The embroidered E monogram that I showed you on Tuesday is finished, so today, I’ll show you the final details and discuss some of the stitching and some ideas for future modifications.
This is one of my favorite monograms so far in this recent splurge of monogramming.
Well… I should say it’s been one of my favorite “classic style” monograms to stitch. The voided floral monogram was actually the Most Fun Thing Ever to embroider, but this one – I like the results over all and I like the stitches involved in it.
There were some sticky spots, though, and there are some areas on the E that I’d like to do differently, in another version of the letter.
So let’s take a look!
In Tuesday’s discussion on how to embroider this monogram (you’ll find all the stitch details, thread information, and so forth in Tuesday’s article), many of you suggested that the “tongue” at the bottom of the letter should be green and not blue.
Well, I agree! But by the time I wrote that article, I had already started on the blue, and so… I went ahead with the Blue Tongue. I always avoid picking out when I can, you know. I’m just lazy that way!
My plan is to embroider another letter from this alphabet, using some slightly different approaches in parts of the letter, and when I do that, I’ll definitely try a green tongue.
The blue doesn’t look too terribly bad, though – I think it worked out ok!
To stitch the “tongue,” I used all the shades of blue and worked it in long & short stitch from the widest part in light blue to the stem stitch tip in the darkest blue. (You can find the color list in this article.)
I stem stitched half way up the center of the tongue, following the stem, using the darkest blue. You can’t see it so well in the photo, but if you click on it for a larger version, it should be a bit more evident.
Padding the Long & Short Stitch
With all the long & short stitched elements in this project, I outlined along the design line with split stitch in one strand first, and then worked the long & short stitch over the design line, to help create a little lift on the edge of the element and to help ensure nice, smooth edges.
Because the flower petals and leaves are relatively small, the long and short stitch is a bit bulkier than, say, a satin stitch would be. Because of this, they might look a little padded. They aren’t padded – they’re just outlined under the edge.
On the tongue, though, I wanted to maintain that same look of thickness that the other long & short stitched elements sport, but on a larger element, the outline underneath won’t do the trick. So, on the tongue, I stitched in some straight, horizontal padding stitches inside the split stitch outline (using two strands of thread) before working the long and short stitch.
This helped maintain the “lift” found in the other smaller elements.
Speaking of padding, the large pink dot on the top of the letter is padded quite a bit, to make it nice and plump and round.
This tutorial will help you learn how to stitch a nice round satin stitch dot. When you work the padding inside the circle, this tutorial will show you how to stitch the padding without getting a heavy build up on the back of the fabric.
When working the satin stitch on the dot, I used one single strand of floss. Using one strand in the needle takes longer, yes, but it creates a much smoother satin stitch surface.
That Solid Pink!
Now, about the dot….
You know, it doesn’t really thrill me. Oh, it “goes” with the letter, but…but….
I think what I don’t like about it is that it is a solid, Pepto-Bismol pink, while the letter all around is sketchy and a bit heathery.
Contrast is not necessarily a bad thing, but in this case, I’m not sure I like it. I suspect I would have liked the dot better, had I embroidered it in the lightest blue. It would have blended with the letter better, and maybe even looked a bit like a pearl situated on the script. The pink just really Stands Out.
But that’s ok, because I can experiment with other ideas on other letters! That’s the great thing about monograms – they’re such nice, small, contained projects, and they work up pretty quickly!
Probably the hardest part of the whole letter to get right were these tiny dots. They took a lot of concentration and they required magnification, too.
Tiny Satin Stitch Dots
It’s very easy to overdo it on a tiny satin stitch dot. The key is to go for minimum satin stitches. It doesn’t take many to cover this small of a dot.
All of the satin stitch dots on this piece have a split stitch outline underneath them, even these tiny ones. The split stitch outline helps round out the dot, so it’s definitely worth split stitching an outline first before working the satin stitch.
For all the little dots, I didn’t build up any heavy padding, but instead, I worked one layer of horizontal straight stitches inside each dot, filling the inside of the split stitch ring, before satin stitching.
Instead of Satin Stitch…
If you’re intimidated by the satin stitch, you can always fill the dots with French knots, mirroring the French knots in the centers of the flowers. It will add a little texture to the piece – it won’t look the same as the satin stitch – but I think it would look good!
If you want to try your hand at stitching this monogram, or any of the monograms I’ve been covering recently here on Needle ‘n Thread, you’ll find them all available in my e-book, Favorite Monograms.
You can also find several of the alphabets available here on Needle ‘n Thread for free. They’re not all available as printable PDFs, but you can always download the image, print it and trace it if you want.
If you want a good book on classic monogramming, check out my review of Monograms: the Art of Embroidered Letters. It’s an excellent book and the review will show you exactly what’s in it.