Posted By: Mary Corbet on Wednesday, September 30, 2009
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Posted By: Mary Corbet on Wednesday, September 30, 2009
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Some of the earliest articles that featured photos of my own hand embroidery here on Needle 'n Thread were two posts that examined a project worked with silk threads on silk fabric. The two articles focused on one half of an embroidered stole worked predominantly in satin stitch and stem stitch filling. The first article featurs close-up pictures of the stole, and the second article featurs a photo of the whole stole.

This past weekend, at the request of a friend, I pulled the embroidery project out again, including the second half of the stole, which has been laced up on a scroll frame, neglected for many years.

In revisiting this project, I've had the opportunity to rethink a few things about it.



This is the beginning of the second half of the stole. In my mind, I remembered being about a third of the way finished with this half of the project. I'm not sure why I thought I was so far along. It's discouraging, actually, to see that I finished so little on the second half!

What slowed me down on this project? Why did I resign it to the shelf?

The first thing that happened was that Life got in the way. I remember frantically applying myself to the first half of the stole, and, after about 3 months, finishing it, setting up the second half, and making a start on it. But it was the middle of the school year by then, and things just got busy. So the project was set aside for a time.

Then, one day, I had visitors, a lady and a little girl. And the lady wanted to see my current embroidery project. The little girl - about six years old - was playing outside when I took the piece down. I looked at the piece with the lady, and had just turned away from it, when the little girl came in. I didn't think to pay close attention to her - her dirty hands were wet and sticky and a little muddy. And she made a bee-line for the frame. Before the thought could formulate in my head (I don't think I got beyond the internal "Noooooooooooooooooooooo!"), she had applied one particularly grimey finger to the fabric and threads, leaving a big, wet, dark spot on both the embroidery and the ground fabric.

Do you know how it is, when you have a "big" obstacle to overcome in a needlework project, and the obstacle kind of takes the wind out of your enthusiastic sails? This was the case for me. At the end of that day, I wrapped the frame up in a cloth, and tucked the whole thing away on the highest shelf, in a box. And it has been there ever since.

But in taking it out again this past weekend, I discovered several things.



First, I discovered that the way in which I originally transferred the design had been a good idea, for the image has withstood the test of time magnificently. On the soft gold silk ground fabric, I had used white dressmaker's carbon. The white, once embroidered over, is not visible at all - even if a little fringe of it is left beyond the embroidery. And yet, it is clearly visible on the silk ground fabric, due to its light white-ness and its matte finish against the shiny silk.

Dressmaker's carbon can be an excellent way to transfer a design on smooth fabric. You can find transfer paper in the sewing notions section of fabric stores. Saral Transfer Paper is a good brand to use if you can find it. The variety packs come with a sheet each of red, white, yellow, blue, and graphite (greyish black). The sheets can be used many times over. If you can't find Saral, Dritz also makes a wax-free dressmaker's transfer paper in five colors. It is probably more commonly available at sewing stores, and the size is actually perfect for a project like this stole, which is long and narrow. It comes in 5.5" x 19.5" sheets.

Though the frame for the stole was wrapped in fabric that rested against the design, and then packed again in a box with other stuff, and put on a top shelf for several years, the design is still crisp and fresh and hardly smudged at all. I'm glad to see that.



The next thing I learned is that I tend to exaggerate in my mind how serious a "flaw" is on a piece of needlework. The wet, dark smudge (that I thought could never be cleaned away) was right here, between these two "petals" on the embroidery. Where is it now? Did time take it away? Or was the flaw not quite as bad as I had worked it up in my mind to be? Whatever the case, that excuse for shelving the project is now completely gone. There was only the slightest sign of a bit of dirt on the silk threads in the top petal. A little scratch with the fingernail, and it was completely gone.



I've learned a lot more about embroidery in general, ecclesiastical embroidery in particular, and individual stitching techniques since I embroidered this piece. In my mind, I recall this piece as being a "beginning" step in my pursuit of serious embroidery. As a beginning step, I somehow had adopted the impression, over the years, that I didn't do a very good job on the piece. But in looking at it (and this isn't to honk my own horn - just to make a point), my satin stitching was actually pretty darned good. Had I convinced myself that it wasn't up to par, as a further excuse not to return to this project? It is Certainly Possible!



I can't help thinking that I might be hard-pressed, now, to replicate this satin stitching!



Finally, there is the question of this frame. When I first started this project, I would've killed for a slate frame (not literally, but...). I looked high and low, here and there, and absolutely everywhere for one. I settled for a scroll frame, because it was the only thing that could accommodate the silk, keep it relatively taut, and roll up the excess fabric.

But in looking at the framed up piece now, I can confirm that I was right about my lousy lacing job. And, on top of that, using masking tape to "finish" the edge was probably just downright stupid (though there is actually about 6" of excess fabric on each side of the design).



In my mind, whenever I thought of this project (because it does still hang over my head now and then, and I think on it with regret...), this lousy lacing job and the tape fiasco were obstacles to completing the piece. But are they, in reality, obstacles? Not really. It would be nothing, now, to take this frame apart, remount the piece on a slate frame using proper fabric edges, and tighten it up to work on it.



Going back to the original first half of the stole, I took some photos of it again. Since that first post on the subject oh-so-long ago, I've had two different cameras, each progressively better, and I've learned a bit about light, and also a bit about photo editing programs.



I can't help looking at images of the original finished half of the stole and asking myself if it would be worth revisiting this project and even finishing it.

But now that some serious time has passed since I shelved the project, some serious issues have arisen that are truly obstacles. Of course, obstacles exist in order to be overcome!

The greatest obstacle is that of thread: the original piece was worked with Au Ver a Soie's Soie d'Alger. Though I had, at the time, purchased enough of the same dye lots for both sides of the stole, over the years, I have used those threads. Can I match them closely enough in order to finish the second half of the stole? Maybe. It is worth looking in to, but can't be done until I visit a shop that carries the threads.

There are several - actually, many - things that I would do differently now, if I were making this stole from the beginning. And this is another obstacle for me! It is more of a mental obstacle, though - which are the worst types of obstacles, because they require overcoming self, rather than overcoming something tangible outside of one's self.

I can't guarantee what I will do with this - whether I will finish it or not. Most of the trivial barriers that I had built up in my head regarding the whole project are gone, but a few serious ones still linger.

So, those are my musings on this project from the past. What would YOU do at this point? How would you come to a decision about whether or not to finish such a project?

Labels: ecclesiastical embroidery, Embroidery Projects, miscellaneous embroidery musings, needlework pictures, pictures, silk

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Posted By: Mary Corbet on Tuesday, September 29, 2009
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Posted By: Mary Corbet on Monday, September 28, 2009
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As a follow up to the Long and Short Stitch Shading Lessons, I thought one more celebratory give-away would be just the thing!

Although the Long and Short Stitch Lessons series finished yesterday, you can still access the lessons here on Needle 'n Thread, all in one convenient index which now features a finished photo of the long and short stitch sampler. Here's the link:

Long and Short Stitch Shading Lessons

Now, I have to admit, the series was a lot of fun, but it was a lot of work, too! I'm somewhat relieved it's over, so I can move on to some other projects and maybe work up a few more instructional series on other techniques.

You know when you finish something that you've been working on for a while, and you have that feeling of complete elation at having actually Finished? Doesn't that feeling just make you want to celebrate? It makes me want to, and so I figured another give-away would be a perfect way to close the lessons.

So, here it is - a complete Trish Burr embroidery kit, for beginners:



This kit features realistic rose buds and leaves, perfect subjects for needlepainting. If you've worked through the sampler, you will have absolutely no problem with the kit, and even if you haven't worked through the long and short stitch sampler, you still won't have any problems with the kit, because Trish wrote it for beginners. The instructions take you step-by-step through the process of working the project.

If you haven't read my review of Trish's threadpainting kits yet, you can check that out for further details on this kit.

Also, if you're looking for some beautiful needlepainting kits, you might want to take a look at Trish Burr's website, where you'll find all her kits available.

For this give-away, please follow these instructions:

1. Leave your comment at the end of this post on the website, not via e-mail, and not on any other post. If you are reading this in the e-mail newsletter, you need to visit the website, not just reply to the e-mail. To go directly to this post from the e-mail newsletter, click on the purple title at the top of the e-mail!

2. Please sign a name to your comment! You may use the "anonymous" feature on the comment box, but please include a name at the end of your comment!

3. Answer the following question:

What's your favorite Trish Burr kit and why? (Visit Trish Burr's Threadpainting Kits page on her website to see the kits she has available!)

4. The give-away ends on Wednesday, September 30th, at 4:30 am US Central time. Leave your comment by then in order to be included!

And while we're at it, don't forget that my other give-away ends this Monday. If you haven't signed up to win Trish's latest book on threadpainting, check out the original post and leave a comment there before Monday!

Have a terrific weekend!

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Posted By: Mary Corbet on Saturday, September 26, 2009
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The Long and Short Stitch Shading Lessons here on Needle 'n Thread are drawing to a close! Lesson 9 is the final lesson for the sampler, featuring a shaded leaf with a turned tip.

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

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

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

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

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



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



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



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



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



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



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



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

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



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

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

What to do?



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



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



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



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



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



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



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



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

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



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



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



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



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



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



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



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



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



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

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

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

You can find the PDF for this particular lesson here:

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

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

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

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Posted By: Mary Corbet on Friday, September 25, 2009
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To celebrate the (upcoming) end of the series of Long and Short Stitch Shading lessons, I'm giving away one of Trish Burr's books!

You might be thinking, "But the lessons haven't ended yet, because we haven't seen the final leaf!" And, you know, you would be right in thinking that! The final lesson will be up soon. But I thought we could gear up for it with one give-away, and then follow up with a second give-away once the lesson is posted.

(Do you get the feeling that I think it's worth celebrating the end of this series?!)

Now that you have the basics of long & short stitch shading down and hopefully feel more confident in tackling needlepainting projects, you need a good book with plenty of projects and further (and better) instructions within! Trish Burr's books are just that - full of beautiful projects and excellent instruction.

Bonnie, a very kind reader, sent me a copy of Trish's book, Crewel & Surface Embroidery: Inspirational Floral Designs, in case I wanted to use it for a give-away. Her timing was absolutely perfect - I received the book just at the beginning of this week, and I'm so happy to be able to pass a copy on to a lucky reader! Thank you, Bonnie!



I've posted a thorough review of Trish Burr's Crewel & Surface Embroidery previously, and you're welcome to read it to see what the book is about. I think you'll find it a wonderful and inspirational resource.

To join the give-away, please follow these instructions:

1. Leave a comment on the website at the end of this post. Comments sent via e-mail and left on other posts can't be included, so if you're reading this via the e-mail newsletter, click on the title of the article, which will take you straight to the post on the website, where you can leave your comment.

2. In your comment, please include a name. You may post anonymously if you don't have a Blogger account, but please at least sign your comment so I can announce a winner who has a name.

3. Answer the following question in the post:

When you stitch a design from a book, do you stick rigidly to the author's designs, instructions, color choices, and so forth? Why or why not?

If you haven't ever stitched a design from a book, do you imagine yourself as the type of person to follow rigidly the author's instructions, or would you be the type of person who would branch out and try your own interpretation? Why or why not?

4. The deadline for this give-away is Monday, September 28th at 4:30 am US CST, so leave your comment before then! I'll announce the winner on Monday.

5. The give-away is open to all. Should the winner live in a different country, I will mail the book the least expensive method, and please understand that I cannot be responsible for any difficulties with international mail.

Good luck!

Labels: Book Give-Away, long and short stitch, needlepainting, Trish Burr

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Posted By: Mary Corbet on Thursday, September 24, 2009
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Right now, Quaker motifs are very popular for counted cross stitch, and I really love the look of them. When I was working on this perforated paper embroidery project last week, I couldn't help wondering if Quaker motifs would 'work' with surface embroidery stitches. So I'm going to try an experiment.

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

Here's my line version of the motif:



Here's a PDF of the same pattern:

Hand Embroidery Pattern: Quaker Motif for Surface Embroidery Stitches

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

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

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

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

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

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

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Posted By: Mary Corbet on Wednesday, September 23, 2009
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This past weekend, I received a lovely gift in the mail - a beautiful book, in French, called Abécédaires de Tradition, published by Sajou, in conjunction with marie claire idées, which is a popular needlework (and other stuff) magazine in France. I know I've been on a French book and magazine kick lately - Mains et Merveilles and the the perforated paper and embroidery book - but I can't help it! I think you deserve to see these great resources, too, and this one is particularly nice if you like monograms, and it's available in the US. So take a look...

Though written in French, Abécédaires de Tradition is not a book that requires you to know the language, in case you can't read French. Why not? Because it is primarily a design book, plus a little bit more.



Traditional Alphabets abound in this book of traditional alphabets. It is a "stiff" paperback book, printed on high quality paper, with beautiful color photos within.



Maison Sajou, a French needlework establishment, has been well-known for over a hundred years for their quality needlework products. When I think "Sajou," what normally comes to mind are their alphabets.



The book is packed with decorative monograms which are first presented to the reader via colored plates.



Many beautiful monogram styles are featured...



... and they are all accompanied by photos of embroidered pieces featuring the monograms.



There's a wonderful animal alphabet. Granted, the names of several of the animals don't match the English translation. "C," for example, is illustrated with ducks ("canards" in French). But many of the letters do match up - Z: zebra; Y: yak; P: peacock; R: rhino, etc. Personally, for me this isn't a bother - I like the idea of a foreign language alphabet. You can look at it as a teaching moment for kids.



Oh, yes, pictures of monograms are nice - but this is the best part of the book.



The whole last half of the book is made up of iron-on transfer sheets for all the alphabets within....



... along with some nice borders to dress up your monograms.

The book contains 10 full alphabets in various sizes and in varying degrees of formality and informality. Each alphabet is attractive, and can be used on anything from household linens, quilts, and so forth, to handbags and clothing. You can even stitch up full alphabets to hang as samplers. From beautiful to downright fun, there's something in the book for everyone.

Here's a thought: Are you planning to make Christmas presents this year? How about personalizing some gifts with a monogram? That's what I'm planning to do! And these monograms will be just the thing.

You can find Abécédaires de Tradition in the US through The French Needle, which specializes in all kinds of European-style stitching kits, books, threads, and accessories. (I love this shop - this is where I got the Bayeux tapestry kit). Lisa carries some beautiful surface embroidery kits that would be great fun to work. I love the large monogram (majuscule) kits. When I saw those, I suddenly longed for a name beginning with "W" or "Y"!

Anyway, at the time of publishing today's article, the book is not listed on The French Needle website yet, but it will be posted there some time today. Click on 'boutique' in the left column of the site, and you'll see an extensive list of everything available. Go to the books category to find this particular book.

If you like the idea of hand embroidering some monograms on various and sundry articles, then, do check out this book! The beautiful monograms within it are worth the price alone, but coupled with the convenience of iron-on transfers, how can you miss?

Later in the week, I'll be showing you a thread that works well for all kinds of surface embroidery, including monograms, so keep an eye out!

Until tomorrow.... au revoir!

Labels: book review, embroidery resources, iron-on embroidery transfers, monograms, pictures

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Posted By: Mary Corbet on Tuesday, September 22, 2009
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Last week, I took it into my head to make use of this book on embroidery & perforated paper. I thought I would make a card. You know - one of those "I'll-just-whip-this-up" sort of projects...

As it turned out, it wasn't a quick project at all. I always underestimate things like this. ALWAYS. It used to be that I thought I was an optimist - and being an optimist is a good thing, right? But now I realize it's not optimism at all - it's a gross under-estimation of the speed at which the hands on my clock move. And this gets me into trouble.

The occasion for the card came and went.

And yet, I went ahead and finished the embroidery for the card. Some day, I'll cut out the lacy edge for it.

The design is one of the Quaker motifs available on the Needleprint blog. I picked the colors to match the cardstock I was going to mount the piece on. For thread, I used regular DMC stranded floss, mostly two strands. The count on the perforated paper is about 18 squares per inch, and three strands is too much for the holes - which was evident after I finished stitching the central "flower" in three strands, and found that the paper was trying not to warp. Two strands were perfect.



I like the blue / yellow scheme, and I think the design is neat. But you know what was going through my mind the Whole Entire Time I was stitching this? Any idea?

I was thinking.... "How can I translate this design (and similar designs) into surface embroidery?" And so, I played with it. And later on in the week, if all goes according to some kind of Plan of Sanity, I will share with you my version of the above design, re-structured for surface stitching.



I tried to get a shot where you could see how the three strands of floss started to warp that center area a bit, but I don't think you can really tell in any of the photos.

Sometimes, I kick myself for starting "quick" projects like this, because it takes away from making headway on larger projects that are already starving for time. But in this case, I made a couple discoveries along the way and came up with some ideas that I'll be sharing with you in the upcoming days and weeks. So I don't count this particular "quick (slow)" project as a complete waste of time!

Coming up this week on Needle 'n Thread: the final lesson in long and short stitch shading, a book review for a nice iron-on transfer book (really nice!), some thread talk, TWO give-aways to celebrate the end of the long and short stitch shading lessons, and any other tidbits that may happen to pop up! So do check back in during the week!

Have a jolly Monday!

Labels: counted thread embroidery techniques, embroider on paper, Embroidery Projects, needlework pictures, pictures

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Posted By: Mary Corbet on Monday, September 21, 2009
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Moving along in the Long and Short Stitch Shading Lessons series, we've arrived at Lesson 8, which is a very simple flower.

If you're just joining in on this series of lessons on long and short stitch, you can "catch up" by checking out the index of long and short stitch shading lessons, where you'll find links to each lesson so far.

The lessons are arranged incrementally, going from basic filling with long and short stitch to filling more complex shapes. The entire series is for beginners in this embroidery technique, and once you've worked your way through it, I'm hoping that you'll have a bit more confidence in using long and short stitch as a filling technique in your embroidery projects.

For Lesson 8, we'll be working on the small flower located in the center of the base of the sampler. Note that the point is not necessarily to achieve a "dimensional" effect - this is a simple, flat flower - but once you've stitched it, you should have no trouble translating the lesson into more challenging flowers.

For your materials, you'll need the sampler in a hoop or frame, scissors, #9 or #10 crewel needles (embroidery needles), and the following colors of DMC stranded embroidery floss: 471 (medium green), 469 (dark green), Ecru, 225 (light pink), 223 (dark rose), and 814 (dark burgundy).

As in the previous lessons, the stitching is done with one strand.

Most of the procedures in this lesson do not need to be explained in thorough detail, as you have already experienced them in the previous lessons. Also, the flower is a series of five repeats, so the lesson will only focus in detail on creating one petal and one leaf, although you will see photos of the flower develop.

NOTE: There are different ways to approach stitching something like this. I went one petal at a time, in order to show you a complete petal. You can also stitch each layer of the all the petals at one time, progressing from the outside of all the petals, to the middle layer of color in all the petals, and finally to the inside tip of all the petals. Following such an approach may help you on two accounts: 1. it may save you time by not having to change back and forth to different colors of threads; 2. it may help you keep your layers of color shading uniform as you move from one petal to the next.

Procedure:



The first parts of the flower that will be stitched are the little leaves that jut out between the petals. Feel free to draw your stitch directions inside these little leaves. Your stitches should point towards the "growth point" of the little leaves, which will be the center point where the flower petal lines merge together.



Using one strand of 471 (medium green), split stitch around the outside of the leaf.



Beginning in the middle of the leaf (the tip), over the split stitch line, fill the leaf in color 471, stitching long and short stitches from the center to one edge, then from the center to the opposite edge of the leaf. This is the same long and short stitch technique we have been using all along.

Your stitches should fill most of the leaf, leaving only a bit in the center and down at the tip empty.



Switch to 469 (dark green), and, coming up into the first layer of medium green, fill the rest of the leaf with the dark green.



The first leaf will look something like this. Following the same procedure, finish all five leaves.



The leaves are relatively tiny, so it won't take too long to stitch them all.

A note here about beginning with the leaves. In this type of needlepainting, it is common to begin with the part of the design that is farthest away from you or that is tucked behind other parts of the design. While some books and some designers don't always insist on this point, I think it does help to achieve a more dimensional and realistic effect in needlepainting, to start with the parts of the design that are farther away and behind other parts of the design. In this way, the "painting" seems to build up, one layer on the next.

In this little design of this flat and simple flower, it probably does not make that much of a difference, but as you progress to more complex designs, it will make a difference! Especially with elements like hair, feathers, animal fur, etc., it is important to work the layers from the farthermost layer to the closest layer, in relation to viewer.



For the petals, begin with Ecru and split stitch a line from the inside tip of the green leaf, around the top of the petal, to the inside tip of the next green leaf. Essentially, you are stitching only the arch of the petal, not the area where the petals are touching.

Draw in your stitch direction as shown above. Your stitches will slant towards the inside tip of the petal.



Following the same techniques learned before and still using Ecru, begin in the middle of the arch of the petal, and work the long and short stitch from the middle to one side, then from the middle to the other side of the petal. You will fill up most of the petal - about two-thirds the length of the petal, leaving only about a one-third arch area empty.



Switch to the light pink thread (225), and fill in practically all of the remaining petal, fanning your stitches out in the same fashion you learned in previous lessons.



Leave a tiny bit of space just at the tip of the petal.



Switching now to the dark rose (223), work in a few small fanned stitches right at the tip of the petal. It's easy to work one in the center and one at each side, then to add a tiny stitch in the spaces between - five stitches in all.



Continue to fill the petals in the same manner. Remember that you do not have to end every thread. When you're finished with a color but still have plenty of thread left, bring your threaded needle to the front of the fabric, away from your stitching area. You can then pick up the color on the next part of the design, when needed.



Continue working your way around the little flower...



... until all the petals are filled.



Now, using dark rose (223), stitch one long stitch, bringing your needle up at the inside tip of each green leaf, and taking it down in the center of the flower. The stitch should lie in between each petal. This will help distinguish the individual petals.



Now, you can switch to dark burgundy (814) and work a few random French knots in the center of the flower. If you want to use a different color - like yellow - feel free to do so! The darker yellow (3855) might look better than this dark burgundy.



It was hard to get a good shot of the flower with the French knots.



Here's a shot of the sampler up to this point! And only one more lesson to go!

Enjoy stitching your little flower, and next week, we'll tackle the final leaf.

Here's the PDF version of Lesson 8:

Long and Short Stitch Shading: Lesson 8, a Simple Flower

As always, feel free to leave a comment down below if you have any questions about this lesson!

Have a terrific weekend!

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

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Posted By: Mary Corbet on Friday, September 18, 2009
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If you're looking for something inspirational and different for needlework projects, here are a couple resources!

Tricia Wilson Nguyen of Thistle Threads (and of Plimoth Jacket reknown) has recently published a new Needlework Nibble that makes good use of Gilt Sylke Twist and some of the stitches used on the Plimoth Jacket. Tricia's Needlework Nibbles are tiny projects - usually only a couple inches in either direction, size-wise - that employ some interesting threads and techniques, so that you can get a taste of these without launching into a big time-consuming project. I love the idea!



Her latest Needlework Nibble is a bunch of grapes worked with Gilt Sylke Twist. She sells the little kit for a reasonable price - less than $20 - and offers the embroidery pattern and instructions for free on her website. Now, this is really generous! For those of us who might have some GST in our stash, this is a great little project to try with it, and we can do it without purchasing any supplies. But, if you don't have GST in your stash, her kit is a wonderful way to try many colors of this gorgeous thread, at a reasonable price (less than the cost of a spool of GST). Among the instructions for the project, you'll also find a Gilt Sylke Twist Primer (PDF), which details very clearly how to work with GST.

Another interesting tidbit from Tricia is a great little video on the sparkle of Gilt Sylke Twist. Yep, that alone should get you drooling over those threads!

And speaking of historical threads and so forth, recently, I've become quite avidly enchanted with the Needlprint blog and all the goings-on with the Mary Wigham samplers all around the globe. It really is fascinating to read the interesting stuff on that website! Recently, Jacqueline featured a beautiful border from a Scottish sampler, which is available for free to download, if you have the right design software for cross stitch. You can get the software through her website - look for the Infinity Beatrix Potter deal, where you get the software and all the Beatrix Potter design motifs for $20.

I think these Infinity charts that Jacqueline sells on her website are super-duper interesting, and would make a good resource especially for designers. They are counted thread designs, but I can't help thinking that many of them can be adapted to other forms of surface embroidery, too. I like the Quaker and antique-type sampler motifs that are featured on Needleprint. Have you seen them? What do you think? I did something with one of them the other day, and I'll share it with you soon. Hopefully. (I haven't actually finished it. In fact, I'm not finishing much lately. Argh.)

Now, on to the excuse... for those of you who were expecting the second-to-the-last Long and Short Stitch Lesson today, never fear - it's coming! It'll be up tomorrow! I got tied up yesterday and couldn't finish the lesson! Sorry about that!

Have a terrific Thursday!

Labels: embroidery resources, Gilt Sylke Twist, historical needlework, needlework websites

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Posted By: Mary Corbet on Thursday, September 17, 2009
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When Ruth O'Leary contacted me about her taking an embroidery commission on a banner for Durham Cathedral, I was really intrigued about her banner-making plans. Since then, she has undertaken the commission and begun the work. And best yet, she's blogging the whole process!

If you haven't had an opportunity to stop by Ruth O'Leary Textile Arts, now would be a good time to do so, while she's still in the relative beginning stages of the St. Cuthbert's Banner.



Of course, if you like goldwork, you should stop by just to take a look at her header on her blog. I love it.

Ruth has been commissioned to re-create the St. Cuthbert's Banner, a banner of which there is no surviving image, but which was described in detail some five hundred years ago in writing. From the written description, she is creating her version of the banner.

So far, on the St. Cuthbert's banner, you can see Ruth's fabric choices, the conceptual design, a mock-up, the appliqué process, and the first leg of the cross, which is worked in red velvet, with red satin pieces appliqued on to create the design. You can also see a very nice goldwork circle already finished. She also shows how she neatened the edge of the applique cross with couched gold Jap - all the steps being interesting and suspense-building components of the whole creative process behind this banner. I can't wait to see it finished!

This year, I agreed to make a banner for a church-related event that takes place at the end of October. Oh golly, October is coming up fast! While Ruth's banner is much more complex, much more artistic, and much more historically relevant to the church for which it is commissioned, mine is - at least in concept so far - relatively simple, and mostly appliquéd. The color scheme, though, is the same - red, white, and gold, which are typical (and glorious) liturgical colors. Though time seems to be somewhat scarce, I have to admit that watching Ruth's process inspires me to want to push through my banner project and make some headway on it!

You reckon I can manage it? Realistically speaking, I'm somewhat doubtful. And if I don't, that's ok, I suppose. I can still enjoy the whole banner-making process (and actually, I can enjoy it a whole lot more!) by watching Ruth's St. Cuthbert Banner unfold.

I hope you get a chance to check out her website and watch this historical re-creation come to life!

Enjoy!

Labels: ecclesiastical embroidery, embroidery resources, goldwork, historical needlework, needlework websites

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Posted By: Mary Corbet on Wednesday, September 16, 2009
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Mains & Merveilles Point de Croix is a French needlework magazine that I subscribe to. I often forget what needlework magazines I subscribe to, actually, because needlework magazines are notoriously (and understandably) far-spaced when it comes to yearly output. But the other day, I was reminded of my subscription to this particular magazine when it arrived in the mail. It is a cross stitch magazine.

I've written about this magazine company here on Needle 'n Thread in the past, when telling you about the Mains & Merveilles iron-on transfer collections that are very pretty (and used to be available at Hedgehog Handworks, but are no longer available there...)

Well, the company that put out those very nice iron-on transfer collections (Les Éditions de Saxe) also produces some Very Nice embroidery magazines: Embroidery, Creative Embroidery, and Cross Stitch (my translations of the titles). I only have a subscription right now to the Point de Croix line, having subscribed a little over a year ago because they were running a series I wanted to watch develop. Eventually, I'll pick up the other two subscriptions and probably let this one drop - when the others fit into the budget!

The needlework magazines from Les Éditions de Saxe have a distinctive European flair to them, and they are quality magazines - very pretty to look at, printed on good paper, filled with informative and interesting articles, and featuring a large paper pull out pattern section for all their featured projects. And the projects are generally beautiful. The magazines are printed entirely in French. If you don't read French, though, the content is still worthwhile - the patterns are beautiful, the instructions usually include step-by-step photos, and the pictures overall are simply worth looking at! I'd say the magazines rival Inspirations, as far as quality goes, though they don't have as much in them as each individual Inspirations magazine, and the projects differ a bit in flavor.

Getting back to the latest edition of Mains & Merveilles Point de Croix, three articles struck me in this latest issue (#74).

The first was a project article for these pretty paisley table and household linens that just look fun to embroider!



The paisleys are worked in various pinks and reds, entirely in surface embroidery stitches.



Of course, the color scheme can always be changed to match your own home! I think they're cute, and perfect for a casual, fun setting.

The next article that caught my eye was focused mostly on whitework and drawn thread techniques. As one of their regular features ("Passion Broderie"), this article shows the work of Jocelyne Dubois, who always has embroidery at her fingertips!



The whitework photos that accompany the article are gorgeous - the pieces are so impressive! What a talented embroiderer!



Her edgings are intricate and perfect. And while I don't normally pour over this particular magazine and attempt to read it, I found myself engrossed in this article (accompanied by my French-English dictionary from college days!) I was thrilled to open the magazine and find this article!

But, you know, while these two features excited me more than usual, the publishers had one more thing in store for me when I finished the whitework article. Flipping the page, I came across this layout:



There was a whole feature article on a currently running ecclesiastical embroidery exhibition that honors the work of the Visitation nuns in Europe, dating from the 17th century to the present day. And this being one of my favorite topics - historical ecclesiastical embroidery - I was really excited about this article! Better yet... I've got to go to France! NOW. The exhibition lasts until November 28, 2009, at the Museum of the Visitation (convent?) in Moulins, France. I'm ... I'm so stuck in Kansas, it isn't even funny! Anyway, I'm stuck - but if you happen to be in the area of Moulins, France, through November 28th, I bet this will be an exhibit that will knock your embroidery-loving socks off! Even if you aren't inclined towards the religious aspects of church embroidery, it cannot be denied that it is among the most beautiful embroidery work on the planet. The Visitation nuns were known for their exquisite work - the collection will certainly be worth seeing.

(If you happen to go, may I live vicariously through you?)

So I was really pleased with this last edition of Mains & Merveilles Point de Croix from Les Éditions de Saxe. While I normally just flip through the photos once and note the things that may interest me later (or my nieces or friends), this time, I spent quite a bit of time pouring over the articles and trying to get over my rusty French. It was fun - and it was the first time I really appreciated my subscription to this magazine!

Do you subscribe to any needlework magazines? If so, which ones? What's your favorite? Are you generally thrilled to get them, or do they just strike your fancy once in a while? That seems to be the case for me often, with all my magazine subscriptions (Inspirations, Pieceworks, Sampler & Antique Needlework, and M&M). Sometimes, they just don't grab me, but then suddenly - wow! They bamboozle me with magnificent content, and that's when I most appreciate the subscription. What about you? What's your experience with needlework magazine subscriptions?

Labels: ecclesiastical embroidery, embroidery resources, miscellaneous embroidery musings, needlework magazines

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Posted By: Mary Corbet on Tuesday, September 15, 2009
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Adhering madly to my philosophy that a little time for needlework is better than no time for needlework, I've made some progress lately using the 15-minutes-for-stitching approach.

I'm still plugging along with the Long Dog Sampler I started last year, and since my last 15-Minute Stitching Update, I've made some ok progress, I suppose. It's time for me to switch this project out, though!

I was supposed to switch it out last week and take up my Schwalm whitework project again, but the truth it, it is much easier to sit down and drop in a few stitches on this sampler, than it is to situate myself with the Schwalm project when I'm in a hurry. I just haven't had time to do the switch-out and set stuff up for easy access with the Schwalm work, so I've stuck with this project so that I'd have something to do here and there, now and then, when the opportunity struck....

... which is, of course, the basis for this whole 15-minute-session idea.

But let me tell you - time management has its drawbacks! Take a look at this:



Determined to adhere strictly to the timer one day, I sat down to spend 15 minutes on this bit of the sampler. I only had one white blotch left that needed to be filled in with the green, and when I set the timer, I was confident that, when it went off, I would have this block finished. (And then some, or so I thought!)

When the timer went off, I had three stitches left.

THREE.

Three tiny, insignificant stitches.

But they were significant enough to bug me!

That session was a serious Only-15 15-minute-session, as a minute longer and I'd be late for work. So, the timer sounded, I dropped the frame, picked up my books, and headed out the door. I was not "relaxed" or pleased at the end of that session. Three Silly Stitches! For heaven's sake!

When I came back an hour and fifteen minutes later, the timer was still going off. Hmmmm. I decided I would have to take a much more relaxed approach to these 15-minute things if I were to retain (regain?) my sanity. Rushing through the minutes, trying to beat the clock, isn't precisely the best approach.



For the next 15-minute session, I managed to finish those riffemrackemfrickemfrackem three stitches....



.... and to get out the colors for the next little square I wanted to stitch...

... and to work Nine Whole Stitches on it.

Twelve stitches in 15 minutes?

Perhaps that day, I was a bit tooooo relaxed.

Virtue lies in the middle. Next time, I will be relaxed, but at the same time, I am determined to accomplish a bit more than this!

How are your 15-minute stitching sessions coming along?

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

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Posted By: Mary Corbet on Monday, September 14, 2009
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Posted By: Mary Corbet on Saturday, September 12, 2009
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Gold embroidery needles! A somewhat exciting concept, don't you think? The richness of gold, coating the outside of the needle for a beautiful and smooth finish - to make the needle better for stitching. This is the concept, anyway, but does it hold true?

Some embroiderers have told me that they stitch exclusively with gold needles because of allergies. They find that other needles tarnish quickly in their hands, or bother their skin. In these cases, they've found that gold needles are a good solution for them. But if you don't have skin allergies or reactions to regular steel needles, what is the advantage of stitching with a gold needle?

Most needles today are made out of high carbon steel that is stretched to the correct size, cut, sharpened, punched, and plated with nickel. Hence, folks with nickel allergies usually look for specialty needles that are plated with something else. That something else can be gold or platinum. Here, we're looking specifically at gold-plated needles.

According to various descriptions of gold needles (in retail shops, manufacturers websites, etc.), gold needles are superior to other needles and are resistant to corrosion from humidy and body oils. According to one website, "gold needles cost a little more than steel but they impart a real sense of quality to your needlework."

Available here in the US, the most common gold needles are made by DMC, which offers 18k gold plated embroidery and tapestry needles in various sizes. John James (made in England, but widely available in the US) also makes a line of gold needles, though I am uncertain of the range of gold needles they produce. I know they produce gold tapestry needles in sizes sizes 20 - 28, and petite tapestry needles in sizes 22 - 28. If you have a popular needle company in your own country and are interested in gold-plated needles, you might want to check to see if they produce any gold plated embroidery needles.

Now, about the needles specifically. Are they really "better"? Do they really "impart a sense of quality to your needlework"? (Um - logically speaking, I don't think that claim flies, but anyway...) They cost more, certainly. For about a dollare more than a package of six John James regular tapestry needles, you can purchase three John James gold plated needles. So they cost more than twice as much as regular needles. Incidentally, John James platinum coated needles cost about $2.50 more per package, and you get... 2.



In the photo above, the needle on the left is a size 26 gold-plates tapestry needle (by John James). The needle on the right is a regular steel needle plated with nickel, John James, tapestry #26.

I started using the gold-plated needle because I was looking for a #26 needle, and I had a package of gold plated ones close at hand, so I grabbed 'em. I used this particular gold-plated needle in the photo above for several hours of stitching - probably six hours all told.

When I first started stitching with it, I did notice a different "feel" to the needle. Really! It feels different as it passes through the fabric. It is pleasantly smooth, and it almost seems "squeaky" smooth as it goes through the fabric. There's no resistence or anything, but there is definitely a different feel to it. It glides in a squeaky clean kind of way. (How do you describe how a needle feels??!)

So, away I stitched.



I really hadn't thought too hard about gold-plated needles before this particular incident of stitching. I have a few gold needles, but have never used them any length of time.



In the photo above, the needle on the left is the one I used for about six hours. The needle on the right is new from the package.



But, this is the thing - and I realize it may just be an individual difference in skin and body chemistry, so you can't take this as an absolutely "objective" review of gold-plated needles. After about six hours of stitching with the gold-plated needle, it started to feel "sticky" as it passed through the fabric, rather than smooth and squeaky. I had to push it through - it had stopped gliding smoothly.

On closer inspection, the wear on the coating was obvious. On the shaft of the needle, there were darker areas of wear, and, as you can see in the photo above, the shaft is dull rather than softly shiny.

I still like the initial feel of the gold needles, and I am going to use the other two. I'll try cleaning my hands a different way to see if that helps allay the corrosion of the gold finish.

But I have to admit, since I haven't experienced any allergy problems with nickel, or any corrosion problems with the standard list of needles that I use - John James, Richard Hemming (not my absolute faves, but they're ok), Bohin, and some Wendy Schoen needles - I probably won't make a habit of paying extra for gold coating.

That being said, I really do think I need to try platinum! Just for curiosity's sake!

What are your experiences with gold plated needles? Do you use them? Have you ever had corrosion issues? How about with regular nickel-plated needles? Any insights!

Have a terrific Friday!

Labels: needles, needlework tools, pictures

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Posted By: Mary Corbet on Friday, September 11, 2009
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It's time for Lesson 7 in the Long and Short Stitch Shading series here on Needle 'n Thread! In this lesson, we'll be working element #6, the leaf in the center right side of the sampler.

If you've just popped in, you can find the rest of these lessons on long and short stitch in the Long and Short Stitch Lesson Index. We're working incrementally through a small sampler in order to practice filling and shading with long and short stitch.

In today's lesson, the leaf that we're working is pointind downwards, and it has some little spikes on its outer edge. We're going to be working from a dark edge to a lighter center. Other than the shape and the direction of the color changes, the concepts are much the same as those used in Lesson 6, where we stitched a simple flat leaf shape. We'll be cutting in a bit of color for shadows on this leaf, but I think you'll find, overall, that this leaf is fairly simple if you've already worked the flat leaf in Lesson 6.

For this lesson, you will need the following colors of DMC stranded cotton: 469 (dk green); 471 (med. green); 472 (med-lt green); 613 (pale green); 3012 (med. olive green) and 814 (burgundy)



Split stitch the outline of the leaf. To do this, you can use 469 (dk green). I used 613 (pale green) because I was planning different color placement, originally. If you are afraid you won't cover your split stitch line completely, use the dark green because it's the color on the outside of this leaf. If you don't generally have problems with the outside edge, it really won't matter which green you use for the split stitch outline.



Draw in your directional lines and your shade spaces. I'm afraid I made another mess with my pencil lines, so here's a cleaned up version so you can get a better idea of where to sketch in your lines!



The dark purple lines are stitch direction and the green spotted lines indicate shade changes.



Beginning with the darkest green (469) and working on the left side of the leaf, stitch in directional lines for the outer edge of the leaf. Fill in between the directional lines with long and short stitch, in the same manner covered in previous lessons.



As the stitch direction changes, the stitches "fan out" a bit - that is, they are closer together on the inside of the leaf, and slightly farther apart on the outside of the leaf. Notice that there is some tiny space there between the stitches next to the split stitch line. This won't be noticeable at all, because the "fanning" out of these stitches isn't that extreme. If, however, you notice that, in fanning your stitches out so that they lie in the correct direction, there is a noticeable space between your stitches at the split stitch line, take a small stitch over the line (forming a "short stitch") to cover up the split stitch line. Tucking in a little stitch here and there to fill a gap is not only fine, but it's often quite necessary!



Work long and short stitch in dark green around the outside edge of the leaf, filling it in completely. Your long stitches may be as long as a quarter inch here.



On some parts of the leaf, where the little spike sticks out, you can take one stitch from the tip of the spike and completely cover the split stitch line with it (it will run in the same direction as the split stitch line, so you'll basically be stitching a straight stitch from the tip of the spike on top of the split stithch line to cover it up.



After you've finished the dark green all around the left side of the leaf, change your thread to medium green, 471. This will be your second layer of color. Remember to go deep into the first layer as you stitch, and to alter where you start your stitches, so that the starting points don't create a line on the leaf.



Here's the stitch direction again.



And here's the completed second layer. Once you finish the second layer, switch threads to med-light green (472) and stitch the third shade of color towards the center of the leaf, leaving room for one more shade.



As you get to the base of the leaf with the third layer, you will probably be running into the center vein. That's ok. In this area, which is slightly crowded, you can take the third layer of color all the way in to the center vein. This is the circled part in the photo above.

On this leaf, you want to keep your central vein area as neat as possible, and you want all your stitches to meet, if possible. Although you will be stitching a vein as you did in Lesson 6, the vein on this leaf is not as thick.



This is what the leaf should look like after stitching the third shade of green. Now, switch your thread to the palest green 613. This is the color you will use to fill in the center of the leaf.



Notice in the photo above that I "cut in" some small stitches in 613, into the stitches that have already met the center vein at the base of the leaf. This is to lighten up that area, so that the color change does not seem so drastic.



Finish filling the center area with 613, taking your stitches all the way to the vein line in the center of the leaf. Once you've finished filling the center with 613, change your thread again to color 3012. In the very center of the leaf, where 613 meets the vein line, "cut in" some tiny stitches in 3012, to create a shadow along the vein line.

I'm not sure if "cutting in" is a legitimate term. That's what I call it when a few tiny stitches are being added to an area where the color is already stitched in. So, basically, you're splitting stitches that are already there - you don't have any filling space left, so you're just adding these tiny stitches into the stitches already there.

You've pretty much finished the left side of the leaf, so now it's time to move to the right side.



Again, stitch in directional lines with dark green, 469.



Fill in the dark green in long and short stitch on the outside edge, from the tip all the way to the base. Make sure you cover the base split stitch line.



Now, switch to color 471 again, and stitch the next layer of color. When you finish the second layer, it should look something like the leaf in the photo above.



Now, you're going to switch directly to the palest green (613), skipping the light green layer. Fill to the center, with the exception of a small area, as shown in the photo above. Change your thread to medium olive green (3012) and fill in the remaining area.



You can also "cut in" some tiny stitches of 3012, all the way up the vein line towards the tip, as shown in the photo above.

Once you finish filling in a bit of a shadow next to the vein, take your thread to the base of the leaf, coming up in the center on the vein, and work a long split stitch line along the vein in 3012, to help define the center of the leaf. The "vein" you are now stitching should not extend all the way to the tip.



For the stem, I split stitched around the edges in 3012, and then satin stitched in the same color all the way down to where the stem meets the leaf. As the stem narrows, the satin stitches become very tiny.



This is the leaf so far. The stem is a bit too large for the leaf, methinks!



Now, to make the leaf pop out a bit, I took the burgundy (814), and stitched a tiny straight stitch in burgundy on the inside edge of each spike on the leaf. This may look better in a darker brown, but I used the burgundy since it is on our color list. If you have a darker brown on hand and want to use it instead, feel free to do so!



Ta-dum! You've finished Lesson 7! Only two more lessons to go!!

If you want to visit the other lessons in this series, go to the Long and Short Stitch Lessons index, where you'll find the whole list of lessons so far, including one with three videos demonstrating long and short stitch.

If you're following along with the lessons so far, you can add your photos to the Needle 'n Thread flickr group if you would like feedback on your progress.

And, finally, here's a PDF version of this lesson, if you'd like to print it out:

Lesson 7: Long and Short Stitch Shading - a More Complex Leaf (PDF)

Enjoy the lesson! Feel free to ask any questions or add comments below!

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

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Posted By: Mary Corbet on Thursday, September 10, 2009
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When I was little, I loved the Little House books by Laura Ingalls Wilder. I remember one story - I think it's in The Long Winter - where Laura received a box of silks for embroidery, but couldn't embroider with them right away because her hands were so rough (from twisting straw all winter). As an adult who loves to use flat silks for embroidery, I can totally sympathize with Laura, when she ran her hands over the silks from the missionary barrel, and realized she couldn't use them right away! At another point in one of the books, Laura embroidered Christmas gifts for her mother on card or paper - and my guess is, keeping with the popular trends of that time, it was on perforated paper. For some reason (gee, I wonder why?), parts of books that mention needlework have always captivated me, even if, as a kid, I didn't exactly know what embroidery on paper or card meant.

Embroidery on paper is no new thing. It was very popular in the Victorian Age, and today, it's enjoying a come-back, mostly in the area of card-making and scrapbooking. I've written about embroidery on paper before here on Needle 'n Thread, and I've even considered devoting a separate website to the topic (though whether I ever get around to it is another question entirely!).

Recently, Needleprint featured an article on about embroidered bookmarks made from perforated paper and ribbon. I thought the bookmark featured in that article was quite charming. It was not just the embroidery that caught my eye - I love the lacy little edge cut from the perforated paper! The article referred to a website in France, La Lambroquine, which specializes in perforated card or paper and the beautiful things that can be created with it. I found myself completely enchanted by some of the books featured on the website and ended up purchasing a couple. I'd like to show you one.



The book, Broderie et Dentelle sur Carton Perforé, is devoted to embroidery and thread on perforated cardstock or paper. The projects within the book are really beautiful! And though the book is written in French, the instructions are easy to follow thanks to the abundant photos and diagrams within its pages.



Perforated cardstock is certainly ideal for counted cross stitch. The perforations form a grid, so any graphed design - like the monograms in the photo above - are perfectly suitable for perforated paper.



But the projects in this book go beyond embroidery. By cutting out elements from the perforated cardstock, intricate lacy designs are created, forming an elegant frame for embroidered centerpieces.



The book shows different historical pieces made from decorated paper, and, using these historical pieces as models, presents a new approach to re-creating the same or similar looks with modern materials. This pretty lamp shade, for example, mimicks a similar antique lampshade made from embossed and perforated paper.



Embroider techniques on perforated paper are not limited to cross stitch, as this pretty card demonstrates. Satin stitch and straight stitch are used here in combination to form a colorful border and a sprinkling of sweet little flowers.



In the back of the book, you'll find diagrams and charts for all the featured projects. The charts indicate where to stitch on and where to cut the perforated paper.



If you aren't able to read the French instructions, you can rely easily on the clearly presented diagrams that show how to achieve the different lacy results from the cutting the paper certain ways.



La Lambroquine also carries a wide assortment of perforated card stock in different sizes. I ordered a smattering to have on hand to play with, thinking ahead to Christmas cards, gifts, tags, and so forth.



The cardstock has approximately 18 holes per inch, which is a nice count for adapting monograms and designs.

Ordering from La Lambroquine was easy - they accept Paypal - and though it took about two and a half weeks for the package to arrive, it was worth the wait!

I'm quite twitterpated with this new (to me, anyway) twist to embroidering on paper, and I'm looking forward to playing with these cutting and stitching techniques in the future. Come November, I plan to have time to make a few Christmas cards and gifts! It the plan pans out, I'll let you know!

Labels: book review, embroider on paper, pictures

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Posted By: Mary Corbet on Wednesday, September 09, 2009
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Do you ever get to that point in your stitching where you have just a couple more stitches, but ooooooh - your thread is running out and you're pretty sure your needle isn't going to let you go any further? I experienced that a couple times last week. What's the solution? Petites.

Tapestry petites are little needles - a full quarter inch smaller than a regular sized tapestry needle - and they are ideal for getting the most out of your thread.



These needles, stuck in the needle felt block I keep my Japanese hand-made needles in, are both size 28 tapestry needles. Tapestry needles have a long eye and a blunt tip and are the ideal needle for counted thread work, needlepoint, petit point, and other techniques where you need a blunt tip that will help you avoid splitting fabric threads.

The needle on the left in the photo above is the tapestry petite.

You would not think that a quarter of an inch on a needle would make all that much difference, but it really does! The short needle allows you to work closer to the end of your thread, getting the most stitch coverage out of it, while still being able to manipulate the needle underneath the threads on the back when you're ready to tie off.

Tapestry petites do require some getting used to! That little needle, especially in a size 28 (which is relatively small for tapestry needles) is much more delicate, so your fingers have to get used to finding it. But once you're used to the smaller needle, you'll find it's a great tool for your stitching needs.



Tapestry petites come in different brands, but the local needlework shop where I bought my last bunch of needles only carries John James. That's quite ok - these are pretty good needles. I've never had a problem with them, even after long-term use.

One online source that I really like for needles, especially if I'm buying in bulk, is Colonial Needle. They have just about every type of needle you'd want for regular handwork, and their prices, shipping, and customer service are hard to beat.

So, if you're looking to get a bit more out of your thread, next time you buy needles, consider picking up some tapestry petites. I think you'll like them!

How about you? Do you use petites? Do you like them? What's your Favorite Needle?

Labels: needles, needlework tools, pictures

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Posted By: Mary Corbet on Tuesday, September 08, 2009
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Posted By: Mary Corbet on Monday, September 07, 2009
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Would you like your own copy of Jane Nicholas's new book, Stumpwork Medieval Flora? Then you're in the right spot, because...

... I'm giving one away! To read all about this beautiful embroidery book that focuses on medieval flora in stumpwork, you can visit my review of Stumpwork Medieval Flora.



Stumpwork, though a more advanced embroidery technique, is accessible even for beginners. It utilizes many of the same surface embroidery stitches we see in other embroidery techniques.

This book is written for the needleworker who has ventured into stumpwork already. While the instructions are detailed enough for the novice, they are not necessarily written with the beginner in mind.

Still, if you are a beginner, don't let this deter you! If you've been inspired by stumpwork and have found yourself wanting to try it, this book will become a source of inspiration and motivation.



My favorite parts of each of the stumpwork designs are the bugs. It isn't often that I call bugs "beautiful," but these critters really are just that!

So, if you want a chance to win a free copy of Jane Nicholas's new books, do join the give-away. Here are the particulars:

1. Leave a comment on this article, on the website (responses via e-mail or on other posts are not eligible).

2. In your comment, answer the following question:

What do you find most fascinating about stumpwork embroidery?

3. The contest ends Monday, September 7th, at 5:00 am CST. Check back on Needle 'n Thread on Monday, September 7th, when I will announce the winner. The winner will have to contact me within 48 hours with a mailing address, so don't forget to check back to see if you are the lucky winner!!

Good luck!

Labels: Book Give-Away, stumpwork

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Posted By: Mary Corbet on Friday, September 04, 2009
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Now that you've had some experience with various shapes and stitch directions in long and short stitch shading, it's time to move on to elements that are used often in needle painting. In this sampler, we look at four elements that are commonly shaded in embroidery - botanical samples. We're going to stitch three types of leaves and a very simple flower. Lesson Six in this series of Long and Short Stitch Shading lessons focuses on a simple leaf shape. It is not the most realistic looking leaf in the world, but with a little shading, it'll end up looking pretty good!

If you are just joining us in these Long & Short Stitch Shading lessons (also known as needle painting, thread painting, silk shading, and so forth), you can find the rest of the lessons in the index in the right column under "Editor's Floss." We've been working through a small sampler of various elements that we're shading with long and short stitch - a technique that sometimes intimidates embroiderers, but that becomes easier and easier once you understand the basic concepts, and - of course! - once you practice the technique a little bit!

So here we go, on to the next element - the simple leaf at the top center of the sampler.

For this lesson, you will need the following materials:

1. The project in a hoop or frame, with element five (the top leaf) centered in the hoop

2. #9 or #10 crewel needles

3. Small, sharp embroidery scissors

4. DMC stranded cotton in the following colors: Greens - 3011 (dark), 3012 (medium), and 3013 (light); and burgundy 814.

For the basic stitching technique for long and short stitch, refer to the long and short stitch videos included in Lesson Two.

All stitching is worked with one strand (from the six) of regular DMC 6-stranded embroidery floss, with the exception of the stem, which is worked in two strands.



For stitch directions, mark your leaf with a pencil. The purple solid lines in the diagram above illustrate the direction of your stitching, while the dotted lines can be penciled in to mark the areas of color change.

When stitch a natural object like a leaf or flower petal, the stitch direction follows the natural direction of growth. The stitches angle towards the "growth point" of the element. In a leaf, that is the center base of the leaf towards the stem.



Split stitch around the leaf in the lightest green, 3013.



As we did in the boxes of Lesson Two and the triangles of Lesson Three, stitch in some directional stitches using light green (3013). These stitches will be about a quarter of an inch long, more or less, and will act as "long" stitches. They can extend slightly beyond your first "color area" marked on the leaf. (My pencil markings on the leaf above are a mess - but they'll be covered up, thank goodness!)



Begin the long and short stitching in the middle of the side of the leaf, and work to the base. Return to the middle and stitch to the tip. I left the base (down by the stem) blank, and filled it in last, after finishing the rest of the leaf. You will see this as the lesson progresses.

Stagger your stitches, long and short, as explained in previous lessons, and do your best to follow the stitch direction lines.



After stitching one side of the leaf in light green (3013), move to the other side, and stitch the other side in the same manner. When stitching at the tip of the leaf especially, the stitch direction will change drastically in a very little space. Tuck in little hidden stitches as necessary to neatly fill the area, without over-crowding the tip.



The light green (3013) is complete.



Thread your needle with the medium green (3012), and, beginning in the middle of the side of the leaf, work the next layer of long and short stitches down to the base, and then go back to the center and stitch up to the tip. As you get to the tip, manipulate your stitches as best as possible to give good coverage, but don't crowd your stitches into the tip. You will be using fewer stitches as you work towards the center area of the leaf. Stitch both sides of the leaf in the same manner, filling the second layer with the medium green.



Once the medium green is completed, switch to the darkest green, 3011.



Begin in the mddle and work up to the tip, bringing your stitches to the center vein line on the leaf. On each side of the leaf, your stitches will meet at the center, forming a line down the center of the leaf.



Stretch your stitches to the center line where possible - up towards the top of the leaf, this will be easy, as the distance to the center line is not as far. As you work down the leaf (you can see this in the photo above), your long stitches may be too long if they are to meet the center line. This is ok. Don't take them all the way to the center line - you can go back and fill in one more layer of the dark green, to complete the filling process.



You can see in the circled area that my dark green did not stretch all the way to the central line. After working this area, I went back and filled in with another layer of dark green.



As you fill in at the base of the leaf with the dark green, take the stitches over the split stitch line where the stem meets the base, as necessary.



You will notice here that I have still got one area at the base of the leaf (on both sides) that is not filled in.



At this point, instead of long and short stitch, I will use long straight stitches (satin stitch) to cover the rest of the base of the leaf. I worked these stitches in medium green (3012).



This is the leaf, completely filled in.



There are a couple little "trouble" spots, but I didn't let them worry me. The first is that area on the center line. You can see the white fabric there where the stitches don't quite meet, and you can see one area where the stitches in the center do meet. We will stitch a stem over this, so it will not be noticeable and is not worth correcting. Also, at the base, the satin stitches seem more obvious, as they are not shaded. Once the stem is in, however, they will be less noticeable.

For the stem, take one strand of dark green (3011) and one strand of burgundy (814) and thread both strands together in your needle. You do not need to arrange them in any special way - just thread them both in.



Beginning at the base of the stem (the end of the stem line, farthest away from the leaf), using stem stitch, work your way to the tip of the stem area on the leaf. End your stem line about 1/2" - 3/4" below the tip of the leaf. If you are unsure of how to work the stem stitch, check out my stem stitch video tutorial.



Congratulations! You have completed Element Five and now you're ready to move on to Element Six - another leaf, but slightly more complicated than this one.

If you'd like a PDF of this lesson so that you may print it out, here 'tis:

Lesson Six: a Simple Leaf (PDF)

Good luck and have fun with it! (And don't hesitate to leave a comment below if you have any questions!)

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

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Posted By: Mary Corbet on Thursday, September 03, 2009
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Posted By: Mary Corbet on Wednesday, September 02, 2009
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Castelo Branco is a city in Portugal just north of the Spanish border in central Portugal. Like many cities and regions in Europe, Castelo Branco has its own unique style of embroidery. Méri recently introduced me to this type of needlework when she sent me a beautiful magazine dedicated to the embroidery of Castelo Branco and featuring many gorgeous projects. Take a look!

The embroidery of Castelo Branco brings one word to mind - it is rich. It is rich in color, design, and symbolism.



This traditional Portuguese embroidery is worked on a linen ground, traditionally with silk threads. The predominant filling technique used is Ponto Castelo Branco, or Ponto Frouxo - long satin stitches with a perpendicular thread couched over the satin stitching to secure it. The technique reminds me very much of Italian stitching, which is comprised of long silk satin stitches couched over with gold passing thread (I used this technique for the sky in my Agnus Dei project). The obvious difference is the type of thread used for couching.



Among the other stitches used in the embroidery of Castelo Branco, you'll find satin stitch, stem stitch, long and short stitch shading, chain stitch, French knot, detached chain stitch, fern stitch, fly and feather stitch, shadow stitch, herringbone stitch, straight stitch, and various fillings. Méri was very kind to translate the stitches for me! The magazine, Belas Ideias, published by tuttirév, includes not only an abundance of designs but also a pictorial stitch dictionary.



The embroidery is by no means "popular" or common embroidery - it was worked, in its day, for those who could afford to pay for it.



It seems the most wide-spread application was in decorating bed coverings, which were often part of the trousseau or dowry of a young bride. Today, the embroidery of Castelo Branco can still be purchased or commissioned, with prices ranging all the way up to 45,000 Euros for a bedspread, depending on size and design.



Have you noticed that the designs are somewhat reminiscent of Jacobean embroidery? The tree of life is a common image, as are fanciful birds, animals, flowers, vines and tendrils, and fruit.



The elements included range from the sacred to the profane, and many of them have symbolic meaning.

I think this embroidery style is lovely! While it is like Jacobean in some respects, in other respects it is quite unique - the abundance of couched-over satin stitching is defintely different, and the threads used are a flat, lightly twisted silk (originally, a filament silk - today, artificial silks are also widely used).

The designs in the magazine are calling my name!! (They're practically screaming, actually!) Méri often teases me for introducing her to embroidery she "must" try (like the Schwalm project!), but I think she has avenged herself! I've added this to my perpetually growing List of Things to Do, and I'm already looking ahead for my next block of time, where I can set up a small project. There's an ideal "little" project in the magazine, which would make a perfect Christmas gift.

Thank you SO much, Méri, for introducing me to the embroidery of Castelo Branco! The book is beautiful! Thanks, as well, for the linens and threads! I will make use them all soon and keep you posted on how it goes!

Labels: Jacobean embroidery, linen, needlework pictures, pictures, regional embroidery techniques, silk

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Posted By: Mary Corbet on Tuesday, September 01, 2009
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