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Monday, October 26, 2009

Schwalm Embroidery Photos & a Give-Away!

Sometimes, photos of needlework can be the best source of inspiration for me. When I see a beautiful piece of needlework in a photo, it makes me..... well. It makes me want to DO something - to make something beautiful! But the fact o' the matter is, there just aren't enough hours in the day, days in the week, weeks in the year to do all the needlework things I'd like to do! Do you ever feel that way? So, often, I content myself with looking at pictures. And along those lines, here are some photos of magnificent examples of Schwalm whitework embroidery.

These first two pieces belong to a friend, Joey, who helped Luzine Happel with the translation of two of her Schwalm embroidery books, Basic Principles of Schwalm Whitework and Fancy Hems.

This first piece is a teacloth embroidered by Luzine. Isn't it gorgeous? You can click on the photo for a closer view of it. The stitching is so stunning! Check out the variety of filling stitches!

This second piece is a decorative pillow, with the Schwalm work covering a red pillow - which makes the whitework stand out beautifully. I had not considered finishing a whitework pillow this way, with a contrasting fabric behind the whitework, but it makes all the sense in the world if you really want to show off the whitework. Again, you can click on the photo for a larger version.

Schwalm Whitework Embroidery

The books above are published by the Museum der Schwalm in Germany. The books are a kind of photographic journal of the pieces that have been featured in the museum's displays. Talk about inspiration!

Schwalm Whitework Embroidery

Here's one piece featured in one of the books. Pretty, isn't it? I don't know if it's exactly "traditional" Schwalm embroidery as far as design goes - the design seems a bit more contemporary. I like it a lot!

Schwalm Whitework Embroidery

A lampshade! I think I would love to have this in my house... but I can't help wondering if it would stay this pristine? I'd feel obliged to put it under glass to keep the Kansas dust off it!

Yep, I do love to browse through these types of books!! They goad me into doing something with my needle and thread.

A Give-Away!

Now, speaking of Schwalm work (again), I'd like to give away another book. Joey sent me a copy of Fancy Hems, but since I already have one, I thought it would be a good opportunity to put this excellent book into some other keen stitcher's hands.

You can read my thorough review of Fancy Hems here on Needle 'n Thread, to see what the book is about. Note that it's not just for stitchers interested in Schwalm whitework. Anyone interested in drawn thread or pulled thread embroidery will find this book useful and instructive.

Schwalm Whitework Embroidery

If you'd like to win this copy of Fancy Hems, here's how the give-away works:

Leave a comment below (on this article, on the website - not via e-mail or on other posts), answering the following question:

If you could launch into a Schwalm project right now, assuming you have the materials and instructions at hand, what would you make?

Make sure you leave a name, even if you use the "anonymous" feature when posting your comment. I'll draw for a winner on Wednesday, October 28th, by 5:30 am.

Best of luck!

Labels: Book Give-Away, needlework pictures, pictures, regional embroidery techniques, Schwalm, whitework

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Monday, October 12, 2009

Schwalm Embroidery Book Winner!

Here's a quick post to announce the winner of Basic Principles of Schwalm Whitework. Thanks for the excellent response to the give-away!

The winner is Karen, who wrote:

I'd love to have the book! I learned about whitework from you, so it seems only fitting :) Wrinkled or not, your stitching looks great and I hope I can do that some day. The first time I read a post on your site about whitework, I made myself NOT buy the book :) but I did go and buy 10 skeins of white Floche a Broder from Hedgehog Handwoks! You know, just in case. :) Thanks again for sharing!

Congratulations, Karen! And just think - you've already got threads! Drop me a line with your mailing address, and I'll send the book along as soon as possible!

Thanks again, all, for participating - and stay tuned for similar book give-aways in the future!

Labels: Book Give-Away, Schwalm, whitework

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Thursday, October 08, 2009

Schwalm Embroidery: Update and a Give-Away!

Just to convince you that I do still pick up a needle and thread now and then and do some stitching, I thought I'd give you an update on the Schwalm embroidery project I'm working on. The project comes from Basic Principles of Schwalm Embroidery by Luzine Happel, and although it seems as if I began the project a hundred years ago, I haven't gotten very far on it! So, to make up for the lack of noteworthy progress in stitching, I think I'll throw in a give-away!

First, the Schwalm whitework project! I've managed to get through the first two steps on one side of the square in the middle of the teacloth.

Schwalm Whitework Embroidery project underway

Schwalm Whitework Embroidery project underway

Woe is me! I know that looks just awful - a wrinkled mess! I don't want to iron it until I've finished the stitching and washed it because the transfer marks might set.

So far, I've outlined in coral stitch and I've done all the buttonhole scallops and wheels.

Not very impressive. *sigh*

Schwalm Whitework Embroidery project underway

I worked this mostly in hand (without a hoop). I think this lends to the general wrinkled appearance of the linen!

When working the buttonhole scallops, at first I progressed without a hoop, and it went ok, but I found it wasn't so easy to manipulate that much fabric while trying to work the scallops. I ended up wadding the linen up in one hand while stitching with the other.

Schwalm Whitework Embroidery project underway

Eventually, though, I decided to hoop the project up for the rest of the scallops and wheels. Stitching the scallops with a hoop seemed much easier!

Schwalm Whitework Embroidery project underway

I enjoyed stitching this part of the project. If I had all four sides of the square done, it would've been nice to keep going and going on buttonhole scallops and circles. It's a fun stitch! But my design has faded too much on the other three sides of the square, so I can't really do anything on those parts until I re-transfer the design.

So that's my progress right now on this project.

Now, for a give-away!

Thanks to Joey, who sent me an extra copy of Basic Principles of Schwalm Whitework, I am offering this book to an interested reader who wants to try (or improve upon) techniques of Schwalm embroidery. Schwalm is a beautiful form of whitework, and the stitches learned in the technique can be widely applied to other embroidery styles.

If you're interested in owning your own copy of this superb book, leave a comment below (on this post, on the website) letting me know you're interested in the book. Please make sure you sign your name to the comment, even if you use the "Anonymous" feature.

The give-away deadline is Monday, October 12, 2009, at 5:30 am CST.

If all goes as planned tomorrow, I'm going to spend Friday evening making some serious progress on this piece! I want to get to the point of drawing out the threads for the center fillings - wish me luck!

Labels: Book Give-Away, needlework pictures, pictures, regional embroidery techniques, Schwalm, whitework

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Friday, October 02, 2009

Schwalm Embroidery and Fancy Hems

Schwalm whitework embroidery is often used to adorn tablecloths, table runners, and household linens of various kinds. Besides the beautiful and lace-like embroidery featured on Schwalm pieces, Schwalm work often depends upon the finishing of the embroidered piece with a fancy hem. A couple months ago, I introduced you to Luzine Happel's thorough book on Schwalm embroidery - Basic Principles of Schwalm Whitework - which was newly translated into English. Today, I want to show you her latest book translated into English, Fancy Hems.

Fancy Hems is a book that any needleworker interested in drawn thread embroidery or whitework would find interesting, informative, and useful. It is not merely for folks interested in Schwalm embroidery in particular. The techniques explained in the book are suited to any kind of drawn thread work, really.

Fancy Hems by Luzine Happel

Like Luzine's Basic Principles of Schwalm Whitework, Fancy Hems is a self-published book.

Fancy Hems by Luzine Happel

Within its pages, you will find step-by-step instructions for creating the fancy openwork and drawn thread hems that often accompany Schwalm embroidery.

Fancy Hems by Luzine Happel

The instructions are cleary photographed, so that you can follow each step of embroidery. And the English text is clear and precise.

Fancy Hems by Luzine Happel

The book begins with simpler fancy hems and works its way slowly to more complex hems.

Fancy Hems by Luzine Happel

Featured throughout the book are pictures of magnificent embroidery that has been "finished" with the addition of a beautiful hem. Each type of hem is thoroughly explained and demonstrated in the book.

Fancy Hems by Luzine Happel

Watching the intricate designs of the hems unfold before your eyes, though the photos, is amazing - Luzine makes it look so simple! And because her instructions are good, creating a unqiue and intricate embellished hem area does become relatively simple.

Fancy Hems by Luzine Happel

All the basics are discussed, by the way, before venturing into the more complex embellishment. So, if working something like the above drawn thread bars featured in the text, you not only learn how to embellish the bars, but you learn the basics of how to create the bars in the first place - a nice tidbit of instruction for those interested in drawn thread work in general.

Fancy Hems by Luzine Happel

The types of hems featured in the book range from narrower bars to composite hems, made up of a variety of different "bars" stacked together, as in this magificent piece below:

Fancy Hems by Luzine Happel

Wouldn't it be something to finish the edge of a tea cloth like this? It's amazing, isn't it?

In the most recent issue of Piecework Magazine (Sept. / Oct. 2009), a one-page article focus on an embroidery guild group in Canada who began working through the Fancy Hems book, each creating their own fancily-hemmed cloth. I think that would be a fun and challenging group project - to take a book like this and have each person compile their own "stack" of hemming motifs. I was glad to see that article in Piecework.

But even more than that, I was so happy to see Luzine's newly-translated book, which will certainly become The Definitive Guide to drawn-thread fancy hems.

If you're interested in obtaining a copy of this book, feel free to contact Luzine via e-mail. She takes Paypal, which makes ordering from Germany very easy.

I have to thank Luzine for sending me the book, which was quickly followed by a real treasure chest of Schwalm related instructional and inspirational books - and some linen! Oh, linen! How I love linen! Thank you, Luzine!

Luzine has actually self-published a whole slew of books in German on Schwalm embroidery, and I do eventually want to show you all of them. They are amazing - and So Thorough! A few are in English, but most are in German. Still, the step-by-step photos make the books accessible even for those of us who don't speak or read German. In the meantime, though, if you are looking for books on filling stitches for Schwalm work or drawn thread embroidery, you can ask Luzine what she has available. One of her books instructs on 175 (yes, 175! - that's a LOT!) filling patterns. It's amazing!

She also has a really nice book of Schwalm patterns for a variety of projects. I'm really looking forward to making use of it. The more I look at Schwalm work, the more I fall in love with it! And she's got some really pretty patterns in this book. I'll review that one a bit later, in detail, so you can see what it looks like. And she included some little books from the Schwalm Museum in Germany - they're full of clear black and white photos of various Schwalm pieces. Oh, if I could just reproduce them for you here! I think you'd be in awe of the work!

The thing that really attracts me about Schwalm whitework is that, though it is predominantly whitework, the techniques involved spill over into so many other areas of surface embroidery, while at the same time integrating extensive drawn thread and pulled thread techniques. I think that's why I had so much fun with my Schwalm chicken and pomegranate on my whitework sampler.

And what about my Schwalm project that's currently underway (taken from Luzine's Basic Principles of Schwalm Whitework)? Well, I did indeed make the switch from another project so that I can focus on the Schwalm project during my 15-minute sessions, and I have enjoyed working on it in spurts. I actually accomplished a good bit of stitching on Wednesday afternoon of this week, which was nice for a change! I've finished the buttonhole stitching on one motif, and I'm ready to move on to the chain stitching, before starting the filling. I'm having fun with it - I'll update you with progress photos soon!

In the meantime, if you're interested in any of Luzine's books, drop her an e-mail.

Have a terrific Friday!

Labels: book review, drawn thread embroidery, Schwalm, whitework

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Tuesday, August 18, 2009

Schwalm Update & In-Hand Embroidery

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

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

Schwalm Whitework Embroidery

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

Schwalm Whitework Embroidery

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

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

Schwalm Whitework Embroidery

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

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

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

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

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

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

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

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

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Thursday, August 13, 2009

Setting Up Schwalm Whitework Embroidery Project

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

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

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

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

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

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

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

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

Schwalm Whitework Embroidery Tea Cloth

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

Schwalm Whitework Embroidery Tea Cloth

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

Schwalm Whitework Embroidery Tea Cloth

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

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

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

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

Schwalm Whitework Embroidery Tea Cloth

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

Schwalm Whitework Embroidery Tea Cloth

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

Schwalm Whitework Embroidery Tea Cloth

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

Schwalm Whitework Embroidery Tea Cloth

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

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

Schwalm Whitework Embroidery Tea Cloth

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

Then....

I threaded my needle...

Schwalm Whitework Embroidery Tea Cloth

It was time to start stitching!

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

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Other News:

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

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

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

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

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Friday, July 17, 2009

Schwalm Embroidery - The Definitive Guide!

If you've gotten to know me a bit through Needle 'n Thread, you've probably figured out that I like books - and I love needlework books. Occasionally, I read a needlework book from cover to cover, but it's rather a rare thing for me to do, especially if it is a book on a specific needlework technique. In such cases, I "scan" - I look for the information I need. For the first time in a long time, I read a needlework book from cover to cover yesterday. It wasn't hard to do, as the book is filled with pictures, and the text is made up of clear, succinct instruction.

Basic Principles of Schwalm Whitework by Luzine Happel is a self-published book that I think will become the definitive guide to learning Schwalm embroidery. The English version, recently edited by Joey Colbert (who formerly owned a great little embroidery shop called Twining Thread) and with an introduction by her, is one of the best instructional books that I've seen focusing on teaching a specific needlework technique.

Basic Principles of Schwalm Whitework by Luzine Happel

Basic Principles of Schwalm Whitework by Luzine Happel

Do not be put off by the fact that this is a self-printed book bound with a plastic comb. I say that because I've purchased many such printed books, and some of them have been complete fizzers, even though written and sold by rather well-known names in the needlework world. This book is not a fizzer.

The book is printed in color on nice paper, bound with a plastic comb, and has a clear plastic cover. The binding, actually, is an advantage - the book lays flat on the table, which is a boon for stitchers who are following the instructions within.

The book is written around one (beautiful!) Schwalm whitework project which incorporates all the major aspects of Schwalm embroidery, including many filling techniques, from simple to intricate. The premise is that, if you work through the project - a small decorative square linen with a Schwalm design around the four sides - you will become familiar with, and practice, all the techniques involved in Schwalm whitework, including excellent finishing techniques. The author takes you through every step of the way and leaves no question unanswered.

Basic Principles of Schwalm Whitework by Luzine Happel

After beginning with a discussion of materials (fabrics, threads, tools), Luzine shows you, through pictures and text, how to set up your fabric and transfer your project so that you begin on the right foot.

This section alone would be of interest to any stitcher, regardless of technique preferences, because the principles in the set-up of this project apply to setting up practically any embroidery project. The proper marking of the fabric so that the design is centered and lined up perfectly, the transfer of the pattern, including transferring an extra corner piece - all this information is useful to the hand embroiderer.

Basic Principles of Schwalm Whitework by Luzine Happel

You can see here a glimpse of the design. On the right page, in the left corner of the design, you can see how the extra motif for the corner is being aligned with the rest of the design.

Basic Principles of Schwalm Whitework by Luzine Happel

Luzine addresses the question of how to treat your threads - how to arrange them for easy access and in a way that keeps them neat and organized as you work through the project.

Basic Principles of Schwalm Whitework by Luzine Happel

The stitches are explained with step-by-step photos, but more interestingly, the whole progress of the projects is explained with step-by-step photos, too. Each time you get through a stage of the project, a complete picture of the area is given, so you can see what it's supposed to look like at the end of that stage.

Little red arrows in the photos point to the areas that require special attention - a little instructional hint on how to come to a perfect point, for example, or how to end a thread, or where to come up next, etc. (Like I said, no question is left unanswered!)

Basic Principles of Schwalm Whitework by Luzine Happel

Progressing to the next stage, you're taken step-by-step through it, and then given a clear picture of what your work should look like at the end of the stage.

Basic Principles of Schwalm Whitework by Luzine Happel

Since different results are often desired from the same stitch (for example, depending on the shape of the leaf, satin stitches will be worked differently), Luzine includes photos of all the results you will want to achieve, discussing them and explaining how to achieve them.

Basic Principles of Schwalm Whitework by Luzine Happel

One of the most beautiful aspects of Schwalm whitework is the variety of fillings used inside the various motifs. There are three basic approaches to fillings in Schwalm, and the author explains all three, then takes you through different stitches within the three categories. The project incorporates all different types of fillings, working you from the basic to the more intricate.

Basic Principles of Schwalm Whitework by Luzine Happel

Close-up photos and detailed explanation take you through what could be tricky ground. This is the aspect of Luzine's book that I prefer vastly over Christine Bishop's book, Schwalm Embroidery Techniques and Designs, which I've already reviewed. While I like Christine's book and find it informative and inspiring, when it comes to actual stitch explanations (especially in the filling techniques) and their sketched diagrams, the book leaves the novice stitcher with questions that require troubleshooting. Luzine's explanations of the filling techniques used in Schwalm are clear, precise, and well illustrated.

Basic Principles of Schwalm Whitework by Luzine Happel

And, again, as you go, you get the photos of the work as you complete a stage.

Basic Principles of Schwalm Whitework by Luzine Happel

Now, in many technique books, the finish work is either neglected completely, or, if finishing is discussed, it is in the most generic of terms. Not so in this book. The author takes you through every step of finishing the project.

Basic Principles of Schwalm Whitework by Luzine Happel

The finishing section alone is worth the book, for anyone interested in any kind of drawn thread or whitework embroidery that requires hemming with a decorative edge. Once you understand the principles, you can apply them to a variety of decorative treatments.

Basic Principles of Schwalm Whitework by Luzine Happel

Finally, in the back of the book, you'll find two semi-transparent pages with clear line drawings of the motifs used in the project. These are marked with dashed lines on the center points, so that you can line up the design precisely on your fabric.

Now, the book is available, but it has to be ordered from Germany either directly from Luzine or from the Museum der Schwalm website in Germany, which is rather difficult to order from. This is the direct link to Basic Principles of Schwalm Whitework by Luzine Happel at Museum der Schwalm. Better yet, you can contact Luzine directly for the book and she can send you a Paypal invoice (which is much easier!). Her e-mail is leuchtbergverlag [at] aol [dot] com.

The price is a bit daunting, I know, at 29.9 EURO (about $42US). And you might think that, because it isn't a professionally published book, it couldn't be worth that. I think it is worth that. If you want to learn Schwalm, or you want to explore it further and learn some of the tips and tricks, I think this is the best book for doing so. There's just no comparison between it and the other two popular Schwalm books on the market (Christine Bishop's and Renate Fernau's). While both of those feature beautiful embroidery - and the sampler in Christine's book is really nice! - the actual instruction in both books fall short when compared to this book, in my opinion.

So, if you're interested in Schwalm or whitework in general, I think this is a book to add to your library!

Since reading it, I've decided (ut oh!) that, with the exception of the current long and short stitch stuff I'm preparing for the website, my next "complete" project - as in "real" and "serious" project, is going to be this piece. It's beautiful. And I want to learn from Luzine!! Don't be surprised, then, to see me setting up this project in the next few weeks!

[The Fine Print: No affiliation here - just a Really Good Book that I think you'll like if you're interested in whitework!]

Labels: book review, embroidery resources, pictures, Schwalm, whitework

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Monday, July 06, 2009

Coton a Broder Questions, Floche, and Danish Flower Thread

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

#1: Does coton a broder come in colors?

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

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

This is floche:

Floche for Hand Embroidery

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

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

Floche vs. Danish Flower Thread

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

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

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

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

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

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

Comparison between floche and other common DMC threads

Comparison between floche and Danish Flower Thread

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

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

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Tuesday, June 16, 2009

Adding Texture with Seed Stitch

After stitching all the lines on my current embroidery project, the next step was to add some seed stitching. I figured filling in certain areas in seed stitch would accomplish two things: it would add some texture and it would make the prominent parts of the design stand out. And so, I proceeded to stitch hundreds - perhaps thousands! - of tiny seed stitches.

There's nothing at all complicated about seed stitching! Some books show seed stitch as two tiny stitches stitched as a pair perfectly parallel to each other, randomly covering an area. I only use one stitch, personally, stitching tiny single stitches randomly to fill an area.

Seed Stitch on Hand Embroidered Pall

Above, you can see the beginnings of the seed stitching. I started in the diamond area on the right, which was probably a mistake. Actually, I'm sure it was a mistake! You can see one spot in the center of the diamond that's a bit crowded. See, the diamond is relatively small, so there's not a lot of room there to really get up a rhythm with the stitching and gauge distance and so forth. Once you get the feel for the spacing and all that, seed stitching is a breeze. But starting and stopping in a tiny area doesn't really do it.

Seed Stitch on Hand Embroidered Pall

Now, you might wonder why I didn't take out the seed stitching in the diamond area described above, and there you have one disadvantage of closely-worked seed stitch: it makes a jolly mess of the fabric if you decide to pick it out. Oh, and the picking! It just isn't worth it! I figured once the whole piece was stitched, that little crowded area in the diamond would not really be noticeable to anyone but me.

In the photo directly above, I've progressed a bit further with the seed stitching, and managed to take a picture in "natural" light as the sun slanted in.

Notice that I didn't seed stitch the main element of the design itself (that's the "M" in the center of the scalloped circle). I thought that seed stitching on the background, around the M, would actually take the background further back, and make the M stand out more, as in relief. That was my plan, anyway, and I think overall, it worked out.

Seed Stitch on Hand Embroidered Pall

You can really see the bumpy texture of the stitching here. For the outlines on the project, you may remember that I used #20 coton a broder. For the seed stitching, I used #25 coton a broder, for two reasons: 1. I ran out of #20 (which really narrows it down to one reason, I guess - it's not as if I had a choice!) and 2. I figured the finer thread would look better. I had planned on using #25 for the seed stitching, anyway. What's funny is that I ran out of #20 coton a broder for the outline exackitackily as I finished my last few stitches of the outline. I had about 4" of thread to spare when finished. I've never come that close to running out of thread before!

Seed Stitch on Hand Embroidered Pall

Here's the whole central medallion finished, and one crown (lower left).

Seed Stitch on Hand Embroidered Pall

My favorite part of the design are these scrolls and fleur de lys tips surrounded by the seed stitching. I think it looks ok, don't you? I mean, I don't want to say, "Golly, am I good, or what?" because that's not what I'm thinking! I'm just glad it came out looking pretty nice. There's quite a bit of chance involved in that, you see - I really had no idea that the seed-stitched background would be successful. It was just a hunch, and once I started, I knew I was in it, so I had to finish. I was glad that it worked out!

Seed Stitch on Hand Embroidered Pall

From a bit of a distance, here's the whole piece with the seed stitching done. Hm. At this angle and in this light, you do kind of lose the center image.

Seed Stitch on Hand Embroidered Pall

But this is more what you see without the bright light (Ott light), and here, the central M is pretty clear.

Seed Stitch on Hand Embroidered Pall

Another disadvantage of seed stitching... not to be negative here!... is the finger hole. The finger hole? The finger hole!

I ended up with one of those tiny little needle holes in my middle finger on my right hand, which is the finger I generally use to manipulate my needle. Oh boy - you know, one of those teeeny holes made by the eye of the needle, and which the eye miraculously finds, no matter how hard you try to avoid it! There's nothing quite like it when the back of your needle slides on into a little hole like that!

You know what my solution is? Oh - I know you're thinking, "Wear a thimble, dummy!" But no, no... Super glue. I put a dot of super glue over the little hole and let it dry. It works great!

Ok, so that's the seed stitching, done! Yippee. I've sewn the pall together already, and made the back - I'll show you that in a future post, along with the finished pall with the lace attached. I'm halfway through sewing the lace right now, and will have it done probably before you even read this post!

Thank you for your oh-so-nice comments on the Blogiversary Post of yesterday! If you haven't signed up for my three year blogiversary give-away, don't forget! It's over tomorrow morning, at 5:00 am CST. Thanks also for the insight into your likes and what you'd like to see more of on Needle 'n Thread. I've got a post planned that will have a permanent link for all 'tags' - which will help make things a bit more searchable, I hope.

And, on that note, I'm off to finish up the lace, then shopping in preparation for my trip (leaving Thursday morning!). Don't worry - I've got some Super Duper articles lined up for you while I'm going, and I hope to be blogging a bit along the journey, especially about any tidbits that might involve needlework shops!

Labels: ecclesiastical embroidery, needlework pictures, pictures, whitework

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Saturday, June 13, 2009

Thread Ridges and Seed Stitch to Come

Here's a wee update on my current embroidery project, a white-on-white ecclesiastical piece. I've finished all the outlining on the design, and now I'm going to seed stitch certain parts of it.

On this piece, I'm using whipped backstitch to form the ridged outlines. I wanted a firm line with a little height to it, but I didn't want to work an overcast or trailing outline around the whole design, because that would've taken ten forevers! So whipped backstitch was the choice, as it's relatively quick to work and I do like the look of the lines created by the stitch.

Hand Embroidered Pall

You can see above the difference between the backstitching and the whipped backstitch - the crown part of the design at the top of the photo has already been whipped, and the line is much smoother than the backstitch line. It's funny - in these photos, which were taken under a bright light, I really like the look of the backstitch, too. Actually, I like to look at the contrast between the backstitched line and the smoother lines of the whipped backstitch.

Hand Embroidered Pall

A couple little warbly problems presented themselves in the whole backstitch-whipping endeavor. Why does this happen? Pretty much, it's because the working thread gets too twisted, and as it twists on itself, it stiffens as it wraps around the backstitches. The solution: drop your thread and let it untwist every so often. In fact, when whipping the stitch like this, depending on the direction you're working in, the thread will often become twisted very quickly, so it's a good idea to drop that needle and let it dangle from your work quite often, in order for the tread to untwist.

Hand Embroidered Pall

Overall, I like the design and the ridged line created by the stitch. My intention was to create a high enough line that it would cast a small shadow, making the design more visible from afar. I wasn't sure how well that plan would work, but at least, with a ridged line rather than a flat outline, I know it will be somewhat more visible from afar.

Hand Embroidered Pall

I tried photographing the piece at different angles in different light to see if I could get a decent shadow from the lines...

Hand Embroidered Pall

... but I'm no grand photographer, and I don't always "get it," when it comes to picture-taking!

Hand Embroidered Pall

But then, just as I was closing up shop for the day, for the first time all day, the sun came out. It was slanting in the western window in my studio, right across my work, and I said, "Wow. Now there's a shadow!"

Hand Embroidered Pall

The linen doesn't look as white here through the eye of the camera, I suppose. BUT ... the relief created by the stitching is much more obvious.

Yes, I'm satisfied so far with this part of the stitching. It's the look I wanted, anyway. Now, on to the seed stitching! I'm trying to optimistically think that I'll be finished with all the stitching by this evening, and able to assemble the pall tomorrow and put a hand-tatted edge on it. Um. Well, there's nothing wrong with optimism! I'll let you know if it happens!

Labels: ecclesiastical embroidery, needlework pictures, pictures, whitework

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Thursday, June 11, 2009

Embroidery Back: Removing and Repairing a Slip Knot

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

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

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

Removing a Slip Knot from the Back of Embroidery

Removing a Slip Knot from the Back of Embroidery

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

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

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

Removing a Slip Knot from the Back of Embroidery

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

Removing a Slip Knot from the Back of Embroidery

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

Removing a Slip Knot from the Back of Embroidery

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

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

Removing a Slip Knot from the Back of Embroidery

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

Removing a Slip Knot from the Back of Embroidery

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

Removing a Slip Knot from the Back of Embroidery

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

Removing a Slip Knot from the Back of Embroidery

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

Removing a Slip Knot from the Back of Embroidery

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

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

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

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

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

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

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Wednesday, June 10, 2009

Backstitch? Ya Gotta Be Joking...

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

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

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

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

Ecclesiastical Embroidery: Hand Embroidered Pall

Ecclesiastical Embroidery: Hand Embroidered Pall

Yep. That's backstitch, all right!

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

Ecclesiastical Embroidery: Hand Embroidered Pall

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

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

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

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

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

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

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

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Tuesday, June 09, 2009

Catching Up with Stitching and My Day

Have you noticed that I don't often miss writing a post in the morning, especially on week days? I thought about that this morning, and I really wanted to write something spectacularly engrossing, all about embroidery and all about the great strides I'm making on my current project. Unfortunately, the morning got away from me, and then I had to make frantic headway on stitching and other craft doings (preparing some wedding shower gifts). I only have one thing to say about all of it, and I'm going to say it with a photo....

I mean, really, what's the most irritating thing that can happen while you're engrossed in your embroidery, stitching along, making good progress, thinking all's going well?

Ecclesiastical Embroidery: Hand Embroidered Pall

Right. You turn it over to finish off, and you see that.

It's called a slip knot.

I hate them.

That's about how my day has gone! Fortunately, these are relatively easy to take care of. I'll show you how I remedy problems like this in an upcoming post!

I hope you have had a much more satisfactory day!

Labels: ecclesiastical embroidery, needlework pictures, pictures, whitework

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Sunday, May 31, 2009

Ecclesiastical Embroidery Project Underway

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

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

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

Ecclesiastical Embroidery: Hand Embroidered Pall

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

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

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

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

Ecclesiastical Embroidery: Hand Embroidered Pall

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

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

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

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

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

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

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

I hope you've had a great weekend!

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

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Friday, April 03, 2009

Needle Lace Easter Egg - Free Pattern

Here's a little needlelace pattern for you - it's oval (not quite egg shaped, but close enough) and perfect for decorating something Eastery.

It seems there are many names for this kind of lace. I call it needlelace, which is a more general term. In some books, it's also called point lace or reticella, and I've even seen it called needlepoint lace.

Needlelace is worked independent of fabric. In fact, it can be worked over paper, removed from the paper, and then added to fabric. When I venture into needlelace like this, though, I generally work it over my fabric, then cut the fabric behind it in an X shape, then turn the fabric back to the edges before working the final buttonholing or overcasting around the motif, catching the fold of the fabric. Then I cut the excess fabric away.

Still, I have worked it on paper, and it works up fine! The last step when working it on paper is overstitching it to the fabric (buttonhole or overcast on the outside lines) and then cutting away the fabric beneath it.

Mostly, needlelace is worked in conjunction with whitework. That's not to say it has to be worked on a whitework piece - no way! You can make little pieces of lace to decorate anything you want, really!

A very long time ago, I featured a tiny sample of needlelace here on Needle 'n Thread. If you want to see some nicer examples of needlelace, check out Textile Dreams, especially the reticella heart. There's also a very nice needlelace tutorial on Textile Dreams!

An excellent online book on needlelace is Therese Dillmont's Needle-made Laces, which you can find in two PDFs hosted at the On-line Digital Archive of Documents on Weaving and Related Topics (that's a mouthful!) In the first PDF file, you'll find clear step-by-step directions for this type of needlelace. Here are the direct links to the PDFs:

Needle-made Laces, Part I
Needle-made Laces, Part II

This particular design is cleaned up from an old Variety magazine pattern. The original booklet was printed in 1926 by Carmela Testa & Company. If you come across any of these old booklets, they're really nice to have! (But they're not always in the best shape!) Still, snatch them up! They're worth it - a great addition to a needleworker's library. Keep in mind, though, that sometimes these old booklets - though full-up with wonderful little patterns like this - lack clear instruction, especially when compared to today's step-by-step photo books! They assume the stitcher has already achieved a certain level of skill.

Well, without further ado, the egg. Below it, you'll find a link to a PDF version.

Needlelace Pattern

Needlelace Egg (PDF)

Enjoy!

Labels: embroidery resources, free embroidery patterns, needlelace, whitework

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Wednesday, March 25, 2009

Cutwork Pattern for Hand Embroidery

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:

Cutwork Embroidery on my Whitework Sampler

Cutwork Embroidery on my Whitework Sampler

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.

Cutwork Embroidery on my Whitework Sampler

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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Tuesday, March 24, 2009

Drawn Thread: Simple Treatment with Coral Knots

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.

Simple Drawn Thread Embroidery Design worked with Coral Knots

Simple Drawn Thread Embroidery Design worked with Coral Knots

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).

Simple Drawn Thread Embroidery Design worked with Coral Knots

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.

Simple Drawn Thread Embroidery Design worked with Coral Knots

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...

Simple Drawn Thread Embroidery Design worked with Coral Knots

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

Click here to read the whole post & comments.

Thursday, March 19, 2009

Cut it Out!

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:

Cutwork in whitework embroidery

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."

Cutwork in whitework embroidery

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!

Whitework Embroidery Sampler: Cutwork

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...

Whitework Embroidery Sampler: Cutwork

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

Whitework Embroidery Sampler: Cutwork

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

Whitework Embroidery Sampler: Cutwork

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

Whitework Embroidery Sampler: Cutwork

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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Wednesday, March 18, 2009

Whitework Embroidery Sampler: The Monogram

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:

Whitework Embroidery Sampler: Placing a Monogram and Transferring the Design

Whitework Embroidery Sampler: Placing a Monogram and Transferring the Design

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.

Whitework Embroidery Sampler: Placing a Monogram and Transferring the Design

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!

Whitework Embroidery Sampler: Placing a Monogram and Transferring the Design

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.

Whitework Embroidery Sampler: Placing a Monogram and Transferring the Design

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

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

Click here to read the whole post & comments.

Thursday, March 12, 2009

15 Minutes on Drawn Thread Embroidery

Have you noticed that weekends are a lot shorter than the work week? This tends to cramp my "embroidering style," but I can't seem to figure out how to do anything about it! I can never get as much embroidery done on the weekend as I want to, and during the work week, I can hardly get anything done! So, I'm enjoying my 15 minutes with my needle and thread.

A couple weeks ago, I introduced the topic of setting aside 15-minute needlework sessions, grabbed here and there during the day, to at least make some progress on embroidery (or other) projects. My point, I suppose, was that you can actually get a lot done in 15 minutes, and those 15-minute sessions do add up to real progress!

Admittedly, sometimes those 15-minute sessions can be a bit of a wash, like my last 15 minutes with my goldwork iris! Argh. I still haven't recovered from that one! But at least I learned something!

Here's a 15 minute session with my whitework sampler.

Whitework Sampler Progress: 15 Minutes with Drawn Thread Embroidery

Whitework Sampler Progress: 15 Minutes with Drawn Thread Embroidery

I mentioned the story behind these large curly things on my whitework sampler the other day. So, here, I am finishing the filling work inside this curl. The stitch is an un-named mistake, but would be called reversed wave stitch, if I had done it correctly! Heh heh.

So, I set the timer, and with great enthusiasm, I picked up my camera, snapped the above photo, and then grabbed my needle, and the race was on!

Wait! Wait!!

Stop!

Racing won't do!!

I found I have a tendancy to want to race in these 15-minute sessions. "How much can I accomplish in 15 minutes?!" But that's not the point. The point is 15 minutes of regular stitching, not rushed stitching! Besides, when rushed and feeling pressured, mistakes are sometimes more likely!

So, I snapped a picture, took a deep breath, sat back, picked up my needle, propped my feet up (on the couch!) and just ... sttiiiiitched with nice, normal pacing until the timer turned off.

In the back my head, I was sure I could finish filling in this curl, and, while I was controlling the urge to really rush, I still figured I had it in the bag. Surely I could finish this filling...

Whitework Sampler Progress: 15 Minutes with Drawn Thread Embroidery

But alas! No! I was just beginning to stitch the first stitch on the bottom of the second to the last row there, when the timer went off. Oh... I could've cheated. I could've kept going! I wanted to, that's for sure! But with other things pressing (like my first class starting in 10 minutes!), I thought it wise to stop!

So there's a 15-minute session. As usual, I was excited and fired up to get home and finish the filling! But as luck would have it, I haven't had a chance to get back to it yet! (Maybe tonight?!) I'll let you know!

Labels: 15 minutes, drawn thread embroidery, needlework pictures, pictures, whitework

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Tuesday, March 10, 2009

Whitework & Drawn Thread Sampler Update

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!!

Whitework Embroidery Sampler progress

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!

Whitework Embroidery Sampler progress

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.

Whitework Embroidery Sampler progress

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!

Whitework Embroidery Sampler progress

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

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

Click here to read the whole post & comments.

Friday, February 27, 2009

Drawn Thread Embroidery: Zig-Zags and Corners

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.

Drawn Thread Embroidery: Working Zig-Zags

Drawn Thread Embroidery: Working Zig-Zags

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.

Drawn Thread Embroidery: Working Zig-Zags

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....

Drawn Thread Embroidery: Working Zig-Zags

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

Drawn Thread Embroidery: Working Zig-Zags

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.

Drawn Thread Embroidery: Working Zig-Zags

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

Drawn Thread Embroidery: Working Zig-Zags

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

Drawn Thread Embroidery: Working Zig-Zags

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.

Drawn Thread Embroidery: Working Zig-Zags

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.

Drawn Thread Embroidery: Working Zig-Zags

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.

Sunday, February 22, 2009

Tutorial: Coral Knot in Drawn Thread Embroidery

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.

Tutorial: Coral Knot used in Drawn Thread Embroidery

Tutorial: Coral Knot used in Drawn Thread Embroidery

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.)

Tutorial: Coral Knot used in Drawn Thread Embroidery

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.

Tutorial: Coral Knot used in Drawn Thread Embroidery

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.

Tutorial: Coral Knot used in Drawn Thread Embroidery

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.

Tutorial: Coral Knot used in Drawn Thread Embroidery

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.

Tutorial: Coral Knot used in Drawn Thread Embroidery

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

Click here to read the whole post & comments.

Wednesday, February 18, 2009

Drawn Thread Embroidery: Diamond Stitch Photo Tutorial

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

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

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

Drawn Thread Embroidery: the Diamond Stitch

Drawn Thread Embroidery: the Diamond Stitch

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

Drawn Thread Embroidery: the Diamond Stitch

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

Drawn Thread Embroidery: the Diamond Stitch

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

Drawn Thread Embroidery: the Diamond Stitch

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

Drawn Thread Embroidery: the Diamond Stitch

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

Drawn Thread Embroidery: the Diamond Stitch

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

Drawn Thread Embroidery: the Diamond Stitch

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

Drawn Thread Embroidery: the Diamond Stitch

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

Drawn Thread Embroidery: the Diamond Stitch

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

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

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

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

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

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

More Drawn Thread and Whitework Embroidery

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

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Monday, February 16, 2009

Excellent Drawn Thread Embroidery Book - Free Online

Since I've been playing around with drawn thread embroidery on my whitework technique sampler, I thought it worthwhile to look around online for some good resources for technique and design ideas. As usual, one of my first stops when looking for needlework instructional books online is Antique Pattern Library. I love this website! And I could spend many long, lingering hours there!

I was happy to find Therese Dillmont's Drawn Thread Work (DMC Library). Typipcal of these Therese Dillmont books (there's a whole list of them on Antique Pattern Library), there's heaps of information, diagrams, and so forth in the book.

While many of the Dillmont books listed on the APL index are in French, the drawn thread book is in English. No matter what language you speak, though, the diagrams are clear enough to follow, if you have at least a little understanding of drawn thread embroidery.

Therese Dillmont's Drawn Thread Work available on Antique Pattern Library

I like the choice of colors in the project on the front cover!

Therese Dillmont's Drawn Thread Work available on Antique Pattern Library

The book is in PDF format, in two parts. The first part addresses mostly the different types of drawn thread work, with pictures of how to work out different bunching techniques, as well as decorative corners, needle lace accents, and so forth.

Therese Dillmont's Drawn Thread Work available on Antique Pattern Library

The second part features some really beautiful ideas for drawn thread projects.

If you're looking for some inspiration for your own drawn thread embroidery, do check out Therese Dillmont's book:

Part I - Drawn Thread Embroidery by Therese Dillmont (PDF)

Part II - Drawn Thread Embroidery by Therese Dillmont

And if you're just longing to spend some time browsing some old needlework books, pop in at the Antique Pattern Library and enjoy lingering for hours over some of the wonderful books available there!

Labels: book review, drawn thread embroidery, embroidery books, embroidery resources, online needlework books, whitework

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Whitework Techniques Embroidery Sampler Update!

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:

Whitework Embroidery Techniques Sampler, progress so far

Whitework Embroidery Techniques Sampler, progress 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.

Whitework Embroidery Techniques Sampler, progress so far

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!

Whitework Embroidery Techniques Sampler, progress so far

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.

Whitework Embroidery Techniques Sampler, progress so far

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.

Whitework Embroidery Techniques Sampler, progress so far

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.

Whitework Embroidery Techniques Sampler, progress so far

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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Saturday, February 14, 2009

Drawn Thread Embroidery: Chain Loop Bunches

One of the most interesting aspects of drawn thread embroidery is the way the remaining threads are grouped together for decorative effects. There are heaps of ways to group together threads! And I'm not even sure all books agree on the names of the techniques. On one drawn thread area on my whitework techniques sampler, I worked a line of what I call chain loops. They're a kind of half chain stitch that holds the bunches together. This isn't to be confused with the coral knot used in drawn thread work, which is sometimes just called "knotting."

This is a simple way to bunch together groups of threads in drawn thread embroidery - and the result is a very basic "decoration."

Drawn Thread Embroidery: Bunching threads together with a chain loop

Drawn Thread Embroidery: Bunching threads together with a chain loop

Notice that there's no knot in the thread that's running through the bunches. Rather, there's just a kind of "hook" that looks a bit like a chain stitch.

This method is an ok way to bunch threads together on an item that is not utilitarian. If you're practicing bunching threads for a sampler or something that will be framed, then this is fine. If you're making a pillow or some other utilitarian item that will eventually need to be laundered, I wouldn't use this method of thread bunching, personally. Without an actual knot in the thread, I don't know that the loops will hold up and keep their proper tension.

For bunches to look good in drawn thread work, they need to be even. In the row pictured above, I began by hemstitching the top and bottom of the row, grouping together two vertical threads. Since I'm bunching up groups of 4 (each group made up of 2 vertical threads), before I started, I made sure I had enough vertical threads. I withdrew horizontal threads over a number divisible by 8. If I only wanted to work three bunches of two together, the number of vertical threads left would be divisible by 6.

I really don't like the whole counting aspect of drawn thread work, and it's true that you can hedge a bit on some of it, depending on your project, but when you're working a sampler where the stitches and bunches and so forth are all very visible, it's a good idea to count accurately.

Drawn Thread Embroidery: Bunching threads together with a chain loop

Once the hemstitching is complete, you'll start with a new thread. Anchor the thread on the right side of your strip, so that it emerges at the half-way point on the right side. Then, take the needle under the bunch of threads you want to pull together, and take it over the working thread, just as you would do with a chain stitch in regular surface embroidery.

Drawn Thread Embroidery: Bunching threads together with a chain loop

Pull the needle forward through the loop along with all of the working thread, pulling tightly enough to bunch together the vertical thread groups in the fabric.

Drawn Thread Embroidery: Bunching threads together with a chain loop

Continue down the row in the same manner, until you finish the last chain loop over the last bunch. Take your thread to the back at the half-way point of the edge, and weave it under your edging to secure it.

Drawn Thread Embroidery: Bunching threads together with a chain loop

And that's pretty much it. It's not the most decorative way of bunching threads together, but it works ok for a simple effect. I prefer (personally) using a coral knot, but for getting started, this is an easy way to get an idea of bunching threads. Don't worry - I'll show you the coral knot (or "knotting") in an upcoming article.

In the meantime, I'm still just messing around with the whitework techniques on this sampler. I've played a bit with Schwalm - just enough to make a few mistakes and learn a few useful things. I'll be sure to show you what I mean this coming week!

And phew! I'm glad it's Saturday! I'm playing catch-up this weekend, which is not always fun after a rat-race-week. I hope you're able to get some stitching in and that you enjoy the weekend!

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

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Monday, February 09, 2009

Hemstitch in Drawn Thread Embroidery - Photo Tutorial

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.

Hemstitch in Drawn Thread Embroidery

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.

Hemstitch in Drawn Thread Embroidery

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

Hemstitch in Drawn Thread Embroidery

Pull the thread through...

Hemstitch in Drawn Thread Embroidery

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.

Hemstitch in Drawn Thread Embroidery

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:

Hemstitch in Drawn Thread Embroidery

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...

Hemstitch in Drawn Thread Embroidery

... 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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Sunday, February 08, 2009

Atypical Whitework Embroidery

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.

36 ct Edinburgh linen, natural, for whitework technique sampler

36 ct Edinburgh linen, natural, for whitework technique sampler

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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Thursday, February 05, 2009

HELP! Considering a Fabric Choice...

I think I may have made a mistake. (Shock! Horror!) This is a fabric mistake, and actually, it's not very surprising. I tend to make mistakes, and I tend to especially make mistakes when I settle for one thing, knowing deep down I should just waaaaaiiiiiit. This is the problem: I received an order of fabric today!

Receiving a fabric order isn't the worst problem in the world. In fact, I was happy to see the package arrive! But it had this fabric in it - this 36 count natural Edinburgh linen, which is exackitackily the color I wanted to work my whitework sampler on.

Now do you see the problem?

Let me show you the difference...

Linen: 36 count natural Edinburgh vs. 32 count flax Belfast linen

Linen: 36 count natural Edinburgh vs. 32 count flax Belfast linen

The linen I'm presently using is a 32 count Belfast linen in flax (that's the color). The new linen I recently ordered is 36 count Edinburgh linen in natural. It's the top linen in the photo above.

The natural Edinburgh linen is definitely darker than the flax Belfast linen, and it's the color I had in mind when I set about contemplating the whitework sampler. But, see, I had the Belfast linen. And I didn't know what the difference would be in the two colors - I actually thought the natural would be lighter. But in my head, the color I wanted was the color that arrived this morning!

Linen: 36 count natural Edinburgh vs. 32 count flax Belfast linen

Now, you may be tempted to ask what the heck? What's the big difference? And, to a degree, you're right. But there are some pros and cons to switching fabrics...

The advantages of switching to the darker fabric:

1. Better photos - it'll be much easier to see the white threads and the patterns they form, etc., on the darker fabric.
2. Higher count and smoother hand - the Edinburgh linen seems to have a smoother hand, and it definitely has a higher count thread, which is good for non-counted, non-drawn-thread whitework techniques, such as regular surface embroidery. The higher the count, the easier (I think) it is to work trailing designs, satin stitching, and so forth.

The disadvantages of switching:

1. OHHHH - it's SWITCHING!!! I probably don't need to explain this one!! I've already made some progress, I'd have to rinse and iron and re-frame the fabric... you know the drill. Argh! We could almost include wasting the other fabric in here, but I don't really consider it a waste, and it isn't that much fabric. UGH! The set-up of a project is not my favorite part, needless to say!

2. The higher thread count also poses a con, when working drawn thread techniques. It's just downright easier to do drawn thread work on a lower count fabric. Also, in the Ukranian drawn thread stuff, I wonder if 36 count might be a wee bit too high? I'll have to contact Yvette on that one....

So ---- HELP!!!

Whadyareckon? What are your thoughts? What should I do?

To switch, or not to switch - that is the question!
Whether 'tis nobler to suffer with discontent of color,
Or to take scissors against this framed-up pale stuff,
And by cutting and unframing, end it?

Labels: drawn thread embroidery, fabric for embroidery, linen, miscellaneous embroidery musings, pictures, whitework

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Monday, February 02, 2009

Whitework Embroidery Sampler: Drawn Thread, Continued

The weekend has come and gone! I made little progress (almost none) on any embroidery this weekend, though I did manage to do two embroidery-related things. I'll tell you about those and show you some photos of a little bit of drawn thread embroidery that I worked last week.

First, the embroidery-related things I managed to accomplish:

1. I played quite a bit with the plaited braid stitch. This does not by any stretch of the imagination mean I created anything beautiful with it. In fact, what I have to show for any efforts along these lines is just a mess. I simply worked with it. I'll tell you about that when I can take better photos.

2. I managed to film ONE video for my video library of hand embroidery stitches, and actually put it together, though it's not edited completely and there's no sound on it yet. I've got some delightful bronchial sore throat thing going on, so I sound like a frog.... and yes, Marian - it's for Turkey Work. (I think it was Marian??!)

I don't know about you all, but does it seem as if the weekends go faster the more you look forward to them? I've determined to stop looking forward to weekends, in the hopes that they will last longer if I don't anticipate them! Sheesh. I accomplished no "real" stitching this weekend.

But here are a few photos of some drawn thread stuff I managed playing around with last week.

Drawn Thread Embroidery on a Whitework Sampler of Sorts

Drawn Thread Embroidery on a Whitework Sampler of Sorts

Actually, all I really got done was the inside of that top piece. The rest was finished weekend before last!

Drawn Thread Embroidery on a Whitework Sampler of Sorts

I kind of like the inside of this - it was spontaneous, and it just happened to work out evenly spaced. I counted off threads in the fabric as I went, and decided to add one more little eyelet here or there to make it even. I'm using #20 coton a broder, and the fabric is 32 count linen.

Drawn Thread Embroidery on a Whitework Sampler of Sorts

Besides the inside square eyelets up there (it's actually Algerian Eye stitch, pulled tight to open the middle hole), I stitched one edge on what will be a Ukranian drawn thread motif.

I'm working this little bit straight from Yvette Stanton's Ukranian Drawn Thread embroidery book. Wow. Talk about a good book! If you're at all interested in Drawn Thread embroidery, you should look this one up! Her instructions are so precise - I don't think I've seen their equal in any other needlework book. She takes you step-by-step (with photos and diagrams) through each practice motif. So I'm going to work one of her little practice motifs here.

And that, my friends, is all I have to show for this past weekend! Maybe the week will go better? Let's hope so!

Don't forget to sign up for my January stash give-away, if you haven't done so already. Read the original post carefully, follow the directions in answering the question, and leave a comment on the original post!

Have a great Monday!!

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

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Sunday, February 01, 2009

Needlelace Tutorial - Excellent Step-by-Step Instructions!

I came across a fabulous step-by-step tutorial for making needle lace when I was looking for (of all things) images of the plaited braid stitch. I was about 10 pages into google's images under "plaited braid stitch" - long past the point where plaited braid stitches were showing up! - when my attention was arrested by the image of a most intriguing piece of needle lace.

Needle lace - or "needlepoint lace" (as it is called on the website I was viewing) is lace that is really made by a series of embroidery stitches worked between couched thread outlines of shapes. There are a variety of different styles of needle lace, and a variety of ways of going about setting up the foundation to work the stitches that make the lace.

But one thing most needle laces have in common is the use - in some variety or another - of the buttonhole stitch.

For example, take this tiny sample of needle lace I worked up about a year ago, when I was fiddling with Italian cutwork. The fill stitches in the triangle parts of the center are all buttonhole stitch, as are all the stitches covering the lines and the outline. It's not the most well-executed piece of needle lace in the world, but I recall thinking it was really fun to do at the time!

Anyway, to get to the link!

So there I was, looking for images of plaited braid stitch, when I came across a picture, which led me to this website:

Needlepoint Lace Tutorial on Textile Dreams website

Needlepoint Lace Tutorial on Textile Dreams website

The fact that the photo I came across (featured there on the website image above) was needle lace was the first thing that arrested my attention. When I clicked on the photo and enlarged it, without knowing at all where it came from, I was furthered intrigued by it because it looked like....

What?

What does it look like to you?

Well, childhood memories came into play here. It looked to me like a pile of "helicopters." Did you call them "helicopters"? Those seed pod things with the wings, that circled around and around as they fell? We called them helicopters, and I said to myself when I saw the needlelace, "Oh. Helicopters."

Guess what? I went to the source of the photo, a website called Textile Dreams - Fibery Wake-up, and found an excellent tutorial on making needle lace, from beginning to end - making the pattern, setting up, laying the foundations threads (with hints and tips along the way), filling the sections with different lace stitches, finishing the edges, and removing the piece from the pattern. An excellent, thorough tutorial! And I was really excited! Someone went to a lot of trouble to put that together, and it's really well done!

The other thing that excited me - silly as it may sound - is that I was right!

Needlepoint Lace Tutorial on Textile Dreams website

They were helicopters!

If you you'd like to see a great tutorial on making needlepoint lace, do stop in and check out the nine steps posted on Textile Dreams! I think you'll enjoy the thorough tutorial! I know I did.

Don't forget, by the way, to sign up for my January stash give-away if you're interested in a chance to receive a really nice book and collection of new threads. To enter the drawing, read the original post, follow the directions, and leave a comment on the original post before Wednesday morning, February 4th.

Have a great Sunday!

Labels: embroidery links, embroidery resources, needlelace, needlework websites, whitework

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Wednesday, January 28, 2009

Drawn Thread Embroidery: Another Way to Secure the Edge

Last week, I showed you how to re-weave the threads withdrawn from the fabric in order to produce a "clean" edge for drawn thread embroidery techniques. Here's a little easier way to finish the edge of a drawn thread area.

This is perhaps the most commonly used technique for making an edge around a drawn thread area or an area of cutwork in embroidery. At the edge of the area where you want to withdraw threads, satin stitch over three or four threads to block the threads from being able to unravel from the fabric.

Finishing the Edge in Drawn Thread Embroidery

Finishing the Edge in Drawn Thread Embroidery

For the satin stitching, you want to use a thread that covers well. If the thread's too thin, the fabric will show between the stitching and the edge will look really ratty. If it's too thick, it'll end up distorting the fabric. Here, I'm using a #12 perle cotton in 32 count linen. It worked ok.

Finishing the Edge in Drawn Thread Embroidery

Your satin stitches should be worked one stitch beyond the withdrawn threads. In the photo above, the arrows point to the hole after the last thread along with the withdrawn area.

Finishing the Edge in Drawn Thread Embroidery

If you're withdrawing horizontal threads, your satin stitch blocker will be vertical. If you're withdrawing vertical threads, your satin stitch blocker with be horizontal. If you're withdrawing both horizontal and vertical threads, you work the satin stitches on a corner, as shown above.

Finishing the Edge in Drawn Thread Embroidery

Once you have your blockers stitched, you cut the threads heading into the blocker, right next to it, using a pair of fine, sharp scissors. You can cut the threads at the opposite blocker and withdraw straight across the strip, but I prefer to cut in the middle of the strip as well, to shorten the threads that will be withdrawn. It's just easier to withdraw shorter pieces of thread!

Finishing the Edge in Drawn Thread Embroidery

In fact, if the threads are short enough and loose enough in the fabric, you can simply grab each thread individually with a pair of needlework tweezers and pull it straight out of the fabric without having to pry the thread at each weave. It makes a nice zipping sound, and, in a wink of an eye, it's done!

The little fuzzy ends of the cut thread that are sticking out can be "wiggled" into the satin stitch area by running your needle under the satin stitching and moving it back and forth. I kind of "roll" the stitches towards the edge, and that helps pull the little cut edges in.

The advantages to satin stitching the edges like this are several:

1. Golly, it's easy compared to re-weaving the threads! It takes a lot less time.

2. There's something decorative about it.

3. The satin stitch blockers provide a great place to run your threads under for anchoring.

Now you've learned two ways to finish the edges for drawn thread work - re-weaving the drawn threads or using satin stitch blockers. Either way works. Which one you use depends, I suppose, on the look you want.

Enjoy!

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

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Monday, January 26, 2009

Securing Re-woven Threads in Drawn Thread Embroidery

The other day, after posting a little tutorial on withdrawing and re-weaving threads in preparation for some drawn thread embroidery, several readers asked how to secure the withdrawn and re-woven threads on the back of the drawn thread work. Instead of writing a separate tutorial on securing the threads, I've edited the first tutorial and included a few pictures and instructions on securing the threads on the back of the work. I figured it was better to keep the whole tutorial together in one spot!

So if you want to see my method of securing the withdrawn and rewoven threads, please visit the original tutorial.

Thanks for asking the question - sorry I didn't clarify that step! (Now I know - you really DO read my posts!!)

Labels: drawn thread embroidery, whitework

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Saturday, January 24, 2009

Drawn Thread: Tutorial on Reweaving the Edges

Drawn thread embroidery involves removing threads from the ground fabric (drawing them out - hence the name) and stitching around the remaining threads in an endless variety of decorative ways to create a kind of lace-like effect. Drawn thread is not necessarily categorized as soley whitework, but it is typically seen in whitework, and many types of whitework involve drawn thread techniques. I started my whitework sampler very simply, then, by drawing out threads...

A little information on this whitework sampler: it isn't a "planned" sampler. I have some ideas in my head concerning where I want to go with it, but there's no grid or design I'm going by. My point is to work out various whitework techniques and photograph them along the way. Different types of whitework techniques may seem rather daunting, but I want to wipe away that idea and hopefully pique people's interest in trying out new embroidery techniques.

For the sampler, I'm using a 32-count Belfast linen in a natural color, cut 18" x 20", and mounted on an Evertite stretcher bar frame.

Concerning the count of the linen, for newbies to certain techniques, it might be best to start with a lower count, such as 28 or even lower. For most of these techniques, Aida fabric (commonly used for counted cross stitch) is not really a choice. Linen is the fabric of choice for most whitework, though there are some decent linen blends or cotton that can also be used.

For threads, I have a line-up of quite a variety of white threads in various types and sizes: coton a broder, perle cotton, cordonnet, cebelia, floche, some silk (soie 100/3, soie perlee, soie gobelin, soie d'alger), Mountmellick threads, and regular stranded white DMC cotton... and I've probably forgotten some. Seems like a mish-mashy sort of mix, and it is! You don't need this variety to undertake any of these techniques! Some perle cotton #8 and #12, along with white floss, will serve fine for starters.

For tools, I've got my tiny Dovo scissors (they're 3.5 inches, by the way, for those of you who asked), tweezers, a tiny crochet hook (#12 - I find this handy when withdrawing threads), a needle threader, and several sizes of tapestry needles.

Drawn Thread Work - Reweaving the Edge

The first step in this sampler is to work with some drawn thread techniques, so I began by withdrawing some threads and re-weaving the withdrawn threads back into the fabric so that I would have a clean edge. This process is a bit more complicated than other ways of finishing the edge of drawn thread work, but I figured I'd at least do it once to show you.

To make the whole drawn thread process easier, think ahead. To keep it simple, I started with an even number of vertical threads to work over, since I'll be bunching my threads either in groups of two or four. So I wanted my first drawn thread strip to be over an even number of vertical threads divisible by 4. I picked 80.

I basted in blue around a strip on my fabric that was 80 threads wide and 8 threads high - or 2.5 inches long and a quarter inch high.

Basting should never be underestimated in drawn thread work - it can save you from accidentally cutting threads that will take you ten forevers to repair. So do baste!

Once my first strip was basted, I starting cutting and drawing out threads. Here we go:

Drawn Thread Embroidery on Whitework Sampler

Drawn Thread Embroidery on Whitework Sampler

You can see where I basted off my strip for withdrawing the threads.

First, snip the top two horizontal threads inside your drawn thread area, at about the half-way point in the strip. I'm going to re-weave the second thread into the holes left by the first beyond the edge of the basting, so it's easiest to work with a pair of threads at a time, rather than to cut all the horizontal threads at once.

Second, withdraw your first thread to about an inch past your basting line.

Third, withdraw the second thread up to the basting line.

Drawn Thread Embroidery on Whitework Sampler

To withdraw the threads, you snip the horizontal threads at the halfway point in the strip or area you're withdrawing from. Then, using a tapestry needle (they have a blunt tip), run it under the thread you're withdrawing and pull the thread out of the weave. Try to be careful with the threads - you don't want to fray them up too much - but keep in mind that they will soften as you take them out of the weave.

Drawn Thread Embroidery on Whitework Sampler

Here you have the first two threads withdrawn to the place they should be. Now, to re-weave...

Drawn Thread Embroidery on Whitework Sampler

Take your tapestry needle and weave it in and out of the spaces where the first thread was withdrawn. Make sure you are following the same path the first thread took, alternating up and down over the threads. Once you have the tapestry needle worked into the fabric correctly, use a needle threader to pull the second withdrawn thread into the eye of the tapestry needle.

Drawn Thread Embroidery on Whitework Sampler

Now pull the tapestry needle through, so that the second thread fills up the empty path of the first withdrawn thread.

Drawn Thread Embroidery on Whitework Sampler

Thread the first withdrawn thread into your tapestry needle, then take it to the back so that the weave matches.

Drawn Thread Embroidery on Whitework Sampler

Continue working with the threads, two at a time, in this manner until all the drawn threads are rewoven and sunk to the back.

Then... move over to the other side of your drawn thread area, and do the same thing there!

Securing and Finishing Rewoven Threads

Methods of re-weaving drawn threads vary from book to book. For example, in the old Reader's Digest Complete Guide to Needlework (I have the 1979 edition that I picked up at a used book sale many years ago, and I love it!), they show every thread rewoven (not every other thread as I showed you above). This creates a rather crammed, tight look on the edge of the drawn thread area. I prefer re-weaving every other thread because of this. In Beginner's Guide to Drawn Thread Embroidery by Patricia Bage, the author demonstrates the every-other-thread method. But in neither book do they go into detail about how to secure your threads after re-weaving. They basically just say "trim the threads on the back."

Well, I do secure my threads, in a way, before trimming them on the back. This is what I do.

Drawn Thread Embroidery on Whitework Sampler

To demonstrate here, I picked the first thread back out again (kind of messy!). You can see the first thread in the photo above (I have a magnet holding it back for photo purposes) and you can see where the second thread (already rewoven) ends. There's a little gap there, with a vertical thread still in place. The first drawn thread needs to pass over that vertical thread, then back down into the fabric, for it to look finished.

Drawn Thread Embroidery on Whitework Sampler

Take your tapestry needle, and, working from left to right (from the first thread towards the second re-woven thread) weave the needle over the one vertical thread that's showing, under the next vertical thread, and then over the next thread (now you're working into the end of the second withdrawn thread) and to the back of the fabric. You will have one intersection of fabric threads that has two horizontal threads in it, but it won't be noticeable.

Drawn Thread Embroidery on Whitework Sampler

This isn't the best photo in the world, I suppose, but the arrow points to the finished area for this thread. It's very fuzzy because I over-worked the first withdrawn thread in order to get the photos! But notice in the red circled area below the arrow. This is where the other threads were rewoven, and it looks fine.

Drawn Thread Embroidery on Whitework Sampler

The photo above is of the back of the work. Turn your work over, and you will find a long, hairy mass of thread on the back of your fabric where all the threads have been sunk. Trim them.

.... And that's how you secure and finish the threads on the back.

Drawn Thread Embroidery on Whitework Sampler

There's the strip with only the vertical threads remaining. It doesn't look too impressive, does it? But if you patiently worked that far, you did a good job! The sides are a bit fuzzy from working with the withdrawn threads, but that cleans up significantly once the stitching is started.

Withdrawing and re-weaving threads in this manner to get ready for the fun part (decorative stitching and bunching of the remaining threads) is, admittedly, somewhat tedious. But it is the only way to provide a finished fabric edge on your drawn thread work. I'll show you other ways of securing the edges later, but they involve a patch of stitching on the edge, whereas this technique gives you a clean edge that matches the rest of the fabric.

So, after the first venture in drawing out threads and getting into this project, I've noticed a couple things: 1. Natural colored linen - it's a bit darker than a golden wheaty color - doesn't photograph well, either. I should have picked something darker, like the oatmeal color of my monogrammed towels; 2. an 18 x 20 piece of linen might be a bit too adventurous, if I'm really planning on filling the whole thing up....!

Actually, I'm having fun so far - I've managed to stitch a few areas of drawn thread work, which I'll share with you (along with how-to's) in upcoming days!

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

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Thursday, January 22, 2009

Free Blackwork Pattern for My Whitework Sampler

I've been dabbling around with ideas for my whitework embroidery sampler. Bouncing around in my head for a few days was this rather oxymoronic idea of doing some blackwork whitework.

I just couldn't chase away this idea, and it probably isn't all that original. But this is it: I like the look of blackwork. I love whitework. I was thinking that a band of blackwork (the counted kind) done in white would actually be pretty. You'd think you wouldn't be able to see it, but on the contrary, if it were worked on a very fine linen with a somewhat heavy white thread, the white on white would probably look subtly lace-ish, in a way.

In the long-run, the whole question of whether or not it would work on white became rather moot. I'm working the sampler on natural colored linen, which means I won't be doing whatever type of whitework pops into my head. I'll be limiting it those appropriate to natural colored, even-weave linen. Well - who knows what else may develop?

In the meantime, this is the blackwork whitework pattern I drummed up:

Free Blackwork Embroidery Pattern

That's it without the graph behind it....

Free Blackwork Embroidery Pattern

Here it is, with the grid, if you want to print it as a .gif. I don't know how it will turn out, actually - I don't have a printer to test it on right now!

You can take the design and move the individual motifs around, or eliminate the top row, or whatever you want. I'll be duplicating the motifs into a longer row on my sampler.

Free Blackwork Embroidery Pattern

You can even take each motif and move them closer together.

And, finally, I saved it as a PDF as well, so that you can print a much cleaner copy than the one provided with the .gif file, if you want. When you print the PDF version, you can rotate the piece, shrink it to fit, or print the present view (if you've enlarged it on your screen)... Again, I haven't printed it, so I'm not sure quite how it looks in print, but still... here's the PDF file:

Blackwork Embroidery Design #1 (PDF file - you'll need Adobe Acrobat to read it.)

I'm going to be working this in Holbein stitch, which looks like backstitch from the front, but is actually running stitch worked back on itself. I'll be using a #40 white coton a broder, I think, on an even-weave, natural colored linen (it's either 32 or 36 count linen - I'll let you know when I start playing with the fabric). I may decide on a different thread. I'll also be stitching a border of some sort above and below the design.

I'm hoping (I keep saying this) to get this next project set up today! I plan to spend tomorrow filming new stitches for the Video Library of Hand Embroidery Stitches (if you have a request, leave a comment...)

In the meantime, I hope you enjoy the pattern and can find some use for it!

Labels: counted thread embroidery techniques, free embroidery patterns, whitework

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Tuesday, January 06, 2009

Yvette Stanton on Whitework and Book Publishing

When the opportunity arises, it's a pleasure to get the "low down" from the authors and publishers in the needlework field so that we stitchers can have a behind-the-scenes look at what it's like on the business end of needlework. I've been in touch with Yvette Stanton recently, and I asked her to give us a little information on how she got into the design and publishing business. She kindly agreed to do so...

Yvette's specialty is whitework of different types - specifically, Mountmellick embroidery, Hardanger, and Ukranian drawn thread embroidery. She's published three books on those subjects, all of which are available on her website, Vetty Creations, where you can also buy whitework supplies and learn about these types of whitework.

So here's a bit about Yvette's ventures in the needlework book publishing field, in her own words. Fix a cup of coffee, sit back, and enjoy!

Mary has very kindly invited me to write about my publishing experiences. I have read her features on both Trish Burr and Alison Cole, and have to say that my experiences are different again!

I'm an Australian, living in Sydney. We are fortunate in Australia to have a wonderful stitching heritage - nothing that is particularly Australian though, because we are too young as a country to have developed something that is uniquely ours. However, here in Australia, we have some excellent needlework magazines that focus on a wide range of needlework styles, and some really excellent publishers of embroidery books. All these things mean that Australians are quite adventurous embroiderers, happy to look for something new to try.

My mum tells me that even as early as Year 10 at school I had expressed a desire to be a book designer. After school I went off to study graphic design at university, and forgot about my desire to be a book designer, until my final year. I must have decided it was a good idea again, because I that's what I did for my final year major project.

After uni I worked for a number of years as a book designer for a major international publisher. I travelled about half an hour on the train each day, to and from work. I filled the journeys with stitching - usually hardanger embroidery. It was interesting to note how many men used to ask me 'Is that tatting?' Somehow tatting seems to have seeped into the Australian male's consciousness, though they have no idea what it is. Something to do with thread, I guess!

One of the projects I spent a lot of time working on was a major hardanger embroidery piece. I had designed it with the express purpose of entering it in the Nordic Needle Hardanger Contest. I entered, and was fortunate to be one of the winners in 2000. It was scary posting off the precious embroidery for judging, and such a relief to have it safely back in my hands again at the conclusion.

Somehow I got the idea in my head to send out press releases announcing my win. I sent some off to local Australian publishers of embroidery books in the hope that they might want to include a project or two of mine in a book that they already had going. I was completely surprised when two of them suggested that I might like to write a book for them.

As a result, 'Elegant Hardanger Embroidery' was published in 2002. I enjoyed the process of writing it, and then was casting around for a subject for a second book. Being passionate about whitework embroidery, I really wanted to do something along those lines. It was suggested to me that Mountmellick Embroidery would be a worthwhile subject. So in 2002, I went to Ireland to research the beautiful floral whitework embroidery that originated from the town of Mountmellick.

I invited my identical twin sister, Prue Scott to do this book with me. Prue is also an accomplished embroiderer, with the added advantage of being a trained botanical artist. In many ways, for a book on floral embroidery, she was the perfect partner.

Our book 'Mountmellick Embroidery: Inspired by Nature' was published in 2004, and has enjoyed great success. Someone wrote to me even just this morning and said it was 'the bible' on the subject, which was lovely to hear.

After some years, my book on Hardanger went out of print, and the publishers decided that they did not want to reprint. Having already had some experience both in the publishing and authoring sides of books, I considered self publishing. I knew it would be a huge learning curve, but as I believed in my book, I decided to give it a go. I redesigned the book, adding some new material, and released the self-published revised edition of 'Elegant Hardanger Embroidery' in 2005.

My next subject was Ukrainian drawn thread work. I had done a basic class on this at my local guild, and saw that there was definitely potential for a book on it. I considered it for quite some time, began working on it, and then put it aside. I decided that it was too niche to work. Some time later I re-evaluated the book, and decided to go ahead.

We did not feel confident going to Ukraine as a family, for me to research the book, because of the language barrier - I don't speak Ukrainian! So instead we headed to New York (which my husband was just itching to visit anyway!) where there is an excellent Ukrainian Museum. I spent some wonderful days trawling through their collection of merezhka embroidery, and through the personal collection of the textile curator.

The resulting book, 'Ukrainian Drawn Thread Embroidery: Merezhka Poltavska' was self-published in 2007. It has continually pleased me with its success. For such a terribly niche subject, it is now in its third print run.

Around this time, I was surprised by the fact that our Mountmellick book went out of print. As 'only' the author, no-one had thought to tell me that its stocks were about to run out. But run out they did, and the publishers decided that the rights could be returned to us. Almost as soon as it disappeared from the shelves around the world, people started emailing me to find out if I had any stock. I didn't because it had caught me completely unawares.

The demand impressed upon me the need to get the book back in print as soon as possible though. I knew the book was good, but I was determined to make it even better. I revised the stitch instructions, adding more variations and changed them all into colour. I also added close-up photos of every stitched motif in the projects. I re-did the knitting instructions to be much more comprehensive, and added another even more authentic knitted fringe method. Two new projects were added. The fully revised and expanded edition was released at the end of 2007.

Probably one of the main differences between me and other self-publishers is that because I did graphic design at university and am also a stitcher, I do pretty much everything for my books myself. (Although Prue and I worked on the first edition of the Mountmellick book together.) So when I do a book, I write it, I design the embroideries, I stitch the embroideries, I do all the illustrations, I take all the pictures, I draft the patterns, I design the book internals and the cover. These are all the parts I feel completely confident in handling myself. I always get several other people to proof-read everything though. My biggest learning curve has been the selling and distribution side of the business. I think I will always be learning new things in this area, which doesn't worry me in the slightest. It means I can always improve upon what I do.

I have my books printed overseas, so have gotten used to dealing with shipping agents and the like. It is wonderful to have excellent distribution in Europe, America and Australia. As time goes on, I'll work on expanding into other markets. I have already had one enquiry about translation rights, so probably further down the track I'll look more into that area.

So what have I been doing since the Mountmellick book revision? Several things! I began work on another book, but had to put it aside due to health issues. I have also completed the initial research on another book, which I am just so impatient to write! But because I am limited by health, I am working on a left-handed stitch dictionary which fits better with my current capabilities. I am so enjoying exploring stitches! And the book keeps getting bigger than Ben Hur because I keep finding more to put in it - more stitches and more detail.

Life could change a little this year, as my youngest child is beginning school. It will mean that its very quiet at home. I could either go mad with the quietness, or relish the solitude and get lots more work done. We'll have to see how things pan out! I just consider myself extremely fortunate to be able to do something that I love so much, as a job. I'll never get rich (publishing never makes anyone except the most famous authors rich) but I'm certainly having fun!

If you're interested in whitework, you'll find that Yvette's three books are excellent sources of how-to information. I've heard her book on Mountmellick embroidery described as "THE book" on Mountmellick, as well as the "bible" when it comes to this type of needlework. It's an excellent resource! Besides ordering through the book page on Vetty Creations, if you live in the States, you can order her books through Nordic Needle.

Yvette also has a blog called (appropriately!) White Threads. Here, she keeps us up to date on her work, her embroidery projects, book publishing plans, and various other tidbits. Yvette doesn't just do whitework - check out her post on her completed Elizabethan embroidery piece. It's stunning!

Right now, Yvette's exploring the possibility of publishing a stitch dictionary for left-handed embroiderers! I find this really exciting, not because I'm left-handed (I'm not), but because I teach a lot of left handed children and adults. If her other books are anything to go by, I know this is going to be a wonderful resource! So I'm looking forward to that with my fingers crossed!

Thanks, Yvette, for the fun and informative article!

Labels: embroidery designers, embroidery resources, needlework pictures, whitework, Yvette Stanton

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Thursday, December 04, 2008

Hand Embroidery for Lefties! Attention Left Handed Stitchers!

If you're left-handed and you embroider, and you find embroidery stitches and diagrams difficult to follow, you might be interested in this bit o' news...

Yvette Stanton of Vetty Creations is planning to put together a left-handed stitch dictionary. There are a couple stitch dictionaries available (I think they're both out of print, but you can find them through used book sources), but, in my opinion, having taught a lot of left-handed students to embroider, the ones presently available fall a bit short of the mark when it comes to a good stitch dictionary.

Yvette, whose expertise in embroidery are apparent in her needlework books, her needlework instruction, and her website, will certainly bring to the embroidery world a good stitch dictionary for lefties!

Right now, you can answer her query on her blog, White Threads, where she's asking the stitching world which stitches to include in a left-handed stitch dictionary.

If you're left-handed, what stitches would you like to see in such a stitch dictionary? Or, if you teach lefties to embroidery (either children or adults), what stitches do you think would be particularly useful to see illustrated? Think about it, and then let Yvette know by leaving a comment on her post on left handed stitch instructions!

It isn't that often that we have the opportunity to influence the content of a needlework book - so here's your chance! And it isn't that often that left-handed stitchers get the attention and direction they want in stitching - so, here's your chance! Don't pass up the opportunity! Post a response on her blog today!

Wow. That was a sell job, wasn't it? I have a pretty keen interest in the subject. It would be great to have a good stitch dictionary to recommend to left-handed stitchers! So I'm pretty excited about the prospect!

Thanks, Yvette!

Labels: beginner embroidery, embroidery resources, Hand embroidery stitches, whitework

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Thursday, October 02, 2008

Schwalm-ish Chicken on a Card, or How to Get Distracted with Needlework

Yesterday afternoon, I headed out to the the little studio at the back of the house with the best intentions in the world. I was going to devote some quality time to "real" work - I had some paperwork to take care of - and then, once I felt I had accomplished a reasonable amount of work, I was going to do some more work setting up Christmas cards. It was a perfectly feasible - even admirable - plan for my late afternoon hours...

There I sat, inspecting the pile of paperwork before me, when suddenly, my eye was arrested by Christine Bishop's Schwalm Whitework Embroidery.

I contemplated the book. I contemplated the pile of papers.

The book.

The papers.

The boooooooooooooooooooooook.

Literally, it was calling to me. I'm sure I heard it. What can one do?

The next thing I knew, I was engrossed in a Chicken. (She's got a cute chicken in there.)

Now, I didn't stray so much from my Plan of the Day as to completely forget the cards I was supposed to be preparing. I thought to myself, "A Card. I could maybe make a Schwalmish Christmas Chicken card. I mean, everyone's heard of the Christmas Chicken, haven't they?"

And so I tinkered, and this is what I came up with:

Embroidery on Paper: Hand Embroidered Greeting Card in Schwalm Whitework More or Less

Embroidery on Paper: Hand Embroidered Greeting Card in Schwalm Whitework More or Less

I drew the design out on graph paper first. I wasn't as precise as I should have been. Some intersections were off, and I didn't space the dots as carefully as they needed to be on the longer stretches of stitch. You'll see what I mean....

I placed a piece of tracing paper over the picture I had drawn on the graph paper, and used different colored ink (pink and purple - though you can't tell in the photo) to trace the picture in dots, where I would pierce the pattern.

Then I put the tracing paper over the cardstock - I'm using a textured red, with a red core (not white core card stock) - and pierced the design.

Embroidery on Paper: Hand Embroidered Greeting Card in Schwalm Whitework More or Less

The large dots around the edge in the blurry photo above are eyelets, actually. The card will be backed with a white card, and the chicken's eye, the eyelets around the edge, and the eyelets on the wing and tail (which you can't see yet, because they aren't punched) will show the white background. That's the plan, anyway.

Once I got to that point in my Christmas chicken adventure, I decided I better do what I planned to do, or I'd be in trouble later.

So I readdressed that stack of papers.

But then it occurred to me that I wasn't sure what thread I would stitch that Christmas Chicken with. So I decided I better rummage through thread while it was still sunny outside. (Well, you know the old superstition, that thread rummaging should never be done after sunset?)

And I came upon a #80 DMC cordonette - small stuff, for cordonette.

I finished my thread rummaging right before sunset. But of course, you know I wouldn't start stitching until I had taken care of my paperwork! No, no. I just had to line up my resources, so when I could be irresponsible, everything would be ready.

Ok. So that's what I did yesterday before the sun went down.

And shortly after the sun went down, I did this:

Embroidery on Paper: Hand Embroidered Greeting Card in Schwalm Whitework More or Less

There are a few blurby spots I need to take care of. I think, if I ever do this again, I'll change my approach on some of the pricking dots. It was a learning experience. Gosh, I just feel So Accomplished and So Responsible for making certain I had a learning experience yesterday.......

Tonight, I'm bonding with papers. And please don't try to talk me out of it!

Labels: Christmas, embroider on paper, hand embroidered cards, needlework pictures, pictures, Schwalm, whitework

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Tuesday, September 16, 2008

Musing about Lace Making ... and the Link that Got Me Going

Here's a neat resource for some needlelace, filet lace, and other lace patterns that can be adapted to different types of needlework....

BibliOdyssey recently posted photos from old Lace Modelbuchs (Pattern Books). You'll find some beautiful examples of needlelace patterns, as well as some grid patterns that can be used for filet lace or adapted into cross stitch or needlepoint patterns pretty easily. I like old books like the ones featured here. They're exquisite.

I think I've mentioned before that I'm not a lace maker, though I have delved into different types of needle lace, including filet lace (the real stuff, not the crochet), cutwork (can it properly be called lace? probably not), drawn thread work (again, would you call it lace? perhaps not, though it can sometimes look pretty lacy) and traditional needle lace for inserts to whitework projects and so forth.

Needlelace Sample

My picots stink in that piece. I've improved the technique somewhat since then. It takes some doing, working picots that size with a needle and tiny thread. I think in that piece I was working with size 100 linen thread.

I haven't worked much on my cutwork techniques. But someday, when I go back into whitework (I'm still glutting on color), I'll take it up again.

I like the idea of lace making - and golly, I'd love to learn how to make bobbin lace. Have you seen the bobbin lace at Plimoth Plantation that they're making for The Jacket? It's seriously stunning stuff!

I did sally forth into one bobbin lace venture many years ago. It was after visiting my sister in Washington, DC. We went to one of the Smithsonians (I think it was the National Museum of American History). There, I saw a fantastic example of embroidery - it was worked by sailors of yore, on old sails, with all kinds of fibers from their shirts and clothes and stuff. It was fantastic!

But what caught my eye and completely captivated me was the lady sitting across from the exhibit - an exhibit unto herself - with her lace pillow and some 180 (or some such number) bobbins that she was flipping about, flipping some more, her fingers flying hither and thither, with a twitch of the wrist and swift cross movement of her hands, shifting the bobbins until they looked like they were moving on their own accord across the pillow, inserting pins, and on and on ... all while chatting with people! And there, before her, a delightful pattern of airy lace was forming with practically no effort (so it seemed to me!). I was astounded, captivated - in short, really impressed. I just Had to Learn to Do That.

It so happened that there, or at another museum close by (somewhere along the journey), I was accosted by a beginner's bobbin lace making kit. It beckoned me, and I heeded its call! Ok, so the "pillow" was a kind of styrofoam board thing. But - I was game. I invested.

Yes, so anyway. As I said, I'm no lace maker. But gosh, don't you love the stuff?

I'd like to embroider on net - you know, the fine, sheer netting that bride's veils were made of back in the days before puffs of tulle? Not your typical tulle. No, no, no! The stuff that drapes and hangs beautifully and is ever-so-lovely as it falls about the shoulders limply. I have looked for such netting. I've bought samples from Lacis, from Martha Pullen, and from several other sources that advertise netting for veils. But it's always ... tulle. It's stiff, even after washing the sizing out. I don't want to make a tutu. I want to make a drapey, light, spilling veil! Alas, I haven't found the stuff yet. Or maybe I just don't know what to look for!

But I did buy a book. And some day, I'll find what I'm looking for. And then - look out, world! I will become a Maker of Lace!

Either that, or this will all go the way of the bobbin lace kit.... !

Enjoy the link to BibliOdyssey. He's got a bunch of other resources listed on there, too. If you ever become a maker of lace (or if you are a maker of lace) and come across that mysterious drapey netting, I'd love to hear about it!

Labels: cutwork, embroidery resources, needlelace, needlework pictures, pictures, whitework

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Sunday, August 24, 2008

Schwalm Whitework Embroidery: Book Review

I'm not sure what it is about me and whitework lately, but here I am, back on another whitework subject! I received a really nice book this past week, and I wanted to tell you about it.

The book is called Schwalm Embroidery Techniques and Designs, by Christine Bishop. Even if Schwalm embroidery doesn't seem to be your thing, I discovered a couple good aspects of the book that would make it useful for those who enjoy other surface embroidery techniques.

But first, a little information on Schwalm embroidery. It's a whitework technique hailing from the Schwalm region of Germany (think Hansel and Gretel and other fairytales...). The characteristics of Schwalm embroidery are basically bold outlines and delicate fillings. Schwalm whitework creates a lacy look, but it isn't properly lace. Some stock shapes are typical to Schwalm embroidery - hearts, tulips, birds, leaves, etc. - but the technique is not limited to just these shapes. The shapes are outlined with a bolder line, made up of coral stitch and chain stitch, and then they are filled. The filling is the thing that amazes me - the range of filling designs is limited only by the stitcher's imagination, really. The fillings are executed on the fabric with threads drawn out, to lighten the look of them, or to enhance the pattern.

As far as materials go, Schwalm whitework is worked on high-count linen (32 count and higher, generally, with 50+ count being standard and even preferred for intricate designs). The thread employed is coton a broder, something I've been mentioning a lot lately. This is a non-divisible 4-ply mercerized cotton that comes in sizes 12 (large) to 40 (small). Actually, here in the States, it's easier to find 16 through 40 - sizes 16 through 35 are produced by DMC, and Anchor seems to be the only available size 40. You can find coton a broder in the US through specialty shops - I usually order mine through Lacis.

Heritage Shoppe - Article on Schwalm Whitework

If you want to see what Schwalm whitework looks like and read a little more about it, check out the Essay on Schwalm Embroidery at Heritage Shoppe. There are two really pretty pictures there.

Many of the websites devoted to Schwalm embroidery are in German, and even if you don't read German, it's still worthwhile to check them out. For example, the site of Margarete Grandjot, Stick-Atelier, has an excellent gallery on it, where you can see some beautiful examples of Schwalm embroidery. Scroll down to about the middle of the page, and you'll see a fantastic circular linen (it's really shaped like a doughnut, with a hole in the middle!). There are close-up photos underneath the main picture, showing the different motifs around the piece. There, you'll get a good sense of the variety of fillings used in Schwalm embroidery.

Margarete Grandjot's Stick-Atelier Gallery: Schwalm whitework

Margarete Grandjot's Stick-Atelier Gallery: Schwalm whitework

Another website on the topic of Schwalm embroidery is Hessenstickerei, the site of Renate Fernau. Unfortunately, the site is still under construction, and the last evident date on it was 2005, BUT - on the German version of the website, it has a decent gallery, though the photos don't enlarge very large! The thing I like in particular about this website is that, on the English version, under catalog, you will find a section on patterns for Schwalm embroidery. You can get a good sense of the "look" of Schwalm patterns here.

One thing you'll notice about Schwalm embroidery is that it looks rather "folk-ish," and there's a reason for that. Schwalm developed among the peasants of Germany, as a decorative embroidery for the "average" person, rather than for the wealthy. The "wealthy" counterpart of Schwalm whitework could perhaps be considered Dresden whitework, which looks more like lace and was worked by professional houses to supply the stuff to those who could afford it. Dresden whitework reached its zenith of production and popularity in the mid-1700's. Strangely enough, it was worked on muslin (very, very fine muslin, imported from India). Schwalm was generally worked on linen by the peasants, for their own personal decoration - household linens, clothing, etc. It's quite a bit "rougher" than Dresden work.

Funny how things turn around - linen is a much dearer fabric today than muslin or cotton! Of course, you have to consider the sheer fine-ness of the muslin then, and that it was woven by hand. An interesting story is told in a pamphlet published by Lacis on their whitework museum (PDF): "The story is told that when a Nawab reproved his daughter for allowing her skin to be seen through her clothes, she demonstrated that she was wearing no less than eleven thicknesses of such material." So - very fine stuff! If you haven't read that pamphlet (linked to above) and you're interested in whitework, you might give it a look - you'll find heaps of photos of different types of whitework and lace.

Now - I've strayed from the point - back to Schwalm and the book at hand.

Schwalm Embroidery by Christine Bishop

Schwalm Embroidery by Christine Bishop is a great introduction to the techniques of Schwalm whitework. It's perfectly suited to a beginner, with techniques and designs of varying degrees of difficulty throughout the book.

Schwalm Embroidery by Christine Bishop

I particularly like the sampler that's presented in the book. Samplers such as this one are great for those interested in trying out the various techniques within a particular type of embroidery before launching into a major project involving those techniques.

Schwalm Embroidery by Christine Bishop

You'll also find some really nice project ideas in the book. See the needlelace on the edge of the cushion? The author goes into detail on creating that edge, and the instructions are clear and accessible for the beginner.

Schwalm Embroidery by Christine Bishop

Notice that the projects in the book are not all executed on white linen. I really like the look of the white on the natural linen, as in the sampler above. While I was out shopping yesterday, I went to Two the Point, a little needlework shop in Kansas City (where I bought some goodies I'll tell you about later!). While I was there, I picked up a remnant of a high count natural linen that would be perfect for such a sampler. I've tucked it away, though - too many other projects coming up - but I plan to go back to it, with this book in hand, before the year's out. We'll see!!

Finally, as last point on Schwalm embroidery - I like the fact that it involves various techniques that carry over into other styles of embroidery: pulled thread, drawn thread, satin stitching, a variety of surface stitches - all are used in Schwalm embroidery. So if you play around with Schwalm embroidery, you'll pick up skills useful in other types of embroidery, too. And this book by Christine Bishop will help you learn those skills!

The book is part of the Milner Craft Series, and is available through Amazon for $14.00 new.

Labels: beginner embroidery, book review, pictures, regional embroidery techniques, Schwalm, whitework

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Wednesday, August 13, 2008

FInishing the Linen Pouch - What Joy, What Bliss!

I'm still rather elated to have the linen pouch finished. It's been delivered, so that project is completely behind me. I'm going to start on Something (???? so many ideas !!!!) with color in it now. Or perhaps dig out an old project! Whatever the case, my embroidery thread will be COLORED. But, anyway, I still want to show you how the pouch finished up...

After getting all the pieces together - the embroidery was finished, the piece was ironed, the cord, tassel, and button made, and the lining cut - it was time to put the pouch together. Unfortunately, I didn't take pictures at every single step, but I'll do my best to explain it!

First of all, the lining is the same as the outside piece of fabric, so I don't suppose you would actually call it a "lining." It's just two pieces of linen (Alba Maxima by Legacy), the outside piece being embroidered.

I turned the embroidery to the inside of the two pieces, and pinned together the part of the pattern that comprised the flap (where the embroidery is) and the very base of the pattern - but not the actual sides that comprised the bag. At the center point of the flap, underneath the tip of the embroidered cross (so they lined up), I pinned in the cord and tassel and left them between the two layers of fabric.

Hand Embroidered Pouch: Whitework on Linen

Hand Embroidered Pouch: Whitework on Linen

So right there, you're looking at the back of the embroidery. Notice that the flaps of the pouch have angled corners. That was a last minute decision, but I think it improved the looks of it.

Hand Embroidered Pouch: Whitework on Linen

This is the base of the pattern. Think of the pattern as just one looooong rectangle, with the flap at one end - with the embroidery and angled corners - and this straight edge at the other end. I pinned the base together, but didn't sew the whole thing, as I needed a turning hole. So the red line in the photo above represents the turning hole.

Hand Embroidered Pouch: Whitework on Linen

I sewed the base together (except the turning hole - and the top flap together (wrong sides facing). Now, refer to the diagram above, and I'll explain what I did next:

I pinched together the outside layer of the bag at the folding line between sections B and C, so that sections B and C of the outside layer were now folded with the right sides of the fabric together for that piece of linen (not the lining) only. Then I did the same with the lining linen, creasing it at the folding line between sections B and C, and putting the right sides of the fabric of the lining face-to-face.

I pinned those carefully, up the point where they met the end of the seam of the flap (section A), which was already sewn together. So the base line of the fabric (where the turning hole is) was now meeting just below the seams on the flap.

Then I sewed up the folded sides, almost to the seam on the flap, but not sewing into it.

Then I turned the whole darn thing inside out through the turning hole, which was no small accomplishment! Next time, larger turning hole!!! In fact, I wonder if the base actually needs to be sewn together at all, until the rest of the seams are sewn up - that's for further experimentation later.

Hand Embroidered Pouch: Whitework on Linen

But, it wasn't that much worse for wear after turning.

Then, once turned out, I pressed the seams and pushed the lining down into the bag (which turned it "inside out" again, but only now it was "right side out, going inside.") So the seams on the inside of the bag are completely finished. You don't see any turned-in fabric edges or anything inside the bag.

Hand Embroidered Pouch: Whitework on Linen

So there it is, ready to iron out...

Hand Embroidered Pouch: Whitework on Linen

...which I did, and then I decided to add a little knotted detail along the inside seam, in Palestrina stitch...

Hand Embroidered Pouch: Whitework on Linen

...which I did. I took the stitch horizontally and extended the leg, to overlap the seam. Actually, the way the stitch was worked, it becomes the "knotted pearl stitch," which is exactly the same (in movement) as the Palestrina stitch.

Hand Embroidered Pouch: Whitework on Linen

And you can see there the back of the flap on the right side of the picture, and the bag itself on the left side, with the detail of where the seams meet to form the bag, and the decorative stitching.

Hand Embroidered Pouch: Whitework on Linen

And that's the seam on the right side of the bag, with the Palestrina stitch.

Hand Embroidered Pouch: Whitework on Linen

And now you know which button I picked - the mother of pearl one. I just couldn't see using plastic on this! (Though I liked the stitching on the other button better!)

Hand Embroidered Pouch: Whitework on Linen

The finished piece is 10" wide and 8" high.

So that was a fun project, in a way, but a little tense, as I wanted it to be "perfect." It isn't, though. There are definite flaws, which is always good because: 1. it keeps me realistic, as it's a bit humbling, and 2. it marks it as handmade by me! I've never made anything that's "flawless"!!!!

But I'm glad it's finished. Not only am I looking forward to working with color again, but I'm also looking forward to working on something that's not got a pressured deadline on it. After I rumage around a bit, I'll let you know what I came up with!

Labels: ecclesiastical embroidery, linen, needlework pictures, pictures, whitework

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Monday, August 11, 2008

Making a Cord, Tassel, and Button for the LinenPouch

The linen pouch I've been working on needs some kind of "something" to close it. I've seen different linen pouches with snaps or velcro or other regular closures, but I prefer to use a cord and tassel around a button. I wasn't able to find a ready-made cord and tassel that I liked, so I decided to make them, with a button to boot.

What I didn't like about most of the cords and tassels at local craft / sewing / hobby shops was that the tassels were either too big, or the cord was too short - and the white looked "off" next to the linen. I hunted high and low for just the right tassel while in town last week, but all to no avail, though I did bring three home, just to try.

Besides, I find that the little 99-cent tassels from places like Hobby Lobby fall apart pretty quickly.

So - I decided to make my own, which led me to pulling out some little-used equipment from the cabinet - my marudai, bobbins, and chopstick. I don't have warping pegs -- I need to get a set! -- so I resorted to 2-liter filled bottles, which worked ok.

I needed a thin cord that would wrap around a small button. You can see the cord and button concept in this photo, which I've posted previously:

Embroidered Pouch for church linens, with cord and button closure

I didn't want to do a covered button for this project, though, so I had to come up with a different idea. But first - the cord.

Kumihimo is a Japanese weaving technique worked on a marudai - which is a stand with a circular top (called the mirror) and four legs. The mirror has a hole in the middle of it. A woven cord is formed by working the warp threads, which are wrapped on weighted bobbins, in a certain pattern of movement, crossing them, interchanging them, etc. It's a fun technique, and, although I haven't mastered it by a long shot, it's a great way to make nice looking cords, ropes, or flat straps. Normally, these are worked in silk, but I used cotton to match the pouch.

Making a Kumihimo cord for the linen pouch

Making a Kumihimo cord for the linen pouch

Here, you can see the bobbins threaded up and hanging over the mirror in the starting position. The counter weight on the cord is hung in the middle - in that little drawstring bag. The bobbins are 70 grams each, but I have no idea how many weights I put in the bag! I know I only put about half the quantity that I have, and it weighted less than all the bobbins, because the bobbins pulled the bag up slowly until I got underway. I didn't want to use a lot of weight, because I didn't want the cord to end up too thick and loose. The more weight you add in the counterweight bag, from what I can tell, the fatter and looser your cord will be.

Making a Kumihimo cord for the linen pouch

Here's the top of the mirror. I'm using a #12 perle cotton, and only two warp threads per bobbin (so 16 threads in all). I started (I'm a moron) with 8 threads per bobbin, and realized the cord would be far too thick. Then I reduced it to 4, but luckily only wrapped 1 set of warp threads and loaded the bobbin. I knew it would still be too thick! So I reduced it to two, attached my lead threads using a Japanese knot, and set up all the bobbins.

Making a Kumihimo cord for the linen pouch

I wanted a tassel set into the end of the cord. Normally, with a Kumihimo cord, you can arrange a tassel at the end, anyway, by tying off a portion of the rope and cutting the length you want for the tassel. Then you just unweave the rope to form the tassel. But I wanted a tassel with a "head," so I wound the #12 perle around a 3" wide quilting ruler, until I had enough for a full tassel. I ran a thread under the top and bunched it up, then cut at the other side, and had this bunch of white threads, which I placed between two of the warp threads below the mirror.

This way, as I wove the cord, the two warp threads would hold the top of the tassel in place, and then I could finish off the tassel when the cord was finished.

Making a Kumihimo cord for the linen pouch

I put the marudai on the floor, and started weaving. I used just a basic "honeycomb" pattern. In my head, the rhythm was basically this: "North & south, east & west, north & south, east & west, corner, corner" then repeat. If you're not familiar with Kumihimo, this might not mean much to you! But I find I have to keep the rhythm in my head while I go; otherwise, I lose track of where I am!

When I came to a stopping point, to check the length, I slid a chopstick between the threads and under the mirror to hold everything in place. I wanted to weave about 16 - 18 inches.

Making a Kumihimo cord for the linen pouch

So you can see here that it's getting pretty long (this is after about 35 minutes of weaving). The weight bag is about to hit the base of the marudai, so it was time to move it up.

Making a Kumihimo cord for the linen pouch

The cord is nice and small, but not as small as a cord made with a single thread of the #12 on a lucet (which is what I tried before resorting to the Kumihimo cord). A lucet is a little horned "tool" (mine's made out of wood) that's shaped kind of like a "Y." It's great for making cord. I tried to make the cord for this on the lucet, because it's only one little hand-held tool (as opposed to winding the bobbins and everything for the marudai). I realized about two inches into the lucet cord that it would be too small, and I didn't have a larger white perle cotton to use. So ... back to the marudai....

Making a Kumihimo cord for the linen pouch

When I finished the cord on the marudai, I sewed up the tassel and trimmed it - and voila - a nice cord and tassel, ready to go.

You can also see the button choices there...

Making a Kumihimo cord for the linen pouch

These are Dorset buttons of a sort - hand-made buttons out of thread wrapped around a ring.

Making a Kumihimo cord for the linen pouch

This one - you can see that it's smaller than an inch - is wrapped around a small mother-of-pearl ring. The sides are squared off. The inside is filled with a basket-weave, working in a kind of stem stitch around the spokes. I used a #12 perle cotton on it. You can see kind of a golden rosy glow on this button, because the mother of pearl ring underneath shows through a tad, and it's streaked with rosy-gold color. Next to the white linen, the button has a bit of a shine to it, with just a hint of rosy-goldness behind it.

Making a Kumihimo cord for the linen pouch

This button is just slightly larger (not enough to be noticeable), and is worked around a plastic ring, with #16 coton a broder. The spokes are covered in the same manner as a ribbed spiderweb stitch.

Making a Kumihimo cord for the linen pouch

I hesitated about which one to use at first, but then, I considered the materials involved and the usage and the looks, and I chose... the ....

Well, can you guess????

Next, I'll show you the finish work.

You can see the progress of this project in the following articles:

Transferring the design the first time, and setting up the pattern
Starting over - transferring the design (again) and stitching
Embroidery Completed
Ironing the embroidered linen

Labels: Kumihimo, needlework pictures, passementerie, pictures, whitework

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Sunday, August 10, 2008

Ironing your Needlework Projects - Linen Pouch Progress

Sometimes, it's not necessary to iron an embroidery project, but sometimes, you just can't avoid it! When working white-on-white with linen, using a hoop, it's likely you're going to have to wash your work, which means you're probably going to have to iron it, too! And, if it's something that needs to be sewn up for finishing, chances are, you're going to have to iron it several times.

That's certainly all the case with the linen pouch I'm making. Not only did I have to wash it (quite a bit!) after finishing the embroidery, but I had to iron it several times during the sewing and turning process.

So the question is, how do you iron a piece of needlework that has embroidery on it, especially when the stitches are somewhat dimensional. Remember, I used the Palestrina stitch on this pouch? The beauty of the stitch is in its raised knots - to crush those with ironing would be a shame.

Linen Pouch: Ironing a Piece of Hand Embroidery

Linen Pouch: Ironing a Piece of Hand Embroidery

First thing I do is lay out two flannel pads, both made of 4 pieces of soft flannel, which I cover with either a clean sheet or pillow case, or (saved Just for Ironing), a flour sack towel. Good flour sack towels are perfect for this - in fact, if you have a small embroidery piece, you could just fold up a clean flour sack into about four or so folds and use it.

I place the flannel pads on my ironing board and cover them with the flour sack towel.

And then I put my needlework piece face down on the flour sack towel. Iron on the wrong side - the back of the needlework.

Linen Pouch: Ironing a Piece of Hand Embroidery

I iron using the setting for the fabric, but taking into consideration the thread used for embroidery. For example, here I used cotton thread, so all's well - cotton and linen work well together. But a fine silk probably wouldn't take the heat as well - had I worked this in silk, I would have been a little more cautious.

Iron over the back of the work - including over your embroidery - until you've removed the wrinkles. I usually don't use steam at this point, unless the linen is really wrinkled!

Linen Pouch: Ironing a Piece of Hand Embroidery

That's the impression mirrored in the background. The embroidery withstood the ironing really well - nary a knot crushed.

That's the embroidery for the pouch, all ironed up and ready to sew. Next, I'm going to show you how I made the cord and tassle, and talk a bit about buttons. Yes, buttons.

Hope you're weekend was a pleasant one! For me, I've got a couple little touches left on the pouch today, then I need to clean up the studio - which is a Royal Mess - and then I plan to revisit an unfinished project that has some COLOR in it, or at least get it out and ready for stitching when I can snatch time after work hours this week. Ahhh... COLOR - I can't wait!

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

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Friday, August 08, 2008

Whitework Completed for Linen Pouch

I finished the embroidery on this white-on-white linen pouch I'm making - actually, I finished the embroidery a while ago! This weekend, I have to finish the thing. White on white is always kind of difficult to photograph - if anyone has any hints, I'd be thrilled to hear some photo tips on taking pictures of whitework. But - for what they're worth - here's a couple shots, anyway.

As mentioned earlier, the cross is outlined in Palestrina stitch. I decided to fill it with seed stitching. Thanks for all the suggestions, by the way! A couple of them were really appealing, but I had already moved into the seed stitching, and there's NOTHING worse to pick out, in my opinion! So I stuck with the seeding.

Hand Embroidered Linen Pouch

In this photo above, you can barely see the blue of the outline of a crown that I was going to embroidery there, but I decided against it for a number of reasons. I've washed the linen already, but there's still a faint blue line at the base of that, which is making me rather nervous. I'm going to have to work on getting it out somehow...!

Hand Embroidered Linen Pouch

This photo came out pretty well. My favorite part of the design is the satin stitched sword handles. My least favorite part is the hand guard above the handle, with the seed stitching in it. I wish I had worked that differently - perhaps in a stem stitch filling, following the curves. Too late now!!

Hand Embroidered Linen Pouch

Yep. I like the tiny handles.

The handles are worked in #25 coton a broder. The outline of the cross and the shaft of the swords are worked in #16. The seeding etc., is done in #20.

I need still to arrange a way of closing the pouch. I want to do a tassle and button kind of thing, where the tassle strings are wrapped around "something" to hold it loosely closed. But I can't figure out the "something." I made a few Dorset buttons the other night, to try that concept, and I may have to go with that.

I still have to braid the cording for the tassles, make the tassles, and sew up the pouch. I suppose that's what Friday nights and Saturdays are for!!! Whatever it takes, I'll be finished with this before Monday!

Labels: ecclesiastical embroidery, needlework pictures, pictures, whitework

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Sunday, July 27, 2008

Hand Embroidered Linen Pouch: Earwig

This is a dumb joke, but here it is, nonetheless: "Knock, knock." "Who's there?" "Earwig." "Earwig, who?" "Earwigo again..." (Sorry.) This is the re-beginning of an embroidery project that I began when I set up my slate frame. I subsequently messed it up, and had to start over - remember the photo from my embroidery mistakes and needlework frustrations? It's underway once more - so, here we go again...

I'm making a linens pouch. This is an ecclesiastical piece of embroidery - the pouch itself will hold small altar linens. I wouldn't normally make a linens pouch out of linen, but that's what was requested, so I wanted to conform the project to the tastes of the receiver of the gift! I posted photos of a similar embroidered pouch for linens before - you can take a look at that to get an idea of what the finished piece will look like, construction-wise.

On this one, I have a cross, swords, and crown design on the front. When I initially drew the design on the initial fabric (set up on the slate frame), I used a pencil and was not pleased with the fact that the thread seemed to picking up some grey from the pencil. Rather than stitch the whole thing and risk the grey not coming out, I started over!

So this is the front so far:

Hand Embroidered Pouch in whitework on linen for small Mass linens

Hand Embroidered Pouch in whitework on linen for small Mass linens

Notice that the design (you can barely see it) is in blue now. I used dressmaker's carbon to transfer it. Here and there, I did have to barely touch up a line with the lightest touch of a pencil. I haven't gotten very far on it, have I?

Hand Embroidered Pouch in whitework on linen for small Mass linens

This is the cross a little closer. Oh, golly. While I would prefer doing this piece in colored silks and real gold threads, I felt obliged, again, to try to match the recipient's tastes. So I'm working in coton a broder. Since the linen is a good, solid medium-weight linen (Alba Maxima by Legacy), I'm using a heavier sized thread. This is #16 coton a broder.

But despite the fact that I'd might like to be working with other materials, I will admit that I do LOVE working with the coton a broder on the Alba Maxima linen. And - I LOVE Palestrina Stitch. This is a great stitch, and I think it looks really pretty in this thread on white. The stitch is fun to work - once you have the steps down, it moves at a nice rhythm. I really do love it. (Did I mention I like Palestrina Stitch?)

I want to fill the middle of the cross, I think. Since it's the central focus of the design, I'd like to have it a little heavier than the rest of the piece. I could achieve focus on it two ways - by making all other elements filled, and leaving this "voided," which would make it stand out. But instead, I'd rather fill the cross, so the "heavier" looking part is also the central focus.

The problem is, I don't know what stitch to fill it with. Normallly, I suppose you'd do the filling first (if it's something beyond seed stitch, anyway), but I wanted to get it outlined to see if I'd like it filled or empty.

Any brilliant ideas for a filling? Of course, satin stitch would be beautiful - it is a gorgeous stitch, when worked right - but the wider parts of the cross are just bordering on "too" wide for the satin stitch. I don't want loose threads. I also don't want to pad it, as I don't want a padded look to the piece.

Nope. Still no clue as to what to fill it with. I keep thinking something brilliant will pop into my mind, but ... nothing yet!

Hand Embroidered Pouch in whitework on linen for small Mass linens

That's a bit closer on the Palestrina stitch there - and you can see where I did some touching up with pencil. Rrgh.

Hand Embroidered Pouch in whitework on linen for small Mass linens

And a little closer on the Palestrina stitch there. Gosh, I love that linen. Gosh, I love that stitch! Yet...

... despite loving the linen and loving the stitch, I will admit that overall, I'm not that pleased with the project itself. I spent 2 hours yesterday stitching on it (beyond what you see here), and almost as long removing all the stitches I had just put in. The piece simply isn't coming together as I want it to.

Hand Embroidered Pouch in whitework on linen for small Mass linens

Here's a little teaching moment for you - this is the back. See the long strings carrying over to the sides? I started with "away waste knots." That is, I started with a knot in the end of my thread, and took my needle and thread down into the fabric far away from where I was going to start stitching. Then, when I had finished the length of the thread, I snipped the knot off, re-threaded the needle, and ran the long tail underneath the stitches to secure the beginning of the thread. This is an easy way to start a line of stitching when there aren't any other stitches close by to secure your thread under.

Hand Embroidered Pouch in whitework on linen for small Mass linens

Oh, yeah. I do love the Palestrina stitch!

Any ideas on filling it?

Labels: ecclesiastical embroidery, needlework pictures, pictures, whitework

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Wednesday, July 16, 2008

Embroidery Mistakes - Needlework Frustrations...

I think one photo will serve to show you how this past weekend went for me, embroidery-wise...

Remember the embroidery project I set up on my slate frame?

One of those Bad Embroidery Experiences

Have you ever had a weekend like that? Ugh!

I've almost lost my determination to overcome this one. Starting over can be really painful!

I'm ripping out (picking out, I should say) my stitching I accomplished this weekend. I just didn't like it At All. There are a number of reasons, I suppose - one of which is that the pencil - for the first time ever, for me - picked up all over the white threads. I tried to tell myself it would wash out in the end, but I couldn't get over the sick feeling of "What if it doesn't?" Rather stop at this point, than finish the whole thing and find out the pencil markings wouldn't quite come out of the coton a broder! And so, I pick away...

My plan is this: I will pick out all the stitching, and set this piece of linen aside. I'll set up a new project on Saturday, and stitch it double-time fast, as I'm already behind on this one. I probably won't use a slate frame. In fact, I may just settle for a hoop. And I will transfer the design using blue dressmaker's carbon. It's always safest to use blue when working with white, anyway, because the white absorbs the blue. I should've known that. I DID know it. But for some reason, I just didn't put enough weight on that thought ahead of time.

Oh, the woes of the imprudent stitcher....

Labels: needlework pictures, pictures, whitework

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Sunday, July 13, 2008

Free Hand Embroidery Pattern: Decorative Corner

Straying from the monogram theme, here's a free pattern for hand embroidery. Actually, it's not straying all that far from the monogram theme, because it would make a perfect setting for a monogram!

I could see this embroidered (reduced in size) across the corner and sides of a hankie - with tiny satin stitched leaves, or fishbone stitch leaves, it would make a very pretty corner setting for any fine linen, handkerchief, towel, pillow case - you name it. It would also make a pretty motif around the edge of a quilt block or on a handbag. In fact, you could probably come up with more ideas for it than I can, so I'll leave it to your imagination!

I saved this one rather large, in case you want a "big" version. You can click on it for the larger version before saving it to your computer!

Here's the pattern:

You can flip it in any graphics editing program, if you want a different corner! Or, heck, you could duplicate it four times for all four corners!

The original pattern came from the old French publication (turn of last century), Journal des Demoiselles.

Cleaned up, it isn't bad, is it?!

Have fun with it!

Labels: free embroidery patterns, whitework

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Thursday, July 10, 2008

Transferring your Embroidery Pattern onto a Dressed Slate Frame

After I dressed my slate frame last weekend, I transferred the design onto the fabric in a kind of ---- well, for lack of a better word, roundabout way.

with the piece of linen that's stretched on my frame, I'm making a kind of bag - it's more of a pouch, I suppose - kind of like a large, lined fabric envelope (only the back of the "envelope" is the front of the pouch). On the front cover, I'm embroidering a design, and on the inside of the front of the pouch (after you lift up the flap), I'm embroidering a sentence.

The first thing I did was draw out the whole pattern for the pouch itself onto graph paper, so I could test its size and how well it would fold up. Then I drew the design for the front flap and the letters for the sentence on the inside.

Have you ever used Swedish tracing paper? It's a sewable, sturdy fabric / paper that feels a bit like interfacing, but softer. It's drapable and sewable, so you can make master patterns out of it, or trial pieces (which you can then sew up and adjust). I drew out my pouch pattern on the Swedish tracing paper first.

Transferring your Embroidery Pattern onto Fabric

Transferring your Embroidery Pattern onto Fabric

That's what a roll of it looks like.

There are a couple reasons I wanted to use this stuff in particular on this project, the foremost being that it is nice to baste on and use as a fabric protector while you're stitching, cutting away the areas that require stitching as you get to them. I've used regular tissue paper for this before, but I don't really like tissue paper.

Anyway, I basted the Swedish tracing paper on, basting around the actual seam line (I'll cut further out when I'm finished with the stitching), and basting a half an inch in, where I intend to stitch a decorative line.

Transferring your Embroidery Pattern onto Fabric

That's the pattern for the pouch, traced onto the tracing paper and laid on top of the linen on the slate frame.

Transferring your Embroidery Pattern onto Fabric

I basted the tracing paper on, and also basted down the middle of the front flap of the pouch, so I could center my design with ease. Then I cut out the tracing paper on three sides of the pouch and on each side of the middle basting line, so I could lift up two flaps on the front.

I can lift the flaps up and down and lay them on the fabric when I want it covered, so I can work on the linen without getting it dirty when I rest hands or arms on it.

Transferring your Embroidery Pattern onto Fabric

You can see both sides of the flaps lifted back.

Transferring your Embroidery Pattern onto Fabric

Then, propping the frame on a couple stacks of books in the back (level with my light table), I traced my design onto the middle of the front flap, using a hard pencil and a relatively light touch.

The design, you can see, is towards the front edge of the frame. The sentence that'll be embroidered on the inside front of the pouch is traced on the back edge of the frame. All of this works out well, because I don't have to stretch to reach the inside of the frame, as there's no embroidery there.

And then I set the frame up on my handy-dandy slate frame stand - an amazing apparatus that does the job quite well!

Transferring your Embroidery Pattern onto Fabric

Yep, it's chair on top of a table. The frame hangs perfectly on the edge of the chair. I can rest the front edge of the frame on a small stack of books to lift it up, or I can just rest it on my arm - either work just fine!

A couple points: you can transfer your design on your fabric before you mount it on the frame, but I like the taut fabric for drawing on. You can also transfer the design a bunch of different ways, without having to use a light table - you can use dressmaker's carbon, prick and pounce, etc. I did it this way because it seemed to be the easiest approach at the time!

And now I need to get the stitching done. It was supposed to be finished by July 20th. Think I can manage? It's mostly simple whitework, though a lot of it is satin stitch, which seems to take longer!

I better get to it!

Labels: ecclesiastical embroidery, embroidery tips and tricks, pictures, slate frames, whitework

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Sunday, July 06, 2008

Reader's Embroidery: Monogrammed Guest Towel!

I'm glad to see that some readers are having fun embroidering some of the monograms from the alphabet I've been posting recently! Meeta sent photos of her recent hand embroidery project - a guest towel made from dark brown linen, with the "K" on it worked in white....

Meeta used a nice combination of embroidery stitches - seed stitch for the filling on the K, stem stitch around the outside, and the flowers are satin stitched.

Reader's Embroidery: Monogrammed Guest Towel

I really like the effect of the embroidery in white on the darker fabric! I find it very striking!

Reader's Embroidery: Monogrammed Guest Towel

I like it!!! Thanks for sending along the photos, Meeta! Congratulations on a job well done!

Labels: monograms, needlework pictures, pictures, readers embroidery, whitework

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Thursday, June 26, 2008

Free Hand Embroidery Pattern: Monogram C - and Avoiding Satin Stitch!

I'm doing some clean-up work on posting mistakes, so here is really the Letter C - but I will repost the letter G in its own spot. If you added the monogram for the G to your favorites, you'll want to visit the list of monograms and go to the "real" G! Thanks for understanding!

I'm sure I'm stating the obvious when I tell you that monograms don't have to be white, and they don't have to be embroidered in satin stitch! If satin stitch intimidates you, try other stitches! For example, a simple stitch combination is the whipped backstitch as an edge, and seed stitch as a filler. Although I've shown it before, here's a leaf worked in that combination:

Simple hand embroidery stitches can be used on monograms or other whitework for elegant results

Simple hand embroidery stitches can be used on monograms or other whitework for elegant results

These are two very easy stitches, and the nice thing is that the whipped backstitch can be a very precise stitch, so it takes curves and points very well.

But for some of you, it may not be Intimidation by Satin Stitch that inhibits you from embroidering monograms. It may be that the satin stitch just doesn't thrill you.

If this is the case, you have GOT to check out Paule's website, where you will see a gorgeous variety of stitches used on monograms, in beautiful shades of roses and reds. They are stunning, and so perfectly stitched. Look, for example, at the "B" and "T" worked in feather stitch, or the outlined "O." Aren't they pretty? If you take the opportunity to browse through the images of Paule's sampler, I think you'll find some very inspiring ideas for working monograms!

So it's pretty feasible to embroider a monogram and completely avoid the satin stitch altogether. If nothing else, you could have fun experimenting with all kinds of stitch combinations!

Here's the "C," then:

Monogram for Hand Embroidery - Letter C

Once the clean up work is done on the "M," I'll post it - and the "S" seems to be a popular request, too. If you haven't seen it yet, you can find the "A" here.

I'm also going to make up a monogram index page to make finding them a lot easier! I'll list that under my index of hand embroidery patterns, which probably needs the same kind of attention I gave my gallery last week!

Enjoy!

For more monogram patterns, please visit my Index of Monograms for Hand Embroidery.

Labels: free embroidery patterns, monograms, needlework pictures, pictures, whitework

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Tuesday, June 24, 2008

Free Pattern: Monogram for Hand Embroidery

Since we're on the subject of hand embroidered monongrams (are you sick of it yet?!), I thought I'd share with you an alphabet! Unfortunately, it has to come in bits and pieces, since it requires a lot of clean-up work!

Here's the first letter! This is taken from an old publication (1912) called La Broderie Blanche, an old French magazine that sported lots of embroidery patterns. The image is not as clean as I would like, but it does suffice for a pattern!

You can enlarge the monogram or reduce it either on your computer or on a photocopier. An easy way to transfer the monogram onto white fabric is to use a sunny window. Tape the monogram onto a sunny window, tape your fabric over it, and trace it. If you have a light box, it may save your arm a bit!

You can also trace the monogram onto good tracing paper (use red ink), then turn the paper over and trace over the design with either a regular #2 pencil or with a white dressmaker's pencil (if you're transfering onto darker fabric). Place the monogram red-ink side up on your fabric where you want it, and use a ball point pen (don't break through the paper!) and trace back over the monogram. This should transfer your design clearly enough to see it, and then you can go back and touch up if needed.

Anyway, here's the A. I'll post the rest of the alphabet as I get it cleaned up.

Free Hand Embroidery Pattern: Monogram, Letter A

Free Hand Embroidery Pattern: Monogram, Letter A

Ain't it perty? I love this alphabet! I like it a lot better than the one I used on my guest towel project; it just lacks the convenience of an iron-on.

As far as embroidering, and what stitches to use, it really depends on your project. If you're doing something large, like a pillow case or sheets, or something medium-sized like a guest towel, you could outline the letter and fill in with tiny seed stitches, then satin stitch the flower petals and leaves, which would give a nice, light effect, and good contrast in texture and so forth. If you're doing something small, like a hanky, I'd probably go with overcast (barely padded, if at all) satin stitch. For hankies, the monogram needs to be pretty small, so in reducing this, I think you'd get to the point where you wouldn't have double lines on some parts of the letter. I think overcasting would work well in areas like that.

If anyone's positively antsy for a specific letter, let me know! I'll skip ahead.

For more monogram patterns, please visit my Index of Monograms for Hand Embroidery.

Labels: free embroidery patterns, monograms, whitework

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Monday, June 23, 2008

Hand Embroidered Monogram - Finished Guest Towel

The hand-embroidered monogram I've been working up on a guest towel is finally finished! The whole point of this "little" project was to work it up as a class sample, so I tracked the statistics on it so I would know how to gauge our class time and our supplies. So here's the finished product, with the final statistics on how long it took to embroidery the piece, how much thread, etc.

Time-wise, it took me about 8 hours and 15 minutes to embroider the monogram. A little bit of that time was taken up in removing stitches (I started with the wrong sized thread, for example, and at another point, I didn't like the shape of some of the petals on the ornamentation, so I took those out, too). The majority of the time was just regular stitching, though. I didn't rush, really, and, looking back on the project now, I think I could've sped it up a bit if there had been any real pressure to get it done faster.

Hand Embroidered Monogram on Linen Guest Towel

Hand Embroidered Monogram on Linen Guest Towel

After I finished the embroidery, I filled a glass bowl with cool water and rinsed the piece. I let it soak about 10 minutes, and then smoothed it onto a towel to dry.

Before it was completely dry (still a little damp), I ironed it, wrong side up, on several layers of flannel covered with a pillow case. It's important, especially with any raised embroidery like this, to place the piece on something well-padded when you iron, in order to avoid crushing the stitches.

Now, keep in mind that, as a guest towel, it is reasonable that this thing will have to be washed. So I didn't treat it with any kind of ginger care or anything. I treated it like a household linen that would go through a regular washing and ironing process! The only exception is padding the surface of the ironing board really well, and ironing on the wrong side of the work.

After it was all ironed and ready to show off, I took it outside to photograph it, since the light was pretty good!

Hand Embroidered Monogram on Linen Guest Towel

And there's the completed piece. I do like the natural colored linen. I was thinking I might touch up that drawn thread edge with white stitching, just to set it off, but perhaps not. It might look too "accented," if you know what I mean! What do you think?

Hand Embroidered Monogram on Linen Guest Towel

And here's a close up.

Overall, I'm pleased with the way it turned out. It's always a good thing to work through a project that you're going to be teaching, so that you can know what points will need careful instruction and so forth. So I'm glad I managed to work up the whole sample. It isn't perfect, which is good - so I know the pitfalls when I teach the monogram!

By the way, I used about 35 strands of #20 coton a broder, and the strands were about 14" long, so about 13.6 yards of thread (I think that's about half a skein, maybe...)

Now, I'm off to prepare for my Monday morning class, which is the youngest group of children. I spent days and days last week (it seemed like years and years) tracing designs on towels, ironing, separating threads, and on and on. And here it is, Monday morning, and guess what? I'm not ready! Aaaack!

I'll be showing you some other samples and classwork along the way. Hope you enjoyed the monogram!

You can follow this project step by step with the following links:

Part I - Setting up, transferring design, discussion of supplies, and beginning the stitching.

Part II - Continuing the stitching, discussion on working padded satin stitch, stitches used, and some trouble-shooting.

Part III - Discussing taking the curves with satin stitch: how to work around the tight curves in a monogram, stitch direction, and so forth.

Labels: linen, monograms, needlework pictures, pictures, whitework

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Friday, June 20, 2008

Hand Embroidered Monogram: Taking the Curves with Satin Stitch

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

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

Hand Embroidered Monogram on Linen Guest Towel

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

Hand Embroidered Monogram on Linen Guest Towel

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

Hand Embroidered Monogram on Linen Guest Towel

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

Hand Embroidered Monogram on Linen Guest Towel

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

Hand Embroidered Monogram on Linen Guest Towel

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

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

Hand Embroidered Monogram on Linen Guest Towel

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

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

Hand Embroidered Monogram on Linen Guest Towel

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

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

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

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

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

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

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

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

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

Part III: that's this article!

Part IV: The finished guest towel!

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

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Wednesday, June 18, 2008

Hand Embroidered Monogram on Linen Guest Towel, Part II

Following up on my first article about hand embroidering a monogram on a linen guest towel, where you'll get details of supplies and technique, I thought I'd show you progress on the monogram and discuss the importance of precision in the outline.

After I finished the tip of the B, I continued backstitching the outline of the letter.

Hand Embroidered Monogram on Linen Guest Towel

Now, this is the thing: when you're stitching your outline, it is best, on the long stretches, to work with relatively longer stitches, so that you get a smooth, flowing line. As you work into the curves, your outlining stitches can shorten up a bit, in order to take the curves well.

My stitches here could have been a little longer. The difficulty is that, with shorter stitches, you tend to focus more on the fabric than on the smooth flow of stitches. And when you're focusing closely on the fabric, you end up naturally wanting to stitck your needle into the holes corresponding with the threads in the fabric, rather than sticking faithfully to the sweep of the line. So the result can end up a bit bumpy.

In the long run, you'll be much happier if you take your time with the outlining steps - make sure that your lines are nice and smooth, because you'll be using them to hold the edge of your satin stitch. A messy satin stitch on a monogram is never desirable, so take good care while you're outling - it will save you frustration later!

Hand Embroidered Monogram on Linen Guest Towel

When you look up close at the backstitching, you can see where the line jiggles in and out a bit. In the long run, the slight variation in the line didn't bother me too much, but I kept an eye out for it and compensated with my satin stitches.

The white little blob inside the lines of the letter (upper left of stitching) is where I ended my threads. Since that area is going to be covered anyway, I began my stitching by taking about three tiny little stitches into each other, inside the lines of the letter.

Hand Embroidered Monogram on Linen Guest Towel

And here you see the back of the stitching so far.

Hand Embroidered Monogram on Linen Guest Towel

When you see even more of the backstitching, you can see the jiggling of the line. Tsk tsk!

Hand Embroidered Monogram on Linen Guest Towel

And, the back of that - a combination of stem stitch and split stitch show up on the back. These stitches on the back will be mostly covered up by the satin stitching, although often you'll get a little border of half-stitches along the satin stitch line on the back, because the stitches tend to be split as you pass your needle to the back.

Hand Embroidered Monogram on Linen Guest Towel

The purpose of this photo is two-fold: 1. you can see the height on the embroidery; and 2. to show you again how I'm ending my threads - you can see the white marks inside the letter lines again. These are just little tiny stitches taken into each other; they serve to anchor the thread very well. As long as you're covering up the area with other stitches, this is a great way to begin or end your threads.

Hand Embroidered Monogram on Linen Guest Towel

The outlining on the whole "B" is almost finished!

Hand Embroidered Monogram on Linen Guest Towel

Ah, I like this! See the thread ring? Those are great for hitching up your whitework threads. Coton a broder, when left in the skein form, doesn't operate like regular stranded floss - it doesn't "pull" out of the skein. To make it easy to take a length of thread, I precut the skein in two pieces, to make about 14" - 15" lengths of thread, which I hitch up on a large thread ring. (This is a mother of pearl thread ring, large size, from Kelmscott Design). Then you can just pull your thread straight from the front cross over on the ring, without untying the bunch (the same way I did with the kids' threads and the craft foam mentioned yesterday).

Hand Embroidered Monogram on Linen Guest Towel

And, the back of the "B."

Hand Embroidered Monogram on Linen Guest Towel

With the complete outline finished, it's time to put the padding stitches in!

Hand Embroidered Monogram on Linen Guest Towel

Here's a close-up on the padding stitching - long stitches filling in the centers of the letter lines.

Hand Embroidered Monogram on Linen Guest Towel

And, finally, satin stitching over the padding, from the base of the B up. I also added some of the vine and flowers, so I could see what it would look like when finished. Notice that when you outline your satin stitch area and pad it, then satin stitch it, you end up with a slightly larger sized design. The little petals on that inside flower sure didn't look that big before they were stitched. Still, I like them.

So there's the progress on the monogram - what think you so far?? You'll hopefully see the grand finale on this one before the week's up! Holy cow! I better be finished by then!

This project was written up in four articles, including this one. You can view the progress on the whole project through the following links:

Part I - setting up, transferring design, discussion of materials, beginning stitching

Part II - (that's this one)

Part III - taking the curves with satin stitch - stitch direction and working around tight curves with satin stitch.

Part IV - the finished project!

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

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Saturday, June 14, 2008

Hand Embroidered Monogram on Linen Guest Towel

Here's a sample I'm working up for my adult embroidery class, which is also looming - it starts a week from Tuesday, and I have two more samples to work up for it. At the same time, I am setting up a Big Project that needs to be finished before the end of July! So things are hopping here!

This is an embroidered guest towel. It's an oatmeal-colored linen-cotton blend with a drawn thread edge, from All About Blanks. You'll notice the note on the page there - to pre-wash before embroidering. These do shrink quite a bit, but I still like them, and I like them smaller!

I wanted an oatmeal colored towel to monogram in white for two reasons: I love the look of the white on natural-colored linens (I think it's pretty!), and I think, when it's the first time monogramming something, it's easier to work on a color with white than to work white-on-white. The fabric has been really easy to stitch on, but it's not crisp like a 100% linen fabric would be. It's soft, and it does have a bit of a fuzz to it - I like it a lot, and I think one of the reasons is the softness and the fuzz and the ease of stitching on it (or is that three reasons?).

I started by ironing the towel after laundering it and drying it. I folded the towel in half, long ways, to mark the center.

White Hand Embroidered Monogram on Oatmeal Linen Guest Towel

White Hand Embroidered Monogram on Oatmeal Linen Guest Towel

Then I unfolded it, but I noticed that the crease would probably cause difficulties placing the monogram!

White Hand Embroidered Monogram on Oatmeal Linen Guest Towel

I like the wide drawn thread hemstitching there, don't you? Anyway, I pressed the crease out lightly - just enough to still see where it was!

White Hand Embroidered Monogram on Oatmeal Linen Guest Towel

For the first time ever, I am using iron-on transfers. I don't think I've ever actually used one myself, though I've seen lots of people use them and I know lots of people like them. I figured it would be a huge time-saver for me, to have a good selection of iron-on transfers on hand, instead of our having to hand-transfer all the designs, which takes up a whole class period in itself!

So I centered the initial - I'm using a "B" - and followed the pressing directions.

White Hand Embroidered Monogram on Oatmeal Linen Guest Towel

And that's what I got. It's there, more or less - there's some kind of streaky thing going on there, but that's ok. That's the fastest I've ever put a design on a peice of fabric. I was elated!

White Hand Embroidered Monogram on Oatmeal Linen Guest Towel

But I found the blank streaks a bit distressing.

White Hand Embroidered Monogram on Oatmeal Linen Guest Towel

So I took a fine-tipped Micron art pen and drew in the missing lines. No big deal!

White Hand Embroidered Monogram on Oatmeal Linen Guest Towel

I hooped it up. I use Hardwick Manor hoops, made in Germany. They're an excellent embroidery hoop - very firm, very stable-feeling, and the hardware on them is solid brass and very sturdy, so you can use a screw driver and really tighten the hoop. They hold fabric quite well, and even better if you bind the inside ring, which I didn't on this hoop!

I hooped right over the drawn thread hemstitching - the towel is sturdy, and I'm not worried about damaging it. I don't keep my work on the hoop when I'm finished stitching for the day (always take your work off the hoop when you're finished for the day!), so I am pretty confident that this will be just fine!

It's nice to work on a hoop for a change. I usually have my work set up on a frame (stretcher bars, generally), which I clamp in my floor stand (I have the greatest floor stand ever!). But now and then, I think it's really nice to be able to sit on the couch or even at the table visiting, without dragging out my floor stand or a larger frame.

White Hand Embroidered Monogram on Oatmeal Linen Guest Towel

So, the fabric ready, it's time to pick out threads. Ahhh. I love Lacis (Incidentally, they now have free shipping). Here's my box of coton a broder and white floche. I have several skeins of each size, from 16 up to 40.

White Hand Embroidered Monogram on Oatmeal Linen Guest Towel

I originally thought that size 40 would be the way to go. So I began stitching with it, but it really got lost in the towel fabric. I wanted something that would sit up on the fabric!

White Hand Embroidered Monogram on Oatmeal Linen Guest Towel

Soooo... I split it in half, and tried size 20 instead, which I found to be just right. I want the monogram to sit up off the fabric, and there are a couple ways you can achieve this with monograming. One is to use a technique called trailing, where you satin stitch over bunched string. Whenever you need to narrow your design, you sink one or more of the strings in your bunch to the back of your fabric. But trailing is a technique you have to get a feel for - you want to sink your threads so that the change in size is gradual and smooth.

Since this is for more or less a beginner's class, and since the design itself doesn't really come to a tip anywhere (trailing is great for lettering that comes to a tip), I'm sticking with outlining, padding, and then satin stitching.

For the outline, I'm using backstitch. You can also use split stitch to outline under satin stitch. It doesn't really matter which one you use, except I kind of think split stitch might create a smoother line. In any case, I used backstitch.

White Hand Embroidered Monogram on Oatmeal Linen Guest Towel

After backstitching the outline, a worked the padding in long straight stitches, occasionally splitting them to fit a thread in, working down the length of the letter. My satin stitching will be worked on top of this, perpendicular to the padding.

White Hand Embroidered Monogram on Oatmeal Linen Guest Towel

Wow! All those pictures, just to show you an inch of real work! So there's the beginning of the "B."

Quick overview:

Ground fabric: Oatmean colored linen / cotton blend guest towel from All About Blanks.
Thread: DMC Coton a Broder #20, cut in 14" lengths
Needle size: #8 crewel
Stitch: Padded Satin
Stitching Time to this Point: 30 minutes
Thread: 3 14" inch lengths

So that's the beginning of my monogrammed guest towel sample. I'll show you an update soon!

By the way, any good recommendations for iron-on transfer books? I've found a few I really like, but I'd love to hear of others!

This project was written up in four separate articles. If you'd like to view the progress of the project, please follow the links below:

Part I - (That's this article!)

Part II - Continuing stitching, discussion of stitches, some trouble-shooting

Part III - Taking the Curves with Satin Stitch - discussion of stitch direction and working around curves using the padded satin stitch

Part IV - the finished guest towel!

Labels: Embroidery for the Home, Embroidery Projects, gift ideas, linen, monograms, needlework pictures, pictures, whitework

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Tuesday, June 10, 2008

Vintage Embroidered Linen: with Whitework and Crocheted Lace Edge

I do love digging through old pieces of linen that I've got here and there in boxes or drawers. I think this piece is particularly pretty, but it needs some serious clean up work. It's a nice center piece for a table, or, on a small round table, could cover it completely.

I'll be testing a new cleaner on this piece - I purchased a product called Restoration, which is supposed to restore vintage linens (or new ones, too, I guess) that are beset with stains, age discoloration, fold lines, etc. I can't wait to give it a try! If you've every seen the website, Cynthia's Linen Room, you'll find she recommends it highly in her tips on laundering antique linens.

In any case, on this piece, you'll see some nice, simple whitework and a very well done crocheted lace edge on a round linen accent piece.

Whitework on Linen Table Topper, with Crocheted Lace Edge

Whitework on Linen Table Topper, with Crocheted Lace Edge

This is the whole piece. It is stained from age and has definite fold lines on it. The embroidery on it is not super fancy, but I think it's ok. By far the prettiest part of the piece, in my mind, is the crocheted edge.

Whitework on Linen Table Topper, with Crocheted Lace Edge

I like the pattern - the way it criss-crosses, and the little picots on the edge of the scallops.

Whitework on Linen Table Topper, with Crocheted Lace Edge

Here's a close up on some of the embroidery. There's a scallop design that circles the piece, and then two repeated motifs that alternate with each other around the piece.

Whitework on Linen Table Topper, with Crocheted Lace Edge

This motif cuts in three times around the piece, into the center. It's kind of a strange pattern - a sort of little off-set scalloped cut into the center, with those two half-moon things and some vines. I love the use of the seeding in the background.

Whitework on Linen Table Topper, with Crocheted Lace Edge

Here's another close-up on the crochet. I have no idea what the little string is that runs through the crocheted squares. It runs about half-way around the whole piece. Any idea?

If you have any vintage linens or stained linens, how do you clean them? I'd be interested to hear. I'll let you know how the Restoration stuff works - I have high hopes for it!

Labels: linen, needlework care, needlework pictures, pictures, vintage embroidery, whitework

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Saturday, April 26, 2008

Embroidering on Old Linens

Perhaps instead of "old linens," I should use the term "vintage," which has a much better ring to it! What about working your own hand embroidery on vintage linens? Do you think it's a good idea, or would it be a waste of time, since they're already... um... "old"?

I was considering the question of doing some hand embroidery - specifically, whitework - on vintage linens because I had the opportunity to acquire a couple vintage pieces that I liked.

One piece is a table runner or dresser scarf with a hand-crocheted edge all around it, and a very elaborate crocheted design with tassels on each end.

Vintage Linen that I'm considering embroidering

Vintage Linen that I'm considering embroidering

The crocheted edge needs to be pressed and re-situated, but you can see that it's a rather complex edging which could propose a problem for the embroiderer: I wouldn't want to mar the crochet with a hoop or snag it or anything like that! So that could be an "in-hand" job, if necessary.

Vintage Linen that I'm considering embroidering

The edging all around the linen is very pretty, and a bit simpler. I love the picot at the tip of each scallop.

The other is a buffet cloth - long and narrow, scalloped on three sides, with a straight edge that would run along the back of a buffet. The scallops are finished in an overcast stitch, and then a crocheted edge is added for a nice finish.

Vintage Linen that I'm considering embroidering

The linen on the piece is exceptional - a smooth hand, and a crisp finish. It's so nice! It's not slubby at all. It reminds me of Legacy's Ecclesiastical Linen - a perfect weight for whitework.

Vintage Linen that I'm considering embroidering

The edge is nicely done. The only flaw in the piece is a tiny whole at one point on the linen. I was thinking that, if I did do some whitework on this piece, I could use a pattern with eyelets and get rid of the hole by turning it into one!

These were offered as vintage linens from a reputable seller, and you can tell they aren't new, but I don't know enough about vintage textiles to approximate when they were made - they're not that old, anyway. The sheen of both is nice, but the second piece is certainly finer linen. It's a brighter white, while the first piece is slightly ecru and the linen itself is more coarse.

So, that is what I am contemplating - should I or should I not add further embellishment with some whitework on either linen? What do you think? Have you undertaken such a project before? Any tips?

Labels: fabric for embroidery, linen, vintage embroidery, whitework

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Tuesday, December 11, 2007

Needle Lace & Whitework - a Small Sample

Needle lace is a general term for - yes - lace made with a needle. There are many different types of needle lace. It seems that each region of Europe, for example, that has a needlework tradition, seems to have their own style of needle lace.

I love needle lace! I especially like the types that adorn linens. Italian cutwork is perhaps my favorite! I thought I'd just share a couple photos of a practice piece of needle lace that I pulled out of my sample binder today when I was cleaning up.

Italian cutwork is a technique that embodies whitework, cutwork, and needle lace techniques. It's worked on linen, and the design that is to become the inset needle lace is created by laying a foundation of threads in the pattern of the design, then cutting carefully away the linen and folding it back, stitching over the folded edge. Then, over the foundation threads that mark out the lace pattern, stitches are worked - usually buttonhole stitch, worked close together. Triangles, arches, and so forth can all be worked in geometric designs within cut out squares or other shapes.

The linen is further embellished with white embroidery. Some pieces of Italian cutwork are extrememly intricate, and really, really beautiful! Reticella, another Italian needle lace, had its origins in cutwork, but the technique for reticella lace eventually migrated to working the lace over threads, completely free of the ground fabric. Italian cutwork makes use of the ground fabric (linen) to anchor the foundation threads of the design (although, technically, you can make the same type of needle lace designs on paper, so that you have a separate piece of lace...)

Ok, enough! If you want to read further about Italian cutwork, I suggest the Priscialla Italian Cutwork book - you can buy it "new" and revamped from Iva Rose Reproductions. If you follow that link, you'll see a preview of the book, with some good photos of Italian cutwork.

Here's a little piece of needle lace I worked up as a sample a couple years ago. I was fiddling with Italian cutwork, and this was one of the little needle lace designs in the book.

Needle Lace Sample

The piece is a little short of two inches square. You can see that my picots are not so well done! It took a little practice to get those right! Also, the edge is not complete.

Needle Lace Sample

You can see the back here, with the linen cut and folded back. After the edges are stitched over (either with buttonhole or with an overcast stitch), you cut away the excess of the triangles.

So that's a little needle lace sample!

If you want to look further into needle lace online, here are a couple links:

Needle Lace - this has a nice introduction to needle lace, some patterns, pictures and descriptions of stitches.
Needle lace identification - here, you'll find some photos of different types of needle lace. Follow the links to see different types.
Beeton's Book of Needlework - hosted by Project Gutenburg, an excellent book of all kinds of needlework, with pages dedicated to needle lace.
The UK Lace Guild - good general information on needle lace - check the side menu for links to a few different types.
Antique Needlelace - some beautiful samples from the collection of Marla Mallett. You can click on the links for close up images, and the descriptions are good. This is not necessarily "cut work" lace - most samples are needle lace worked on net grounds.
Victoria & Albert - Here, you can type "needle lace" into the search feature, and view their online photos of different types of needle lace. There are some beautiful examples of cutwork & needle lace available - one handkerchief in particular is just stunning!

If you have any other resources on needle lace, feel free to share by leaving a comment! Thanks!

Labels: needlelace, needlework pictures, pictures, whitework

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Wednesday, November 14, 2007

A Slender Flower: Free Embroidery Pattern

This was a fun embroidery pattern to draw up. I took the inspiration from this from a door plate, of all things. You know, sometimes I think it's a curse when everything you see - even the most mundane things around your house - scream, "Wouldn't I make a Great Embroidery Pattern?" That was certainly the case with this, and I've been thinking about it for a loooong time.

So this slender bunch of flowers could be embroidered a number of ways. Oh, yes - they would serve for needle painting - but... I was thinking that, worked on a very fine linen or batiste (probably linen, since it's a bit sturdier), the design would make an excellent study in whitework. If I were going to use whitework techniques on it, I'd make use of the typical outline type stitches and seed stitches, but I'd also try some more textured stitches, or even some pulled techniques, for the various leaves, just for variety.

Well, in any case, here's the design, and you can do with it whatever pleases you! Click on the pattern for a larger version, which you can save to your computer and scale up or down.

How would you see this pattern interpreted? What kind of technique do you think is suited to it? Any ideas??? I'd love to hear them!

Also, lately, I've mentioned to readers that I'd love to be able to share any photos of work they do with the patterns from Needle'NThread, and I've had two readers lately who have sent me photos! If you've used patterns from here and you want to share your work with other readers, don't hesitate to send me a photo. You can e-mail me at mary [at] needlenthread.com.

Labels: free embroidery patterns, whitework

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Friday, April 20, 2007

More Whitework Embroidery Samples: an Online Exhibit

If you're a fan of whitework embroidery, there's an online exhibit of fabulous pieces of whitework that you can't afford to miss! "Whitework" is a rather generic term for white-on-white hand embroidery, and as you browse through this exhibit, you'll see how whitework can encompass many, many needlework techniques.

The Whitework Exhibit online at Lacis Museum details extraordinary pieces of whitework - some are so detailed and finely worked that it's hard to imagine the time and effort that went into them! They are simply gorgeous pieces!

At the online museum, click "slide show" to meander through photos of this exquisite work. You can also select the Whitework Exhibit Catalog link to read (in PDF format) about the different types of whitework that are showcased in the exhibit.

If you have time to go browsing and you like whitework - or really any needlework technique! - this is a good place to spend some moments. Enjoy!

Labels: embroidery resources, historical needlework, whitework

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Wednesday, April 18, 2007

New A-Z Embroidery Book: Whitework - plus Photos!

When it comes to learning embroidery techniques, you can't go wrong with Country Bumpkin's A-Z series, and they've done it again! They've released another great book in the series, this time on whitework embroidery. Here's what you'll find in it...

The A-Z Book of Whitework (Everything You Ever Wanted to Know About Whitework) covers all the basics of whitework techniques, from candlewicking to cutwork and net embroidery. You'll find hundreds of step-by-step photos for stitch directions and finish work. The book is thorough, has great ideas in it, and makes whitework accessible even for the beginner. You can purchase the book through Country Bumpkin's website, where you'll also find the rest of their A-Z books and heaps of other goodies - kits, accessories, gifts, and subscriptions to their magazines, Inspirations Magazine and Australian Smocking & Embroidery.

A-Z Book of Whitework Embroidery

What is whitework? Basically, it's any kind of stitching technique in white threads on white cloth. Normally, it's associated with embroidering motifs in white cotton on white linen, and often includes spaces in the design that have been cut away, in a technique called cutwork. Whitework is often associated with household linens and smaller items like monogrammed handkerchiefs. The stitches used are various, but typically you see padded satin stitch, stem stitch, buttonhole stitch, lattice work over open ground, seed stitching, French knots, and a variety of filling techniques.

Some techniques of whitework, such as Mountmellick embroidery, rely on relief work, padded stitches, and stitches that provide a lot of texture, so that there's a noticeable and pleasing contrast between the fabric and the stitchwork.

I thought I'd show you some samples of my whitework pieces that are either (unfortunately) in storage boxes for lack of household space, or that I have here and there around the house.

Detail of hand embroidered handkerchief in whitework techniques

Detail of hand embroidered handkerchief in whitework techniques

This is a close-up of a handkerchief, which I guess passes for whitework, although some of the stitching, as you can see, is not white, but rather a pale, pale blue. Something old, something new, something borrowed, something blue - you guessed it - it's a wedding hanky! Most of the stitching is pin stitch, stem stitch, satin stitch, and eyelets. All of these techniques are covered in the A-Z book!

Whitework dresser scarf

This is an angled close-up on a dresser scarf, which is on top of an old dresser. I didn't iron it too well last time, I guess. Anyway, you can see here the cutwork and the overcast stitches - all of which are covered in the A-Z book!

Whitework dresser scarf with filet lace insert

Whitework dresser scarf with filet lace insert

Here's an overhead view of the same, and you can see the embroidered net insert (filet embroidery), which is also covered in the A-Z book!

Gorgeous example of whitework and cutwork

Gorgeous example of whitework and cutwork

I just love this piece, which I'm keep stored for now! This one is NOT my work - I purchased it through an antique dealer. I can't take credit for something this gorgeous!! But I do love it! Here's another close-up:

Whitework up close

The eyelets are really well done. This is my favorite part of the motif - I love the little 'crown' look with the bow at the tip of the cutwork.

Whitework up close

The satin stitching here is very nice, and you can see another close up of it below. The other filling is merely created with long straight stitches in some cases, and rows of stem stitching in other cases. You can see the backstitching down the center of the leaves.

whitework satin stitching

Very nice satin stitching on these petals! The thread looks to me like coton a broder. There's enough shine to it, anyway, to be certain that it's mercerized.

Whitework tablecloth with needlelace inserts

Whitework tablecloth with needlelace inserts

And here's another example of a whitework tablecloth, edged in needle lace, with eyelet work and needlelace inserts. Another favorite piece unfortunately enjoying storage!

So, if you want to see what whitework is all about, check out the A-Z Book of Whitework at Country Bumpkin. Right now, it's not available through Amazon, so you'll have to find it in a retail embroidery shop or order it straigt through Country Bumpkin. The disadvantage is that you will pay high postage, because it's coming from Australia. You can always offset the postage a little by combining the order with other goodies from Country Bumpkin, though! But if you're a little more careful with your budget, you might want to wait until it's available through booksellers in America. It will save you at least half again the cost of the book in postage, and you won't have to wait 10 or more days for its arrival!

Labels: embroidery books, pictures, whitework

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