About

Mary Corbet

writer and founder

 

I learned to embroider when I was a kid, when everyone was really into cross stitch (remember the '80s?). Eventually, I migrated to surface embroidery, teaching myself with whatever I could get my hands on...read more

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Hungarian Hand Embroidery Design #9: Floral Rectangle

 

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This is a magnificently complex rectangular design from Lilly’s Legacy, a collection of Hungarian folk embroidery patterns drawn by graphic artist Lilly Baróthi Zathureczky between the 1930’s & the 1960’s. Today’s design was drawn in 1945, while Lilly was living in a refugee camp in Reggio Emilia, Italy.

Unlike most of her other drawings I’ve posted so far, this one is not completely colored. Just a corner has been painted, with the outline of the rest of the design drawn in ink.

Hungarian Hand Embroidery Design #9
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Ideas from the Past – Needlework Inspiration

 

In the most recent issue of Inspirations Magazine (Issue #71), you’ll find an article by yours truly about finding inspiration from the past for needlework designs today. In the article, I highlighted sources for out-of-copyright needlework designs that can be adapted to all kinds of different embroidery techniques.

Besides designs from these old publications, I also like to glean ideas and inspiration from old pieces of needlework. One area of needlework where stitches, techniques, and materials are used in interesting combinations is old church embroidery. Whenever I get the opportunity (and have permission), I photograph old pieces of ecclesiastical embroidery, and often when I’m looking for ideas for materials, for interesting combinations of threads for certain effects, or for some kind of inspiration for a design, I’ll flip through my ever-growing collection of photos of church embroidery pieces. I also have a tendency to collect old worn out pieces of ecclesiastical needlework. Damaged beyond repair, they make a great learning tool.

Using an example from my collection of photos, I’ll show you what sparks my interest.

Hand Embroidered Church Medallion in Silk and Gold
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Goldwork & Silk Tudor Rose: Final Petals

 

The next step on the Goldwork & Silk Tudor-style Rose project involves filling up the rest of the inside petal space with #7 tambour gold. If you’re just joining in on this project, feel free to read up on the rest of the stages. You’ll find the embroidery pattern, plus each developing stage of the project, listed in the goldwork & silk Tudor-style rose index.

Goldwork & Silk Embroidered Tudor-Style Rose
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Goldwork & Silk Tudor-Style Rose: An Outline

 

When last we visited the Goldwork & Silk Tudor-Style Rose series, we outlined the inner petals with gold check thread. It would make sense at this point to fill the rest of the inner petals with gold, but that wasn’t actually my next step! Instead, I moved to the outside of the rose and outlined the gold petals on the outer layer with a stem stitch outline, using a dark red Soie Gobelins (#2546).

As simple as stem stitch outlining may seem, there are a few aspects of working with this thread that can make it frustrating, so I’ll see if I can help dispel some of that frustration. Here are a few tips on how to go about outlining the outer petals.

Goldwork & Silk Tudor-Style Rose: Outlining with Soie Gobelins
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Sanding Embroidery Patterns

 

Sounds a little weird, doesn’t it? But I really do mean it literally – sanding (as in, with sandpaper) your embroidery patterns! It makes a Big Difference!

Lately, I’ve been using the prick-and-pounce method to transfer most of the embroidery designs I’ve been stitching. I like this method. It’s accurate. It’s “re-usable.” It works. So when a reader commented on my post about prick & pounce embroidery design transfers that she sands the back of her pattern and it really makes a difference in the transfer, I thought I should try that out.

Sanding the back of an embroidery pattern
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