, I've got plans for other embroidery, too - so don't worry, I won't bore you to death with whitework (I hope!).

In the embroidery arena, I've got some interesting things coming up! I'm eagerly waiting some sample projects that I'll be working on, from some well-known designers. I don't want to whisper anything too loudly right now, but just so you know, in the near future, there are some exciting projects coming out for embroiderers, with the possibility of some new kits becoming available ... and, well. Just a hint: think long and short stitch shading and flowers, and you may just guess who I'm talking about!

And, with my present creepy, crawly, cruddy cold dissipating, my voice is getting somewhat back to normal, so there's a good chance I'll be able to add sound to some videos this week. (Keep your fingers crossed for me!) I just can't do the frog voice on something that is more or less public and permanent!

Coming up, I've got a little photo tutorial on transferring a design using tissue paper (very easy, though somewhat time-consuming). Along with that, look for a photo tutorial on simple hemstitch and a beautiful piece of embroidery from a reader. Also, some thread tips, thanks to Pam and Inspirations, are in this week's line up.

A busy week ahead, but I hope you all enjoyed the weekend, got some stitching done (I managed a wee bit!) and are looking forward to a good week!

Labels: fabric for embroidery, linen, pictures, sampler, Schwalm, website news, whitework

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Posted By: Mary Corbet on Sunday, February 08, 2009
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Have you ever looked at a piece of needlework in stunned silence, turned it around in your hands, looked closer, turned it over, touched it, studied it, then looked up and said to anyone willing to listen - "Oh gosh. You're just not going to believe this thing!" And then shown it off, to find that your reaction isn't an isolated one?

Well, that's exactly how things went when I opened this amazing embroidered sampler sent as a Christmas gift from a friend. You might be tempted, at first glance, to say "Oh, it's another sampler," but I think once you see it in context, you can't help but say, "WOW...!"

So here it is, for your first delightful glance:



And here's the back of the sampler, which is neat and tidy:



Here's a side shot:



And, finally, here's the sampler in perspective, next to a postage stamp, a quarter, and an inch ruler:



That's right - this tiny little detailed sampler is 1 3/8" x 1 3/4" - not a whole lot bigger than a postage stamp!

Christiana embroiders miniature things. She uses kitchen towels (flour sack towels) for her ground fabric, stitching over one thread in the towel. The stitches are half cross stitches (or tent stitch), and I think she uses one strand of embroidery floss - but it's so incredibly tiny, that she might be using regular thread. She'll have to enlighten me on that!



Now can you understand my reaction? I was awe struck! I never considered doing miniature embroidery like this, but I can see how it would be perfect for a number of little applications - doll houses, for example, come to mind. But there are other uses, too: a little special pendant or to adorn the lid of a little tiny box... I haven't decided what I'm going to do with it yet. I'd like to find the perfect small frame for it, so I can display it.

I willingly and profusely admit that I love this little sampler! It was such a surprise gift! It came in a great little package:



Along with the sampler were some other treats: a spool of Tire Silk, some Japanese snippers, and a nice little package of Glorianna threads and ribbons!

Thank you, Christiana, for the sweetest of little Christmas presents!

Labels: Christmas, needlework pictures, pictures, readers embroidery, sampler

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Posted By: Mary Corbet on Thursday, January 01, 2009
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A couple years ago, I wrote about a random sampler that I began on a road trip. Lost in the labyrinthine oblivion of my website, I didn't even have the post available in my gallery. But you know, I liked this piece.

I remember the pleasure I had working random stitches all over the place, doing whatever occurred to me, using whatever thread. There's a real pleasure in that. It's just so... random.



I also remember having specific plans for the piece. Hahhahahaha.



It has nestled, neglected, in a basket of other neglected scraps, trials and errors.



But today, I'm resurrecting my Random Sampler! I'm going to go look at it again. I'm going to see if I can make something of it. I'm going to decide if I like it as well in person as I think I remember. And then... if I do, I'm going to finish it into something.

I have no idea what.

Along with that plan, I've got a list of to-dos about half a page long. Six of them are needlework & blog related. Seventeen of them are not. I'm not sure why Saturdays are so short...

Some of the needlework and blog related activities:

I'm planning the long and short stitch "classes" or lessons still. I have decided to take Joey's advice, and work an individual motif at a time, rather than a whole project. And in fact, I'm arranging individual motifs into a sampler of sorts, so I'll be showing you that soon.

I've got to edit a few videos. I don't even want to think about it!

I have to clean up the studio and get it ready for a guild meeting Monday evening. In the process, that's when I'll pull out the Random Sampler.

I will be planning my Saturday afternoon sessions - I'm going to do some Christmas card sessions with the kids on Saturdays over the next couple months, and I'd like to get that going next weekend. I can't do that without proper planning. So I plan to properly plan today. Besides using designs I already have from books and online sources, I have several card patterns (embroidered cards, you know!) bouncing around in my head. They need to come out on planning paper, and then they need to be tested. So that's something I'll be writing up.

I must, today, finish the goldwork project I'm working on. I've got to get it in for framing, since it's a wedding gift and I want it finished on time. So I will finish that today. And take photos....!

I must clean, organize, line up - all the related activities associated with getting ready for upcoming projects. For example, I have to pick out the stitching on the baby booties and get the supplies put together for those and packed into a bag, so I can work on it when time allows and everything will be at hand. I need to assemble all my threads for the Pelican (and that's a good thing, because I have them scattered hither and thither).... oh, bother. This is going to be my "junk drawer" category for the day.

Ok. You're right. I need to face reality: What can I actually accomplish today? I suppose we'll have to see!

.... I'm thinking I should skip doing laundry ...... and do I really neeeeed to vacuum? Heh heh heh.

Have a great weekend!

Labels: beginner embroidery, needlework pictures, pictures, sampler, wool felt

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Posted By: Mary Corbet on Saturday, September 27, 2008
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I've been dabbling with canvas stitches lately, and not achieving the best results in the world! For the TIF Challenge posed by Sharon, I thought I'd challenge myself to dabble in areas of needlework and embroidery into which I don't normally venture. Hence, the idea of a needlepoint sampler this month.

Needlepoint (or canvas stitching) is not necessarily my "thing." As Margaret, a faithful reader, put it, "I like to stitch on a curve!" And I do, too. Still, I wanted to explore outside my normal embroidery range, and so I thought I'd try playing around with canvas stitches.

Without much of a plan beyond just a "sampler" of stitches blocked out in one-inch squares, I set about stitching. I gathered together whatever threads looked remotely similar to the palette presented by Sharon for January. They range from wools, to wool and silk blends, to silk, to cotton. Watercolors by Caron, Waterlilies by Caron, Soie Gobelin, Soie Perlee, Trebizond, DMC stranded cotton, DMC perle, rayon ribbon floss - I just pooled a bunch of threads out of my stash and started.

The fabric is soft congress cloth, 24 ct. I framed it up in a 6 x 9 frame, and drew a row of four one-inch blocks to start with.

And this is all I've accomplished so far:



Now, all you Expert Eyes and Expert Needlepoint Needlers out there will undoubtedly see what I see here: bad tension, wrong thread choice, and a lack of attention to detail... (not to mention the deplorable lack of a scheme or plan!!)



The green square on the right was the first square I worked. I used Silk & Ivory (50% silk, 50% Merino wool) - a whole 3-ply strand. Needless to say, it's a tight fit in 24 ct congress cloth! The stitch is a basketweave tent stitch, and I varied the length of the stitch in certain places, going over two threads as opposed to just one. I completely messed up the lower corner of the thicker ridge in the middle. The wonderful warping of this square is not normally what one desires in a needlework project, either! It looks, to say the least, dreadful.

But I did learn a lot stitching it. The first obvious lesson was to pick a thread that fits the canvas. The second was to go easy on pulling the thread through. I liked the hard look as the stitches developed, until I realized I was pulling the whole thing into a warped mess. The next thing I learned is to pay attention!! I had it in my narrow mind that this stuff is "brainless" stitching. I was just stitching along, paying attention to every other thing around me - and then - voila! I found out that you DO have to plan ahead, especially when it comes to compensating stitches. The lower right hand corner of the square taught me that lesson!



This is my favorite square so far. It's an upright cross stitch. The top is worked in DMC perle #12, which fits really well on this canvas for this stitch. The middle is 2 strands of DMC cotton, and the bottom alternates the two. I like the firmness of the finished stitches. The thread was better to work with: there was no fraying for two reasons - the type of thread, and the fact that it fit in the holes!



I hate this square. There's nothing about it I like. I don't even want to talk about it! The top half is herringbone as a filling, alternating medium and light greens (Silk & Ivory again), and golly. That was just dumb. I must not have learned the first lesson very well, actually. The thread was too thick for this - for the canvas, for the stitch - it was just all wrong. I finally gave up and went to Hungarian filling, which is kind of an alternating cross pattern. It looks lousy, too! Oh, and let's not mention the compensating stitches that are missing On Every Side! I'm laughing....



Now, this little square is not very impressive right now, but I like the thread! This is Caron Watercolors - a 3-ply overdyed cotton, which I stripped and used just one ply. It's nice to stitch with, and I like it. The results here don't look so marvelous. It's no particular "stitch," to my knowledge. I just wanted to work rows, leaving one little place open, which I'm going to go back and fill with something else. The stitches are just straight up-and-down stitches, alternating between over two and over one.

And that is my latest dabbling. Oh, for heaven's sake. It's bad. But I'm not finished!! NO - I'm determined to keep playing (and probably making it worse!)

The reason I decided to take up the TIF challenge was simple: I wanted to have a kind of structure for forcing myself to play with different techniques or supplies that I don't normally play with. To fiddle around alone is not so fun, but to join in with other people (who are actually producing NICE stuff) and to have the loose constraints of the Take it Further challenge makes it a little more fun to dabble about.

Next month, despite my sorry attempt here, I'm going to venture into ... a Crazy Quilt square. Wow. New for me, anyway.

My plan with each little challenge episode was to produce something that I could finish somehow, rather than just scraps to store in a notebook. This piece, though... it yearns for the inconspicuous sleeve in an inconspicuous notebook. But who knows - I may save it yet.

Unless you have any ideas of what I could do with this "thing"?!

Labels: canvas stitches, sampler, stitch challenge, TIF

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Posted By: Mary Corbet on Wednesday, January 30, 2008
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This embroidery project started out as something to kill time on a road trip, but as I keep stitching, it becomes more and more addicting! My plan is to turn the whole thing into a large needle / sewing book, with space for scissors, a magnet strip, threads, and, of course, plenty of needles! I thought I’d show you my progress on the front cover…

… and eventually, I’ll share the back cover, too, which will be entirely hand-embroidered in crazy patterns as well.

Basically, as I explained earlier, my plan was just to stitch whatever stitches came to mind, using whatever threads I happened to pull out of my stash. I modified the plan only a little bit, by attempting to balance some of the colors in the larger areas. I also picked out a line I didn’t like (the puffy couching) and replaced it with a running stitch whipped with ribbon. You can see the puffy couching in this post, where I gave my last update.

Here’s a photo of the front cover, finished. You can click on the image for a close up.



So that’s what I’ve been occupying my evenings with while on vacation, although I have managed to finish and mail one embroidered Christmas present, and, in the next three days (working mostly in the wee hours, so I don’t get caught red-handed!), I have high hopes of starting and finishing a little bird as another gift. I might even be able to get it framed before Christmas! We’ll see! I’ll be sure to snap some photos before I give it away.

Back to the needle ‘n thread…

Labels: Hand embroidery stitches, needlecase, sampler, wip

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Posted By: Mary Corbet on Wednesday, December 20, 2006
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It's a busy time of year for hand embroiderers, as many work on preparing Christmas gifts and decorations - along with all the other holiday prep that goes on between now and Christmas (3 weeks from today, I might add!)

Sharon Bogan has a couple posts on her site, Inaminuteago, about Christmas preparations - specifically card making and ornament making. And in fact, these are the things that I've been mulling over lately - specifically, embroidered Christmas cards. I've got some scraps of card-making supplies around, and I even have a handy-dandy pricker for fine holes in paper stock. I'm pretty sure my stash includes some metallics that will do for the embroidery. I should be able to drum up some Christmas cards before the season is completely over!

And speaking of over, the weekend is exactly that. Unfortunately, for me, it was an off-schedule sort of weekend. We had to take a road trip, so, with a six hour ride in front of me early Saturday morning, it occurred to me that I should be able to take something productive along. Stitching in the car is generally out of the question for me - I practically always have to stitch on a frame, and my projects generally require good light and exceptional precision, not to mention the use of gold for couching and all that stuff. Not exactly the kind of stuff you can open up and spread out in the car!

But as the prospect of the drive overcame me on Saturday, I figured I could manage something - so I foraged through the scrap bin and came up with a long strip of red wool felt.

I grabbed my "class bag," which contains a good stash of disorganized thread that I use specifically for embroidery class.

And we set out.

The first thing I did with my wool felt was block out four panels on it, using a greeting card envelope. Between the four (with two on each side) I left about a one-inch strip. Think book cover. The one inch strip would be the spine.

Then I pulled a micro marker out of my bag, and scrolled off a bit of a basic design, just to get the thing going.

Then I stitched! My method was really simple: reach into the bag, pull out some thread. Using whatever stitch that comes to mind, stitch! And so that's what I did.

I didn't get that far - I figured with a six hour drive I should've been able to finish the front of a panel - but things never happen the way we expect. The finished product will have two panels stitched, and then I'll fold the outside panels under the embroidered ones, put a light cardboard insert between them and stitch them closed, and then add an inside felt page, with flanel squares - to make an extra-large needlebook.

There's quite a ways to go on the embellishment on the front. It's a bit too standard right now to be "interesting," and I'd like to play a bit with texture and shading here and there on it.

I'll let you know how it goes! and I'll give you a run-down on the stitches used once I finish the front. Here's the progress so far:

Labels: beginner embroidery, Hand embroidery stitches, needlecase, sampler, wip

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Posted By: Mary Corbet on Monday, December 04, 2006
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