Do you work outside your home? I do. Between the middle of August and the end of May, my real job actually takes precedent over my needlework! (Can you believe I allow that??!) Now, this isn't just because the real job pays the bills - it's also because, if it is to be done well, the job demands it, and I love my job! I like teaching a lot, even though, yes, it does occasionally have its Moments. Needlework, during the school year, becomes my carrot - the thing that motivates me to do what I need to do, work-wise, so that I can enjoy relaxing with my needle and thread. And, as you avid stitchers know, needlework can also serve as a tremendous stress reliever!

But, when the work week is hectic, it's often difficult to find time to squeeze in a needlework project. Often, what ends up happening is that, because no progress is being made at all on the project, it gets side-lined, interest in it gradually wanes, it is finally stowed away, and... The End.

To avoid this, I started "forcing" myself (ok! right! it doesn't take that much force!) to fit in at least 15 minutes a day stitching. Whether those 15 minutes are snatched on a lunch break or between classes, whether they are found at the very end of the day before hitting the sack, or whether they are squeezed in first thing in the morning, before heading out to work (assuming I'm ahead of schedule!) - whatever the case may be, those 15 minutes serve three useful purposes: 1. they provide a momentary "break" doing something I really love; 2. they keep my projects going at least a wee bit and I feel as if I'm making progress; and 3. I don't have that overwhelming feeling of "needing to start," which can make me lose interest in a particular project and relegate it to the shelf.

That's the background of my 15-minute sessions. And here are some results from a few sessions last week.

On a few days, I only barely managed 15 minutes! Other days, I had more time in the evenings, and could make more progress than shown below. But for now, here are three 15 minute sessions that were snatched during the week:



I had two projects out this week - my Schwalm whitework project and this Long Dog Sampler. I started this sampler last spring. My niece wanted to work a counted cross stitch piece since they were covering the technique in home ec, and she really liked this Long Dog sampler called "Angel Pavement." So I purchased two copies, one for her, one for me, and we went thread and fabric shopping, and settled on working the sampler on 28 ct fabric over one thread. She's still plugging away on hers, though she works more sporadically all over the place on the chart than I do!

I haven't made any progress on this since I put it away last spring, but it's out again now, because it is perfect for 15 minute sessions.



In the first 15 minute session, I didn't get very far at all! You would almost be tempted to say, "This is not progress!" But the way I see it is, any stitch is progress! During that first session, I had to dig for thread, cut it, strip it, and thread two needles (which was wishful thinking - I didn't even use one full-threaded needle).



In the next 15 minute session, I stuck the frame on my Needlework System 4 stand, rather than holding it, and I resorted to two-handed stitching, which is a lot faster than one-handed!



And, by the third 15 minute session, I was making good headway. When I ended the previous session, I threaded a new piece of floss and had it ready for beginning, and, with both hands stitching, it went fairly well.

Now, keep in mind this little piece is not quite an inch square - so, in the scheme of things, it doesn't look like much stitching! But really - it is progress! And, as I mentioned before, this really serves as a motivator! I find myself seeking the next 15 minutes, just to see how far I can get in the next session. And, better yet, I find myself getting other things done that I need to get done, with more efficiency, so that I can squeeze in 15 minutes.

Do you use needlework as a carrot? Do you try to carve out bits of your day that you can devote to it? How do you go about doing so? Does it help motivate you in your other daily tasks? I'd love to hear how you deal with limited time and needlework!

Labels: 15 minutes, counted thread embroidery techniques, needlework pictures, pictures

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Posted By: Mary Corbet on Monday, August 31, 2009
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Here's a wee tidbit on the real metal thread called "flatworm" that's used in goldwork. This is going to make a Really Short Post, but I thought the information was interesting, nonetheless...

Flatworm is a real metal thread used for embroidery. It is also called "oval" thread, and is made just like smooth passing thread used in goldwork, but then it is rolled between two rollers to flatten it out.



This is what the wonderful, lustrous stuff looks like! Flatworm! Ahhhhh - a Bee-yoo-tee-ful goldwork thread! I've written about Flatworm before, and I still have a bit of an infatuation with it every time I see it. And yet, I have not done a lick of stitching with it. But it's pretty, isn't it? And it's got a great name!

While none of this information so far is too unique, this is the part I like:

Flatworm really does have a connection to its namesake, the Worm. It has been and is produced for the fly fishing industry. Fly fishing enthusiasts cut up the flatworm for making fishing lures, hoping to trick the little fishies (actually, they probably want to trick the Big fishies) into thinking that the somewhat twisted, flat broad reflective metal thread is a worm.

I never quite felt as akin to fish as I did when I learned this bit of information. In fact, I have never felt akin to fish at all.

But now, I admit that I can relate. If I were a fish, I'd go for a flatworm lure. Wouldn't you?

Info from a goldwork threads manufacturer who contacted me to explain! Thank ye kindly!

Labels: goldwork, supplies, threads

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Posted By: Mary Corbet on Friday, August 28, 2009
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In Lesson Five of this series of Long and Short Stitch Shading Lessons, we're looking at element 4 on the sampler, the ribbon-like swirl and the little swash shape in the top right corner.

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

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

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

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

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



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



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



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



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

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



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



(Mine looks better from farther away!)



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

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



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



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



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



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



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



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



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



This is the finished first ribbon tail.



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



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



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



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



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



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



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



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



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



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



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



The tip should look like this.



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



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



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



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

Here's a PDF download of this lesson:

Lesson Five: Long and Short Stitch Shading on Curves

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

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

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Posted By: Mary Corbet on Thursday, August 27, 2009
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Remember those hand embroidered curtains I've been harping on lately? Guess what?

If you said to yourself, "She changed her mind," you are, in short, correct. I have changed my mind. Let me show you why.



After progressing pretty far up the first embroidered line, it suddenly struck me that I should probably hang the curtains in front of a sunny window to test out this whole concept of embroidery on sheer curtains. The room in which they will hang gets a goodly bit of sun most of the day in one window or another, from morning until late afternoon.

Embroidering on sheer curtains that will be back-lighted by the sun most of the time is not quite the thing, methinks. The embroidery stands out, but not in a desirable way. It looks dark - and every warble and wobble in the stitching, every stray peeking thread end stands out in an obnoxiously noticeable manner.

I suppose I should have realized this sooner, but the whole question of whether or not I really should embroider the curtains never occured to me until I hung one set of the (un-embroidered) curtains in the room. They are white and crisp and airy, hanging over wide white slatted blinds, in a periwinkle room with white trim. Very cool and breezy looking! I love them! And while I was looking at them and admiring the overall effect, I tried to picture them embroidered. And suddenly, the whole question of backlighting jumped into my head. So I took the sheer I was working on, stuck it on a window, and said....

Ugh.

This was followed rather closely by...

Ick.

And the subsequent ritual of head banging and forehead slapping was followed up by placing an order for a new panel.

I'll keep the sheer I was stitching on. I think that the voile will make a good foundation fabric for embroidering on velvet. I'll recycle it for some use, anyway.

But in the meantime, I've crossed curtains off my List of Things To Do. Sorry for stringing you along on that one!

On the bright side, I think I'll concentrate on Schwalm for a bit - it'll be my new 15-Minute Project.

School has begun, by the way. To the dear reader who sent me an encouraging e-mail yesterday, wondering how I manage to do what I do - teaching, stitching, blogging regularly, and so forth - my only reply at the end of the first day of classes is this:

AAAAAAAAAaaaaaaaaaaaaaaaaaaaaaaaaaaaaccccccccccccccck!!!!!!!

Labels: Embroidery for the Home, needlework pictures, pictures

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Posted By: Mary Corbet on Wednesday, August 26, 2009
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Kreinik is an embroidery thread company here in the US that's been around since the 1970's. It's a family run business that has become very well known in the embroidery world - I've never been in a needlework shop or the needlework section of a craft, sewing, or hobby store that didn't have some kind of Kreinik thread available for purchase. While they are probably best known for their different metallic cords and blending filaments (that's just a guess...), they also manufacture some beautiful threads. I want to show you three of their silks and tell you a little bit about them.

Silk Serica, Silk Bella, and Silk Mori by Kreinik are all 100% silk threads for hand embroidery. The first two threads - Silk Serica and Silk Bella - are filament silks, while Silk Mori is a spun silk.

The difference between filament and spun silk is found in the silk fibers that are used for manufacturing the thread, and how the threads are manufactured. Filament silk is spun straight off the cocoon in long lengths. It is a very high sheen thread and quite strong. Spun silk is made from the "left-overs" after the cocoon has been unraveled. The silk is spun much like wool or cotton, in small pieces that, through the spinning process, work into a long strand. Spun silk has a nice lustre to it - it is soft, and generally it is "stranded" - that is, it's put up in a certain number of strands per thread off the skein (like DMC or Anchor cotton, which are stranded cottons).



Silk Serica is a 3-ply filament silk. It works well on 18-ct canvas, for good coverage with tent stitch. It's also a beautiful thread for techniques such as Hardanger, where it makes very nice Kloster blocks.



It can be used in any application in which you would use a silk buttonhole twist, but, from what I can see, the Serica is a looser twisted thread. Because it is looser, you can actually separate the plies (carefully), to use in satin stitching and so forth. When separated, the three ply thread becomes even more "shiny," and any waves that are the result of being twisted can be smoothed out by slightly dampening the thread.

Silk Serica comes in 142 colors that match Silk Mori.



Silk Bella (the second row of spools) is also a 3-ply filament silk, but it is much finer than Silk Serica. Unlike Silk Serica, it can't be separated into individual plies.



This fine thread is perfect for any application where tiny detailing is desired. It works well on high count fabrics for stitching over one thread, in counted work. It's great for blackwork, and can be used well in needle lace and pulled thread techniques.

Silk Bella comes in 46 colors.



This little picture is a sample given in the Kreinik brochure. The Kloster blocks (those are the heavier white stitching) are worked in Silk Serica. The woven bars and the tiny filler stitch in the center are worked in Silk Bella. The leaves on the outside are worked in Silk Mori.



Silk Mori (the pull skeins in the last row) is a typical stranded silk, used in the same applications you'd use stranded cotton. It's a six-strand spun silk, and, because it is silk, it has a higher lustre than cotton, and that lustre will last indefinitely. (Mercerized cotton tends to lose its sheen over the years...) Silk Mori comes in 142 colors, like Silk Serica.



Another little sample here from the Kreinik brochure helps demonstrate the differences in these three silks.

The color selection for these silks is really nice, and I'm eager to stitch with them. I've stitched with Silk Mori, but haven't personally done any embroidery with the Silk Serica or the Silk Bella. I hope to soon! You can find color charts for these silks available on Kreinik's website.

To help you get a better idea of the threads, I'll write up a comparison between them and other similar threads, so you can see these threads in relation to more familiar needlework threads. In the meantime, though, if you're looking for some beautiful silks to try out, you might want to give these a look! I love the feel of them, and I think they're going to be very nice for stitching.

Have you used any of these Kreinik silks? Any tips? Any information? Let us know!

Labels: embroidery resources, needlework websites, pictures, silk, threads

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Posted By: Mary Corbet on Monday, August 24, 2009
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Lately, you've seen a few mentions of Society Silk embroidery - also called Silk Art embroidery, needle painting, thread painting, silk shading, and ... on and on - here on Needle 'n Thread. The box of vintage needlework supplies (including silk threads and stamped linens from the early part of the 20th century) was, for me, a catalyst for further explorations into Society Silk. I also featured some of these historic needlework items in my give-away a couple weeks ago. Since then, it's been a case of Silk-Art-Embroidery-on-the-Brain.

Needless to say, then, I was super-duper delighted when a reader left a comment directing me to her Flickr page that is jam-packed full of 192 photos of Society Silk embroidery! Oh, wow! I was in Silk-Shaded Heaven.



This particular collection on Flickr includes color plates from books published by silk companies and now in the public domain. The collector has put her images together in one place, so that the rest of us can meander through some really gorgeous examples of silk shading and other embroidery in silk.



Even if nothing else in the collection thrills you to the tips of your toes (a scenario which is highly unlikely!), then this embroidered peacock surely will. It is... it's - amazing.



While you're meandering around Embroiderist's Flickr collection, make sure to click on Embroidery Collection, which will take you to a more general page that includes all her collections related to embroidery. Beware, though - you might spend hours browsing! There are heaps of vintage designs there!



I hope you enjoy browsing the Embroiderist's collections - and thank you, Embroiderist, for commenting on Needle 'n Thread and posting your link! I thought it was far too good a source of inspiration to leave it lost in the comments - hope you don't mind the write-up!

Labels: embroidery resources, long and short stitch, needlepainting, needlework pictures, needlework websites, pictures, silk

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Posted By: Mary Corbet on Monday, August 24, 2009
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When life is busy and the schedule gets hectic, I try to squeeze in some 15-minute sessions with needle and thread, figuring that if I can manage 15 minutes here and there, I might make some progress on needlework projects that would otherwise sit neglected until I convinced myself that I "have time" to embroider. Now that summer is over and life is returning to the hectic rat race of the school year, I'm back to my 15 minute concept. But sometimes, it doesn't get me very far!

I've got two needlework projects presently going on the front burner. On the back burner, there are two other needlework projects floating, that I have every intention of addressing at some point, some time. Here's a recap on those, and a 15 Minute Progress Report.

On the first front burner, you'll find my curtain project. With a recently almost-refinished bedroom, I thought some hand embroidered curtains would be a nice touch. Unfortunately, my bedroom is not quite finished, but then again, neither are my curtains!

On the second front burner, there's the Schwalm whitework project. Because my bedroom's not finished, my studio is overloaded with ... well, stuff from my bedroom, so I don't have anywhere to work on the Schwalm project right now. When I'm working on a piece of linen that size, I like to sit at a table, so I can spread it out.

On the first back burner rests the poppy kit from Trish Burr. I've framed up the piece but haven't started stitching. As soon as I make a start, though, I'll be good to go on that one. But first, the curtains. And the Schwalm. Well, ok - the Schwalm and the poppy can be simultaneous. But since I've started the curtains and they're part of my decor, I feel almost obliged to get them done first. (Operative word: almost!)

On the second back burner, my Long Dog Sampler is still stewing. I want to get back to this, and I will, as soon as things settle down. This particular project is a great 15-Minuter, because if it's on a stand in the corner, and a thread is started, it's really easy to launch in 15 minutes of straight stitching.

So, on to a project update, in pictures...



For the curtains, I decided to go with a chain stitched straight line in periwinkle, with a stem stitched yellow tendril working its way up the straight line. There are several lines of various heights (from 26" - 40" long) spaced about 6 inches apart, going up each panel.



I'm using three strands for DMC for both colors. Stitching on voile presents its own little difficulties. At first, I wanted to stitch in hand, without a hoop, but it is practically impossible to keep the tension right on this loosely woven, airy fabric. So I'm using a hoop, but the hoop presents other problems. It tends to distort the fabric considerably. Still, once the fabric is removed from the hoop, the stitching looks ok. Even with the hoop, it's a challenge to keep the fabric from puckering, and I'm hoping that the slight pucker that is evident will iron out.

I didn't transfer the design - I just doodled it free hand, using a ruler for the strait (periwinkle) line. It's not as if it's a design that could be messed up! I used one of those fine-tipped water soluble transfer markers from the notions section of a sewing store to draw the design, and I found that, in drawing with this pen on the voile, it was quite helpful to put another cloth (scrap) behind the curtain. This helped keep the ink from spreading.

And that represents my 15 minute session. Finished, it's a total of about 5 inches. At this rate, the two sets of voile panels should be finished in about a year - or two!

Coming up this week, I'll have Lesson 5 of the Long and Short Stitch Shading lessons up for you. You can look for that around Thursday, though I'll try to get it posted before then. I've also got some product reviews, another episode of messing with transfer pens and pencils, and (hopefully, if the US Post Office is on my side) two beautiful books to show you.

I hope you have a Terrific Week, and get to spend lots of time with your own needle 'n thread!

Labels: 15 minutes, Embroidery for the Home, needlework pictures, pictures

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Posted By: Mary Corbet on Sunday, August 23, 2009
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In the World of Needlework Books, there are books, and then there are Books. Stumpwork Medieval Flora by Jane Nicholas falls into the latter category: it's a Book you need in your needlework library! Here's an overview of it.

Jane Nicholas is an Australian needlework designer who specializes in stumpwork embroidery. She has multiple books on the market that feature her stumpwork projects in all their glory - projects that captivate any avid embroiderer and enchant even those who aren't needlework prone. Her newest book, Stumpwork Medieval Flora, does not disappoint. In the introduction, Jane notes that, like Medieval illumination, stumpwork is a surprise - it begs the viewer to close inspection and delights with each new discovery within a design.



Stumpwork Medieval Flora, an ample hard-bound book about an inch thick, features sumptuous pictures of the many projects featured in the book, along with complete materials lists and thorough instructions for completing each project. The book is divided into four sections: a brief introduction to the subject of medieval flora in illuminated manuscripts and their adaptation to stumpwork, the botanical specimens projects, the illuminated panels projects, and the final section on techniques, equipment, and stitches.



The front cover of the book features three of the five botanical specimens project (the other two specimens wrap around to the back cover). These "speciments" are can be stitched either as separate panels - each specimen individually - or they can all be stitched on one larger panel.



Each specimen illustrates a type of flora common to Medieval illumination, and along with the plant comes a good selection of very appealing insects. At the base of each speciment, the Latin name of the flower can be stitched.



The "surprise" of these stumwork pieces does not come merely from the litle bug tucked here or there. While these are certainly fascinating (and downright beautiful - yes! even though they are bugs!), the "surprise" that awaits the close observer is the technique. Close inspection reveals the leaf ruffled by the wind, the twisted petal, the shaded bud, the dragonfly's transparent wing and the beetle's shiny armor, the butterflies fuzzy abdomen - all meticulously executed with needle and thread.



Without even looking at the instructional content, you've probably realized that the book could stand alone as a coffee-table conversation piece, it's so darned beautiful!



But, let's look at the insides, too - and the meat of the matter, for those of us interested in needlework technique.



Within the book, the author instructs on a total of eight projects - five speciments and three illuminated panels. The specimens are those individual sprays featured on the cover. The panels are somewhat more formal - they feature a slightly less "natural" spray of flower or plant, bedecked with bugs and the like, and encased in a vivid frame of colored silk and gold thread.



A materials list is presented for each of the eight project. The list includes all fabric, fibers, and embellishments required to complete the project.

Line-drawings of the patterns (in the actual size to be worked) are accompanied by templates for the raised elements in each design.

The order of work is presented for each project, taking the reader step-by-step through the process of embroidering the particular design.



Little details of instruction are demonstrated with drawn diagrams. Most of the instruction, though, is in the text. The diagrams simply serve to clarify the text. Jane's text instructions in all of her books are very well and clearly written.



Mixed in among the text instructions and diagrams are up-close photos of the particular elements, completed. This is a nice touch; it not only adds interest to the black-and-white sections of the book, but it gives the reader a focused look at the element for the sake of reference.



These finished elements are printed larger than their completed size, in order for the reader to see the details of stitching and placement.



You can see here, for example, the line drawing of the butterfly accompanied by an enlarged image of the completed little beauty.



In the chapter on technique, equipment, and stitches, the reader will receive all the necessary "background" information for setting up the project, organizing and gathering supplies, the correct tools to use, and how to work the general types of stitches in the featured projects. The book, though, is not intended absolutely for beginners - unless you happen to be a very determined and enthusiastic beginner. For beginners, it would be helpful to have a few other reference books handy for stitch instructions, and Jane notes this at the back of the book (giving, in fact, a good list of resources available).

The book is Stumpwork Medieval Flora. The author, Jane Nicholas. Distributed in the US by Sterling Publishing (which has an absolutely terrific selection of embroidery books), it is a part of the Sally Milner Craft Series.

Add it to your needlework library. You'll be glad you did!

Labels: book review, embroidery designers, historical needlework, pictures, stumpwork

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Posted By: Mary Corbet on Friday, August 21, 2009
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The whole thought of hand embroidering two sets of curtains seemed a bit daunting, once I sat down to really consider the project carefully. With brand spankin' new curtains hanging before me and a roll of tracing paper on the table, I started fiddling, and thinking, and doodling, and ... eventually... despairing! Then, I went back to my e-mail. Do you know what the best thing about hand embroidered curtains is?

The very best thing about hand embroidered curtains is the fact that, when I wrote the last post presenting my plan to hand embroider new curtains for a new room, I heard from many who people who have hand embroidered their own curtains, or who have hand embroidered curtains in their homes.

Many folks sent suggestions on types of stitching and types of patterns, and when I started going back through the e-mails I received on the subject and the comments and ideas that were left on the original post, I felt much more inclined to tackle the project! I was excited again about it, thanks to your encouragement, comments, and suggestions. So, that's the Best Thing about hand embroidered curtains - I heard from a lot of really nice people!

Some readers even sent photos of hand embroidered curtains:



Méri thinks that these curtains were made by her mother. Recently found, when they were unpacked, they were discovered to be in bad shape. But they are beautiful! It looks like the design is made with tapes, like the kind used for making Battenburg lace.



Where the design becomes more intricate is where the majority of the damage is. In this technique, the tapes would be stitched onto the fabric, and then connections would be made between them, in the areas where the fabric is to be cut away. What elegant curtains these were! And I love the natural color, with the lighter design!



Janice hand embroidered the hem of her kitchen valance, in blue flowers. I like the embroidery along the hem. This is something I had considered - a line of flower or something similar, along the hem and down the center edges of the two curtain panels (where they meet). What I like about Janice's design is the "random" look of the flowers, and the way they seem to be kind of ... well... dancing. I love this valance, and it gave me a jolly idea for the kitchen window!



Mrs. Kitty went all out on her curtains! She made them a sampler of sorts, with a wide range of motifs on them. You really must look at her up-close photos of this embroidery project! It took her almost two years to complete the panels, the results of which are a sampler of varied techniques, colors, and motifs - truly an amazing job, and what a conversation piece! Fun!

After pouring over the various e-mails and comments, I went back to the table - literally, the drawing board - and looked at my curtains and my roll of tracing paper.

I knew what I wanted: simplicity. All the doodles I had doodled went into the trash. Too many scroll, too many flowers. I drew straight lines at 4 inch intervals on the paper - varying the lines in length from 24 inches to 40 inches. Then, in one on-going "sweep" I drew my embroidery designs. And they are, to say the least, simple!



Wavy lines with random loops - that's it. I liked the recurring suggestions I received from readers of doing shadow work on the cotton voile, so, where the lines wave (but not where they loop), I'll take the lines a bit wider and stitch herringbone stitches (to create the shadow) on the back, leaving the front looking like backstitch. Where the waves come back together in one line to make the loops, I'll switch to straight backstitch. Then, to finish off the look of the backstitch, I'll whip it with the same color thread.

I might - but I don't guarantee it - add a few random small flowers between the wavy lines, here and there, maybe worked in a combination of ribbed spider web and daisy stitch.

And that's my plan, which brings me to the second best thing about hand embroidered curtains: they can still be hung, until I get to each panel.

I plan to transfer the wavy lines onto one panel today. The room won't be finished until early next week, when I'll hang the curtains until I can get to stitching on them.

I can't wait to get started! And thanks to all who left comments and sent e-mails with ideas and suggestions! I really appreciate it!

Labels: Embroidery for the Home, needlework pictures, pictures

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Posted By: Mary Corbet on Thursday, August 20, 2009
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Here are two terrific resources online for charting text for counted thread techniques (cross stitch, back stitch, blackwork, canvas work, etc.) and for calculating fabric needs when setting up a new project.

The first resource is Crosstitch.com's "Fontform," where you can chart your own text in 21 different fonts, and print the chart from the generated PDF.



All you have to do is select your font, the width of the piece in stitches, and the color, then type in your text, check off whether you want it centered or not, and then preview and get the chart. It's that simple!



Here's my test run. I'm thinking this tool would be Particularly Handy for card-making and embroidery on perforated paper!

There's also a handy stitch calculator available on the same page.

The second resource is similar: Stitchpoint offers another text-charting program, but the format is different.



There are six fonts to choose from, four cross stitch and two backstitch. After selecting the font, you use the "keyboard" on the screen to select your text, then hit print. The image prints straight to your printer.



What I really like about the Stitchpoint page is their little fabric calculator.



Up in the right-hand corner of the page, you'll see three icons. The first one is a handy-dandy stitch calculator that tells you precisely what size to cut your fabric, taking into consideration the threads per inch (or centimeter - you can calculate it either way), the number of threads you are stitching over, the number of vertical and horizontal threads in the design, and the number of inches extra you want around the finished embroidery. Very handy, indeed!

So, if you're looking for a way to chart some simple text for your next project, check out both of these resources!

Thanks, Judith, for pointing these out!

Labels: counted thread embroidery techniques, embroidery resources, needlework websites

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Posted By: Mary Corbet on Wednesday, August 19, 2009
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Last week, I showed you my set-up for the Schwalm embroidery project I'm working on, from Luzine's book, Basic Principles of Schwalm Whitework Embroidery. Well, after a slight kerfuffle, all is underway again, and I've even begun stitching.

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



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



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

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



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



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



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

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



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



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



Your second row will look somewhat like this.



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



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

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

Second Circle

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



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



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



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



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



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



Your second row will look approximately like this.



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

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



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



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

Third Circle

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



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

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



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



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



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



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



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



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



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



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

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

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

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

Lesson Four: Circles, Flat and Round (PDF)

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

Have fun with it!

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

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Posted By: Mary Corbet on Monday, August 17, 2009
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Posted By: Mary Corbet on Saturday, August 15, 2009
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We can never have toooooooooo much to do, can we?! Especially when it comes to needlework, we can't, anyway! It's not quite like cleaning bathrooms and grading papers and things like that, is it? (Oh, no!! It's not!!) So, with that in mind, and knowing that the time is tick-tick-ticking away and summer will be gone in just over a week, I'm frantically preparing in advance the projects that I want to work on in the next few months. I don't want to be hindered by the preparation work when I finally have time to start stitching!

With all that in mind, one project that I definitely want to do (and to complete fairly quickly) is embroidering my curtains for my room. They're not really curtains - they're cotton voile sheers, and I want to do some simple embroidery on them. The stitching I'm thinking about will be light. Heavy embroidery wouldn't quite fit cotton sheers, would it?

I want to go simple, but at the same time, I want them to be fun. They can't be "too fun," though, because the room isn't really "fun." It's cool and calm.

These are the colors I've picked out for embroidering the white sheers - and probably these will be reduced to about four colors, and maybe only three:



That's the range. The room itself, once the paint job is done, is a darker periwinkle, with white trim. The new carpet will be... I don't know yet... All the furniture is white, the bed linens are white... you get the idea.

But the curtains (we're back to the curtains again) will be embroidered!

I figure by the end of September, life will be in good order again - the house finished, the school year underway and in a regular routine, and fall weather upon us - a perfect time for open windows and breezy curtains. Think I can finish this project by then? Hmmm....

Have you ever embroidered on sheer cotton voile? Have you ever embroidered your own curtains? Any ideas?

Labels: Embroidery for the Home, pictures, threads

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Posted By: Mary Corbet on Friday, August 14, 2009
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Before the school year gets underway in a mere week and a half (where DOES the summer go?!), I wanted to get several embroidery projects set up. I'm teaching five courses this semester, so I know my needlework time will be limited once school starts, especially during the first month while getting the routine underway. I'm planning to go back to the 15 Minutes Plan, but I can only do that if I have projects ready to stitch.

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

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

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

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

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

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

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



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



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



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

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

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

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



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



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



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



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

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



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

Then....

I threaded my needle...



It was time to start stitching!

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

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

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

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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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



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

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

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

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

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

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

Perhaps I should have!

Labels: embroidery tips and tricks, needlework tools

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Posted By: Mary Corbet on Wednesday, August 12, 2009
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Lesson Three of the Long and Short Stitch Shading series focuses on stitching to a point. I have to admit right off the bat, my stitching on these elements is not as good as I would have liked them to be! I suppose I could chalk that up to some kind of panic to get the lessons done, but really - it's a such a cop-out to offer excuses! I suppose you'll just have to take it as it is! The technique is there, anyway, and I'm sure that some of my "students" here will outstitch me on the finish - which is actually what a teacher always wants, isn't it?

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

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

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

Materials:

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

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

3. Small, sharp embroidery scissors

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

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

Procedure

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

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

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



Triangle 1 - Top left triangle

First Row:

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



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

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

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



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



Second & Third Rows

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

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



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

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



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



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



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

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

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

Work from the center to the right:



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



Last Row

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



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



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

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



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



Second Triangle

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



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



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



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



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



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



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



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



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



The finished little element.

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



And there's the sampler so far.

Here's a PDF version of Lesson 3: Triangles

Long & Short Stitch Shading, Lesson Three: Triangles

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

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

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Posted By: Mary Corbet on Tuesday, August 11, 2009
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Here's a little give-away that spans a few historical styles of needlework. It's not a huge, multi-item give-away, but in itself, it's rather meaty. We've got 17th century embroidery, 18th - 19th century Quaker-style sampler needlework, and finally, surface embroidery from the 19th / early 20th century - all in one give-away!. Hey, what more could you want??! (Rhetorical question!)

I thought it would be fun to group together some embroidery items by era and style and give them away to someone interested in all kinds of embroidery! And, if you're only interested in one thing represented here, I suppose the rest would make good gifts to other needleworking friends.



It's an odd mix of needlework-related goods, actually...



First, representing the 17th century, I've selected four blank cards from the Plimoth Plantation Jacket notecards. These are nice cards, printed on quality paper, and featuring up-close photos of motifs embroidered on the Plimoth Jacket. The four cards each feature a different motif, so you'll probably have a hard time deciding which to keep and which to give away! They'd make great birthday cards, thank you notes, or what-have-you for anyone interested in textiles. You can view the designs on all the cards on Thistle Threads. 10% of each purchase of the box of cards goes to the support of the Jacket Project.



Representing the late 18th and early 19th centuries, in the style of Quaker samplers, here's the Ackworth school memory book. This is a nifty little book where you can record your stitching. It has a zipper pocket in it, and various sleeves and pages for affixing stitch samples and so forth, as well as areas for writing commentary, some card threadwinders to cut out and use, some postcards that can be cut out and sent through the mail, and even little stitch diagrams for Quaker motifs. Neat little book! You can see inside the memory book on Needleprint, which is the publisher of the book. I happened upon a special on these not a year ago, so I picked a couple up, thinking they'd make good gifts.



And, moving into the late 19th and early 20th centuries, we've got a pre-printed vintage linen (in fairly good shape). These are from the box of linens and threads I wrote about the other day.



And two skeins of M. Heminway & Sons silk. If you've been itching to see this silk up close, here's your opportunity to get your hands on some!



The skeins are in fairly good shape - still braided with tags - but you can see that the pink is having a bad hair day. Still, it's usable, and it's beautiful!

Needlework Giveaway Participation Guidelines

To participate in the giveaway, please leave a comment below this post on the website. If you're reading this in your feedreader or in the e-mail newsletter, just click on the title of the article, and that will take you straight to the website!

In your comment, please leave a name. If you comment annonymously, please make sure you sign a name inside the comment box before you submit it!

In your comment, please answer the following question:

What's your favorite style and / or era of embroidery and why?

I'll draw for a winner on August 14th at the end o' the day, and I'll let you know on the 15th who won. The winner will then need to contact me with a postal address. If for some reason contact isn't made, I'll re-draw for a new winner.

Thanks for participating!

Labels: Book Give-Away, historical needlework, linen, pictures, stash contest, threads

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Posted By: Mary Corbet on Monday, August 10, 2009
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In case you're looking for some needlework resources or inspiration, I thought I'd compile a list of a few places I've come across over the last few weeks, coupled with some needlework news, specials, and resources...

First, some needlework shop news:


I mentioned already that Hedgehog Handworks is offering free shipping during the month of August. This is a really good deal, methinks. How many times do you look for something online, only to be deterred from ordering because of shipping? Especially if you're just looking for one little thing - like a certain color or type of thread! I had a project underway a few years ago and ran out of a specialty thread that I had to order. The shipping more than doubled the cost of thread! I'm always happy to find a free shipping deal! And, as Méri pointed out, international shipping is half price. So check out Hedgehog this month to see if there's anything you need! (Floche is on my list before the month is out...)



Threads in Bloom - specializing in Brazilian embroidery supplies and kits - is also running a little deal in August to celebrate 22 years in business. (That's a long time! Congratulations, Sharon!) During August, Sharon will be including free mesh zipper bags with any orders $10 and over. For orders of $10 - $25, she's including a small bag; $25.01 - $35.00, a medium-small bag; $35.01 - $50, a medium bag, and orders over $50 will include a large bag. These mesh bags are terrific project bags - I have a few and I use them all the time! I've taken to using the large mesh zipper bag to store multiple projects of a particular kind. For example, all my Trish Burr kits are safely tucked away in a large zipper bag.



If you're looking for specialty embroidery supplies in Europe, Aurélie Clay and her mom have recently opened an online shop in France. The shop is called Brodely, and you can find it in both French and in English. Brodely has just opened up, so I'm sure we'll see some expansion on the shop. What I like about it: they carry goldwork supplies! They also carry some harder-to-find supplies for embroidery on tulle, including cotton tulle and tambour needles in a variety of sizes. You can also find silk fabrics, sequins, beads, and so forth. And, they accept Paypal, which makes it very easy to place orders from overseas! I like this little shop - it'll be fun to see how it develops.



Paint-by-Threads is an interesting online shop specializing in embroidered art (already embroidered) and kits (for you to embroider) in the Arts & Crafts Movement style. The Framed Needle Art section is quite inspiring to browse through, but what really catches my attention about the shop is the selection of linen available to purchase by the yard. The prices on the linen per yard look quite reasonable. I haven't seen any of the fabric upclose, in person, but I'm going to order some swatches. There are some Belgian linens and Irish linens on there - and, like I said, per yard, they are priced quite reasonably.

Now, onto some Fun Stops online....



Have you visited Needleprint? This is a site devoted to a huge world-wide stitch-along on the Mary Wigham sampler from the Ackworth school. The designs that abound on the website are in the "Quaker" style of samplers, and the historical information about needlework from the era and from the school is all rather engrossing. I found myself whiling away quite a bit of time, reading through the posts and seeing what's offered on the website. If you like the Quaker style of needlework, you will really enjoy this site. The stitching is counted - and it has that old world charm that is beguiling, I think. I love it! There are some nice projects and freebies on the site, too, so browse around and dig deep!



Ok, I know you're going to think this is really weird - it's not really "needlework" - why is she sending us to a hat pattern? But, anyway - enough of that! Let me explain! On Betz White's blog this week, she featured her new reversible bucket hat pattern, which she has for sale on Etsy. Ok, ok. I'm not a hat person. I'd like to BE a hat person! But I'm not. But I know several people who are - and I think this pattern (while cute as anything in Betz's fabrics) has some potential in a needleworky-sort-of-way. So stay tuned for that in a while - my niece and I are working on something! It IS a cute hat, isn't it? And think: embellishment!

Those are a few sites that have caught my eye recently! Hope you have fun looking through them!

Labels: embroidery resources, historical needlework, supplies

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Posted By: Mary Corbet on Sunday, August 09, 2009
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The other day, I showed you that magnificent box of M. Heminway & Sons silk - a goodly collection of vintage silks from the turn of the 20th century. The more I think about this treasure, the more excited I am about it! Here, I'd like to show you some of the linens that were in the box...

These linens are certainly "vintage" - they're downright antiques. Some are embroidered in part, some are not. Some are in fairly good shape and might be salvageable, but some probably can't be salvaged. Below, you'll see some photos of only some of the linens, actually - there are more than pictured here, but this is a good selection of the types of linens in the box.

Many of the pieces are of the same weight fabric - a light, fine linen with a smooth "hand" (or surface feel), but others are coarser linen and one even looks like a cotton sateen, the type of fabric used for Mountmellic embroidery. And there are different types of designs on some of the linens - especially on the coarser ones. These, I don't think, were necessarily used for "Society silk" styled embroidery, but for other projects - maybe just practice?

Let's take a look - and if you have any insights, do feel free to share them!



This is rather a fine weight linen, with a leafy design printed on it. Embroidery was begun on one corner.



The embroidery for the filled areas is worked in a shading technique - long and short stitch - and the stems are worked in stem stitch. Isn't the sheen of the silk just beautiful?!?



This is a piece of rather coarse linen. You can see that it is pretty well stained and marked with age. I suspect that the embroiderer actually put the pattern on herself, via a prick-and-pounce method of transfer. The pounce must have been either damp or actually an ink of sorts. In old books, especially books on ecclesiastical embroidery, there are some "recipes" for ink that is applied in a way similar to the prick-and-pounce powder method method, and I think that's what this is. Why do I assume she didn't buy the piece with the design already on it? Read on, and I'll get to that point further down...



This is another piece of linen that's relatively coarse, but not as coarse as the linen in the previous photo. The design on this one looks preprinted, and the embroidery was begun in a heavier silk (called "rope" - there's a good bundle of this silk in the box).



The embroiderer was stitching the edges of the leaves in buttonhole stitch.



This is another piece of finer linen - very thin stuff. I suspect that the piece came with the drawn thread areas already done, and with the embroidery design printed on it. This was obviously a set, because there are a couple more pieces in the box, just like this, with different embroidery designs around the drawn thread area.



You can see a close-up on the drawn thread area here. Though it is visually interesting over all, the drawn thread design is not worked very neatly. The tips of the ovals are jammed with threads. Still, the inside parts of the ovals are really incredible - teeny tiny detail work here.



You can see the graduated shades in the stitching here, and the luster of the silk.



This piece is from the same set, but instead of flowers, the design around the outside features pomegranates.



This is the same design as the first coarse linen up above, and the fabric looks to me more like a cotton sateen - it's shiny, and the weave looks like a sateen. Hence, my reasoning for thinking she transferred these two designs herself, because they are on completely different types of fabric, and though the designs are the same, they have a few "blotches" in different places. It's a neat design - it has the look of some of the flowers you'll find in William Morris's textile designs.



Here's another piece of fine linen, with a design typical of "Society silk" or Silk Art Embroidery. There's a larger doily, with several small ones - sort of like coasters. The design is preprinted in blue.



The small circles have different designs around them - they aren't all exactly the same. I think there were two of one pattern and two of another, but they all "work" together as a matching set.



Here's another set of small doilies. The edges of these could be worked in a buttonhole or a satin stitch, then the rest of the fabric could be cut away.



The strange thing about this set is that it looks as if someone went back over the design with pencil, either to darken it up, or to put in guides for stitching. Either that, or perhaps a ghost image was printed on the fabric at the same time. I'm wondering about spot removal on some of these - I wouldn't want to remove the design, but I'd like to get rid of some of the spots...



This is another pre-printed linen, on a finer weight of linen, but printed in yet a different style when compared to the other linens above.



What I really like about it is the information on the corners - directives for types of stitching and colors, I think.



There's also what looks like a design or pattern number, and a needle still stuck in the fabric.



This piece is perhaps my favorite in the whole box - not just because I think the pattern is very pretty, but also because it is in the best shape. I think it IS salvageable, and it would be worth embroidering in the same style, using the silks from the box. I've put that on my List!

Some of the pieces had some really pretty embroidery on them, though none of it was finished. Some bits of embroidery look like practice pieces, while others were projects underway but never completed. I'll show you some of those a bit later, too!

So what do you think? Worth trying to clean some of these up to stitch? Do you think they'd hold up? I certainly think the patterns are worth tracing on many of them, that's for sure! Some of the designs are very pretty and delicate - others are bold and beautiful. I may have to devote some time to that!

Labels: historical needlework, linen, pictures, vintage embroidery

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Posted By: Mary Corbet on Saturday, August 08, 2009
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Today's article is the continuation of yesterday's Long and Short Stitch Shading, Lesson 2. We'll be looking at the larger box in Element 1 on the Long & Short Stitch Sampler. This box is stitched on the diagonal, so it's a little more difficult than yesterday's vertical stitching.

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

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

Materials:

1. Project in hoop or frame

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

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

4. Small, sharp embroidery scissors

Procedure:

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



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



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

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





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



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



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



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



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

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



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



This is the completed third row.



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



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



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



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

Voila! You have finished stitching inside the boxes!



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

Long & Short Stitch Shading Lessons - Related Posts

Supplies

Lesson One: Setting Up

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

INDEX of Long & Short Stitch Lessons

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

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Posted By: Mary Corbet on Friday, August 07, 2009
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Posted By: Mary Corbet on Thursday, August 06, 2009
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Continuing with the series of long and short stitch shading lessons, here's Lesson 2: Inside the Box. In this lesson, we'll be stitching element one on the sampler, the two boxes in the top left corner.

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

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

Materials:

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

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

3. Small, sharp embroidery scissors

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

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

All stitching is worked with one strand of floss.

To Begin

1. Begin with the smallest box.

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

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

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

First Row

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

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

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

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



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



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

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

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

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

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



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

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

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



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



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



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



The Last Row

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



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

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

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

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

Long & Short Stitch Shading Video Tutorial - Part 1



Long & Short Stitch Shading Video Tutorial - Part 2



Long & Short Stitch Shading Video Tutorial - Part 3



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

Long and Short Stitch Shading Lessons - Related Posts

Supplies for Long and Short Stitch Shading Project

Lesson One - Setting Up

Long and Short Stitch Shading Lesson INDEX

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

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Posted By: Mary Corbet on Thursday, August 06, 2009
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A few weeks ago, a reader contacted me to ask if I would be interested in a box of "old" stamped linens. They had been given to her, but she knew she wouldn't use them, so she kindly volunteered to send them to me, or to Good Will. Some linens, she said, still had the original embroidery threads with them. Of course, I jumped at the opportunity, and Freda very kindly sent me the box.

I've had similar things happen before: neighbors cleaning out their garage or their storage area and coming across old craft stuff and not wanting to go through it; people contacting me from afar, after the death of a family member, and asking if I wanted the box of their mom's embroidery supplies, as they weren't interested in them; a lady dumping (yes, dumping) a worn out box full of children's crafting supplies on my front porch.... and the list could go on. In most of these situations (the exception being the dumbed box on the front porch!), it has always been a real pleasure to go through the boxes.

Each box tells a story of sorts - what the person's tastes were; how much they loved their hobby; what things in life were important to them; whether they were very organized and meticulous people, or whether they were more like... uh... me. Going through old needlework supplies, you can learn a lot about people!

You can also learn a lot about the history of needlework, which was the case with Freda's box.



The contents of this box undoubtedly date to the late 1800's - early 1900's, during that era of "Silk Art Embroidery" or "Society Silk." Well, certainly some of the threads date from the mid-1800's up to 1917 (I'd guess closer to 1917).

Inside the box, I found a heap of unworked, stamped linens, featuring tea cloths, doilies, and the like. The majority are printed with "natural" looking floral designs, typical of the "Silk Art Embroidery" style (or "Society Silk"). Very few of them are partially worked, and none are completely worked. I'll show you the linens a bit later.



Tucked inside some of the linens were skeins of silk floss - in different degrees of disarray. Some will need attention to get them back in order; others are neatly braided.



Regardless of their current situation, all the threads are gorgeous! The sheen is incredible - the silk is just beautiful! I am looking forward to the challenge of separating and straightening out the different colors and weights of silk!

When I removed the linens from the box, I discovered more silk! Someone had already tried to organize this bunch, using small plastic bags.



The majority of the silk was manufactured by M. Heminway & Sons:



Merrit Heminway was the first manufacturer to spool silk in the US. From the mid-1800's through 1917, his company (formerly Bishop & Heminway) was called M. Heminway & Sons Silk Company. In 1917, the company was sold to Hammond Knowlton & Co, and the name was changed to H.K.H. Company. So somewhere between the establishment of of M. Heminway & Sons Silk Company and the selling of it to H.K.H., these threads were made. An expert who's studied the subject in-depth could probably look at the label and be a bit more precise as to the age of the thread, but there's no doubt that the era is certainly the "Silk Art" or "Society Silk" era of embroidery.

The popularity of this style of embroidery, which is essentially needlepainting flowers and other natural florals on linen and other ground fabrics using fine silks, lasted from the around the 1880's through about 1915 - 1920. According to Donna Cardwell in her book Silk Art Embroidery: A Woman's History of Ornament and Empowerment, the term "society silk" comes from the organization (The Society of Decorative Art) that taught the skills of this type of needlework all over the country and in Canada. Silk Art Embroidery has an interesting history and is worth reading about. Don't be too put off by the title of the book above - I was afraid it was going to be entirely a "social history" book, but it isn't. It contains interesting history and lots of technique information.

While it is evident from this box of goodies that the stitcher was definitely stitching household linens, I can't help wondering if they were for her or if they were being made to sell as a source of income? Was she just dabbling in the new embroidery rage? Or was she seriously trying to learn the technique in order to supplement income? These things, I will probably never know - but it's fun to wonder!

Incidentally, this type of thread was not used solely for "Silk Art Embroidery." This was the silk embroidery floss available in the US at that time, and you can see it on a multitude of ecclesiastical work from that time period, as well. I've always wanted to see the threads they used in ecclesiastical work from the early 1900's, up close. When looking at different pieces, it's evident that the pieces were stitched with lightly twisted filament silk. And finally, here's a whole box of it!

I'll be sorting through this as I have time, and I'll also be showing you the linens, in case you're curious!

Thanks, Freda, for thinking of me!

Labels: historical needlework, needlework pictures, pictures, silk, threads, vintage embroidery

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Posted By: Mary Corbet on Wednesday, August 05, 2009
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Hedgehog Handworks has recently been ... well, "updated," for lack of a better word. It's always been a wonderful online shop, and a great resource for needlework books, costuming supplies, goldwork supplies, and threads. But nooooow, they've gotten better! Let me tell you all about it!

Hedgehog Handworks is an online-only needlework shop; there's no brick-and-mortar Hedgehog. The online store is run by a super nice lady named Joady, and I love her taste in supplies!



What will you find new on the website?

For starters, Joady is now carrying some fantastic linen - Legacy linen in different weights as well as some Strathaven linen that's similar in weave to 17th century linen.

You'll also find at Hedgehog the whole range of Hardwicke Manor hoops, which I recently discussed with you here on Needle 'n Thread.

And - jolly, jolly! Are you looking for slate frames? She's got plenty of sizes available!

Recently, I reviewed the book Letters and Monograms from the House of Malbranche, and you'll find it available at Hedgehog, too.

But here's the icing on the cake: During August, to celebrate their 22 years in business, Hedgehog Handworks is offering FREE SHIPPING to US customers.

(Murphy's Law: I placed an order last week!)



Now would be a good time to indulge in a few trial supplies, like different goldwork threads (she also carries the range of Gilt Sylke Twist - and it's less expensive than anywhere else I've seen it!)



If you're looking for goldwork supplies, you'll find a whole range of real metal threads available. The last time I splurged on goldwork supplies, I bought them from Hedgehog. Maybe you just want to "try" a thread, but didn't want to pay shippingn on top of the cost? Now you can!

Another thing: You'll get fantastic customer service, I'm sure. It's sometimes difficult to say that about a shop absolutely , because everyone has their On Days and their Off Days. But I've never ordered anything from Hedgehog without having a pleasant experience - and quick delivery, too!

So, stop by Hedgehog during August, see what's new in the shop, and enjoy free shipping!

Labels: embroidery resources, goldwork, needlework websites

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Posted By: Mary Corbet on Tuesday, August 04, 2009
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To keep things organized for the upcoming series of long and short stitch shading (needlepainting) tutorials, here's an index of all related links.

List of Long & Short Stitch Lessons and Links



Flickr Group for Sharing Photos and Receiving Feedback

Supplies

Lesson One: Setting Up the Project - includes design, materials list, instructions on transferring the design, etc.

Lesson Two: Element One - Inside the Box - basic long and short stitch technique - Includes Video Tutorials!

Lesson Two, Part 2: Element One - The Large Box (stitched on the diagonal)

Lesson Three: Element Two - Triangles - Shading at an Angle

Lesson Four: Circles - from flat to three dimensional on round elements like berries

Lesson Five: Ribbon - Shading around curves and to a point

Lesson Six: A Simple Leaf

Lesson Seven: Another Leaf - slightly more complex

Lesson Eight: Small Simple Flower

Lesson Nine: Leaf with a Turnover

There is a direct link to this Index under "Editor's Floss" in the right hand column.

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

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Posted By: Mary Corbet on Sunday, August 02, 2009
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Before I realized I really wouldn't have much wall space in the "studio," I started collecting images of art that was textile or needleart-related, with the intention of finding a framable print or two for the walls in my project room. While organizing some of the image files (I have over 60,000 pictures on my computer - it's time to weed some out!), I came across this folder full of collected art images. "Why not share them?" I thought. So here are just a few, grouped by artist...

Here are three artists whose paintings feature textiles or needlework in some way. I especially like faces and feet in art (yes, feet - I don't know why, but I always look at feet in art, when feet are available...)

First up is Bouguereau, 19th century French painter.



This is a portrait of Leonie Bouguereau, and I suspect that's needlework of some sort, although she could have just finished drying a lot of dishes. In any case, despite what she's been doing, she isn't getting much done at the moment.



This is probably Bouguereau's most famous little sewing girl, and I actually do have her matted and framed. I suspect she's sitting on a doorstep, working a little sampler, and people watching. I think she's sweet. And - yes, check out her feet. Barefoot and stitching - what a great combination.



This is Bouguereau's Spinner. There's nothing quite like standing outside the front door with your drop-spindle, trying to look busy. I like the color in this one.



Another Bouguereau... I don't know the proper name of this one, but I call it Mending a Sock. She probably isn't mending a sock, but considering she's barefoot and the thing on her lap looks like a sock, she might as well be darning it. And besides, I suspect her feet are cold. She's wrapped up, anyway. She's got a sweet little face, but golly, is she bored? Or wistful?



This is Bouguereau's Knitting Girl.



No, I admit she isn't doing needlework. But I'm pretty sure she's drawing her next needlework sampler. And she's being rather ornery about it, too. Actually, this is my favorite Bouguereau. Her expression cracks me up.



This is the goldworker (the Gold Embroideress) by Vasily Tropinin, a Russian artist of the late 1700-early 1800's. I would like to find this in a print and have it framed. I like it a lot! I'd like to be able to see more of her workspace!



Tropinin also has a very nice lace-maker...



... and a spinner. But I like his goldworker best.



Mary Cassatt was an American artist at the end of the 1800's - beginning of the 1900's. Mostly in her day, women studied art as something to "dabble" in, in order to be considered "accomplished." This wasn't Mary's plan - she really wanted to be an artist.



Though these are not her most famous paintings, I like them both - especially the first one, with the child at the mother's knee.

And there you have it - three well-known artists who included the needlearts in their own artwork. There are HEAPS more, though! It's really surprising, once you start looking around, how many famous artists painted subjects busy with needlework of some sort.

[Image Source Information: Unfortunately, these have been collected over quite a long period of time, and I didn't always note the sources, but I believe them all to be copyright-free images. Some are from Wikipedia, I suppose...]

Labels: miscellaneous embroidery musings

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Posted By: Mary Corbet on Sunday, August 02, 2009
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Posted By: Mary Corbet on Saturday, August 01, 2009
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