Here's the last installment of this series of tutorials on hand embroidered lettering and text! Today, I'm going to take you quickly through the end of the stitching on my little sampler. For the final words, I've tried a couple new threads, but the stitches are ones we've already seen. If you're just joining in on the end of this series, you might want to take a look at the previous tutorials in the series, which cover all kinds of ways to hand embroider lettering.

I'm stitching the small filler words here, using three different types of threads for the remaining four words. I have few comments to make on the threads!



I stitched this short little "lazy" at the base of the sampler, using a relatively bright green over-dyed silk from Sassa Lynn. I liked these threads ok for this sampler. They're very soft. I think they're worked best in short lengths. I could see them being very nice threads for crazy quilting.



Here's the sampler after this word was added.



Now I ventured into this Burmilana, which I picked up on one of my shopping stops last summer while on vacation. This is the first time I've stitched with it. It's a wool and acrylic blend.



Oh my. I don't usually knock too many threads. But I don't think this one is made for surface embroidery. It is a pill. And it pills - and it fuzzes - and it's just really difficult to work with. I tried working with a crewel needle, a chenille needle, and even a milliner (thinking the round eye might wreak less havoc on the thread), stitching with short lengths of the thread, but really, what it boils down to is that this is a difficult thread to stitch with.



Perhaps, on a large-holed canvas, it may work better, and indeed, that may be what the manufacturers had in mind for this thread. But I'm pretty sure it wasn't made for surface embroidery.

The whole time I was stitching with it, I was thinking to myself, "Oh. Yuck."

And this brings me back to the whole question of embroidery supplies. If you're going to invest in supplies, do make your investment worthwhile by purchasing items you know are made for surface embroidery!



Here's the sampler so far, on an angle....



Using one strand of Pearsall's in a wheat color, I stitched this tiny "quick" in stem stitch.

Pearsall's is a nice silk. It's a little pricey, but it is a nice thread. It's softly twisted filament silk, so it has a very nice sheen. It also snags on things easily.

My advice is not to stitch with Pearsall's right after you've put up your Christmas tree - or you'll end up with a lot of these:



This is Pearsall's in red (which I used for the very last word on the sampler), after snagging it on my scratched and raw tree-fingers!



And there's the finish of my rather crowded and somewhat colorful and fairly nonsensical lettering sampler.

When you embroider text, remember the golden rule of all writing: The purpose of writing is communication! If writing does not communicate, then what is the point of writing? If your lettering does not communicate what it is meant to communicate, then the effort is wasted! Choose stitches that best communicate to your reader, and arrange the words so that they communicate your thought clearly to your reader, too. If you follow those rules, you'll have no problems with stitching readable text!

I hope you enjoyed this series! You can find the rest of it under "Tips and Tricks for Hand Embroidery" in the top right column, under editor's floss. There, you'll find all kinds of useful articles for beginners and beyond.

*********************************

Other News:

Don't forget my current give-away ends this Saturday, December 26th. If you'd like the opportunity to win one of Trish Burr's project CDs, don't forget to follow the directions in the original post for leaving a comment!

Speaking of that give-away, if you're in the US and you're looking for Trish's DVD / CD set, you can definitely order it through Nordic Needle, if you call them to place the order. It's not on their website yet, but they do have it in stock.

Today, I'm planning to finish the Nichole needlebook! Wish me luck. I'll share the finish with you in upcoming days.

But speaking of upcoming days, tomorrow is Christmas! Yes, I will still post - a Merry Christmas message for you, done by hand (but not stitched!). Right now, though, I'm not really replying to e-mail, unless it is urgent. If you've written in the last few days with a question, never fear - I will reply! But it may be a couple days yet. If you do have an urgent question, feel free to drop a line and let me know! I'll try to get to you sooner.

Here in the Midwest, we're anticipating a big ice and snow storm starting today, so it will be a perfect day for indoor finish work, wrapping presents, and getting ready for tomorrow.

May you have a peaceful, quiet, not-too-hectic Christmas Eve!

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

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Posted By: Mary Corbet on Thursday, December 24, 2009
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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

Click here to read the whole post & comments.

Posted By: Mary Corbet on Friday, February 27, 2009
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