presents...

PROJECTS
INFLUENCED BY
INTERNATIONAL
TRADITIONS

2 3
 PROJECTS
INFLUENCED BY
INTERNATIONAL
TRADITIONS
Embroidery traditions are prevalent throughout the world, from Morocco to
the U.K., and each country has its own style. Learn about different embroidery
traditions from three countries that you can incorporate into your projects.
Included in this e-book are three projects from the 2008 regular column
“International Inspirations.” Learn about traditional British embroidery techniques
and make a bonnet in “United Kingdom”; discover Moroccan garment trends
and make a jellaba in “Moroccan Memories”; and learn traditional Mexican
embroidery styles and make an adorable blouse in “Mexican Marvels.”
You’re sure to find plenty of inspiration from these three overseas projects.
Happy stitching!
Colleen Exline
Associate Editor, CME

Colleen Exline
Associate Editor, CME

TABLE OF CONTENTS
 “International Inspirations: United Kingdom”
Rebecca Kemp Brent.................................... PAGE 3

2 “International Inspirations: Moroccan Memories”

Rebecca Kemp Brent.....................................PAGE 7

3 “Material World: Mexican Marvels”

Rebecca Kemp Brent.................................... PAGE 11
 international inspirations

United
Kingdom The word "embroidery" is derived from an Anglo-Saxon expression, so it
By Rebecca Kemp Brent

stands to reason that the British Isles have a rich needlework history. In
this installment of our series, we'll look at a part of that heritage, and find
inspiration in the lovely tone-on-tone textures of whitework embroidery .

British Influence
The British Isles is a confederation of countries and
autonomous possessions, each with unique folk art tradi-
tions; Celtic knotwork from Ireland and Wales and tartan
plaids from Scotland are examples. In addition, modern
Britain retains influences from its imperial past, when the
colonies inspired European fashion and England, in turn,
affected the native textile industries of its possessions.
The earliest surviving British textiles date to the early
10th century. Like many early embroideries, they were
ecclesiastical vestments. England developed a reputation
for fine embroidery with woolen thread from the Bayeux
Tapestry (more accurately called an embroidery) to the
crewel embroidery style popular from the Renaissance to
today. Fine embroidery with silks and metal threads were
so closely associated with England in medieval times, the
style was called "Opus Anglicum" (English work).
Ayrshire Embroidery
The embroidery style identified with Ayrshire in Scotland
is a form of whitework. As the name implies, whitework is
traditionally stitched with white threads on a white back-
ground. Unlike the very dimensional, heavy Irish white-
work called Mountmellick embroidery, Ayrshire work is
delicate, working with fine threads on sheer or lightweight
fabrics. The designs are often floral, and the early stitch-
ers were consequently called "flowerers." A third type of
whitework embroidery, Broderie Anglaise, comprising of
eyelets and cutwork, is sometimes seen alongside Ayrshire
floral motifs.
Early in the 19th century, Lady Mary Montgomerie
showed her son's christening robe to Mrs. Jamieson, the
wife of a cotton agent in the Scottish city of Ayr. The
embroidered garment combined Scottish floral whitework
with needle lace filling stitches more common in France.
Mrs. Jamieson, in turn, began a very successful business
employing farmers' well-trained wives and daughters to
create the intricate embroideries. Each woman specialized
in a particular stitch, so an individual piece was usually
worked by several flowerers.
The Ayrshire embroidery industry provided an impor-
tant supplemental income for the stitchers. However, the
industry began its decline by the mid-19th century, and
was further weakened by blockades during the American
Civil War. By the end of the 19th century, there were still a
few older women producing whitework embroidery, but

3 Creative Machine Embroidery


identify as "paisley" did originate in
India. However, the Scottish name memorial-
izes the town where textile mills adapted India's
teardrop motifs for mass production, greatly
reducing the cost of popular paisley shawls.
the designs had become simpler and
coarser. The remuneration was too small
to attract young women to the profession,
and with the advent of embroidery
machines, the Ayrshire needlework indus-
try became a thing of the past.
Fabric, Stabilizer
& Thread

Traditional Ayrshire embroidery is
stitched on cotton muslin or lawn with
fine cotton thread. To duplicate the
look, choose a finely woven, soft cotton
muslin or batiste. Organdy can be used
as sheer background material for an
even more ephemeral appearance.
Sometimes bits of netted lace are incor-
porated into Ayrshire projects; use cot-
ton netting as the background for those
designs.
 Prewash cotton fabrics in warm water to
remove finishing chemicals and resolve
shrinkage before embroidery. Press the
laundered fabric to remove wrinkles;
press again with spray starch. Repeat
for several light coats of spray starch,
pressing the fabric dry between coats to
give the fabric a firm, crisp texture.
 Choose a water- or heat-soluble stabiliz-
er for Ayrshire work so no stabilizer
5 Creative Machine Embroidery
?
Did You Know?
The decorative pattern we
remains in the finished project. In con-
junction with the spray starch, a single
layer of soluble stabilizer is sufficient
for the fine motifs associated with
Ayrshire whitework.
 Threads of 60-, 80- or 100-wt. cotton
work well for Ayrshire machine embroi-
dery. Some of these threads are made
for sewing, but they’re fine to use for
embroidery as well. Consult the digitiz-
er's directions for specific recommen-
dations for a particular design. Another
option available to modern machine
embroiderers is polyester thread with a
matte finish, which mimics the appear-
ance of cotton. This polyester thread
produces little or no lint, making it a
gentler option for embroidery
machines.
Note: The sample baby bonnet is stitched
with fine cotton thread, while the lavender
and cream-on-white samples are embroi-
dered with polyester wrapped polyester
core thread.
Design Selection
 To mimic the flowerers' embroidery,
choose floral motifs stitched with narrow
satin stitches, running stitches and light
fill stitching. Openwork fills can be used
to reproduce the appearance of fine net
overlays without adding appliqués.
 Select small motifs both for authenticity
and attractive appearance on the light-
weight fabrics of Ayrshire work. Motifs
that combine to create continuous bor-
ders are ideal for creating Ayrshire and
Broderie Anglaise yardage to use as an
insertion or border detail on garments.
Use a hoop made for continuous
designs, where available, to simplify the
embroidery process.
 To create allover designs, stitch a single
small motif across the entire fabric sur-
face. It's helpful to begin by drawing a
grid and marking the locations of indi-
vidual motifs. Mirror image some
embroideries for greater variety in
allover designs.
Baby Bonnet
The featured delicate baby bonnet repli-
cates an Ayrshire bonnet from the 19th
century. The modern version incorporates
ribbon ties, while the historic original
would’ve been placed on the baby's head
without ties.
Choose fine white thread and lightweight
white fabric for an authentic appearance.
The finished bonnet can be bleached to
remove stains, allowing an heirloom to be
passed through family generations.
Supplies
 Baby bonnet pattern of your choice
 1 yard of cotton batiste
 11⁄2 yards of 1"- to 11⁄2"-wide ribbon
 Mesh water-soluble stabilizer
 Cotton or matte-finish polyester heirloom
sewing thread (60- or 80-wt.)
 Removable marker
 Seam sealant
 Spray starch
 Embroidery designs of your choice.
Note: The sample was created with
Cactus Punch, SIG64. Cutting and
sewing instructions are included on the
CD with the embroidery designs.
Construction


Print or stitch templates of each design.
Following the pattern instructions, cut
the bonnet pieces from prewashed and
More Ideas
• Another traditional use of Ayrshire embroidery was flounces on
starched cotton batiste. dresses and bonnets. Embroider long fabric strips with a continuous
 Using a removable marker, mark the embroidery hoop, hem one edge, and gather the strips for use on
embroidery locations as desired. apparel items or home décor.
 Stabilize and embroider each bonnet
piece.
o Use a continuous hoop, if available, to
create an allover design on the bonnet
brim.
o Hoop mesh water-soluble stabilizer,
spray with temporary adhesive and
adhere the first pattern piece. Pin out-
side the embroidery area for extra secu-
rity if necessary.
 Use the machine's controls to position
the needle where the small motif will
embroider at the marked location. • Although Ayrshire work is traditionally all white, experiment with stitching
Embroider the design. other tone-on-tone combinations. The palette doesn’t need to be limit-
 Keeping the fabric in the hoop and ed to pastels either—try deep jewel tones or dark embroidery colors.
the hoop on the machine, use the
machine’s controls to move the
needle to the next marked location;
embroider the next design.
 Repeat to stitch as many individual
motifs as possible before re-hooping.
 The circle forming the bonnet back is
embroidered on stabilized batiste in a
5" x 7" or larger hoop.
 When the embroidery is complete, rinse
and soak each bonnet piece in water • Look for embroidery designs incorporating small stitched rings; these
with no soap or detergent to remove the are often similar to the eyelets of Broderie Anglaise. When the
stabilizer and markings. Squeeze to embroidery is complete, use an awl or small punch to open a hole
remove excess moisture and smooth inside each stitched ring.
onto a flat surface to dry.
 Press each embroidered piece carefully
 Assemble the bonnet as directed in the Bonnet designs: Cactus Punch, #SIG64, designs 6412,
from the wrong side, using one light 6413, 6414, 6415
coat of spray starch. Trim the pieces pattern. Cut the ribbon in half, and
attach one ribbon piece to each bonnet Lavender sample design: My Fair Lady Designs,
using the original pattern pieces. Cinderella Companions 4x4, design Mfl-Cb2Companions-
 Before trimming around the circular
side at the chin.
8-4x4; scalloped edging added with Brother Innovis
4000D version 4.01 built-in patterns
motif, run a thin line of seam sealant
Rebecca Kemp Brent is a freelance author, educator and White/cream sample design: Brother, Card #23, design 95
around the outer stitches on the
embroidery wrong side. When the designer who enjoys travel and exploring the rich visual Credit
sealant is dry, trim as close to the heritage of societies around the globe. She’s a regular Coats & Clark provided the Dual Duty XP Fine polyester
embroidery as possible. The sealant will contributor to Creative Machine Embroidery and the thread.
prevent raveling and keep the stitches author of two books from Krause Publications.
intact at the bonnet edge.

Creative Machine Embroidery 6

 Moroccan
International inspirations
Memories
In each installment of this series we’ll examine a
traditional garment or embellishment technique,
and develop ideas for transferring its essence to
21st-century clothing or home décor.
I n the United States, clothing choices are a
matter of fashion and trend. We choose
colors and styles based on designer whims
and cultural icons, often movie costumes
or music stars' apparel.
But the traditional garments of other
countries, those with rich, lengthy histo-
ries, have developed to suit the climate
and availability of raw materials. These
utilitarian clothes are decorated with cul-
turally based designs and colors, and
their traditional forms provide lush and
varied inspirations for embellishing our
modern fashions.
The jellaba
One traditional Moroccan garment is the
jellaba. It is a loosely fitted robe that is
worn by both men and women over other
garments. Jellabas are seen in many styles
and colors, often varied regionally. They
are frequently worn with a red fez (conical
hat) and yellow babouch (shoes). Colors
range from white to brown, green, rust and
yellow for men, and an even wider range of
colors for women.
The women’s version is sometimes worn
with a scarf, in keeping with local customs
that dictate modest apparel. At home,
7 Creative Machine Embroidery
By Rebecca Kemp Brent
women may exchange their jellabas for
kaftans, a garment name that has entered
common English usage. Note: Like other
words that originate in non-English lan-
guages, jellaba may be transliterated many
ways. Alternate spellings include: djellaba,
jellabiyya and jellabiya. Because the jellaba
is worn over other clothing, it usually
includes side-seam slits allowing access to
pockets in the inner garments. Jellabas are
hooded and feature a slit opening at the
front neckline, which is often embroidered.
The deep hood provides protection from
fierce sun and, in desert areas, dangerous
blowing sand.
Although wool is frequently associated
with cold-weather wear, it’s probably the
most traditional fiber for jellabas. Camel
hair, as well as other hair fibers, can be
used to make woolen fabric. In light col-
ors, wool reflects the sunlight away from
the body, and the natural wool fiber pro-
vides a layer of insulation from heat as well
as cold temperatures.
Today jellabas can be purchased over the
Internet in easy-care polyester. Synthetic
fibers offer the traditional appearance of
the garment, but not its functionality.
Choose a light to mediumweight wool,
linen, rayon, cotton or blend to create your
The embroidery colors
represent the climate of
Morocco: Mediterranean
blues, hot orange sun and
the golden browns of camel
hair and desert sands.
Butterick
6881

Creative Machine Embroidery 8


own jellaba. Crepe weaves will drape
attractively, or choose fleece or velour
for a warmer version. The jellaba is an
ideal silhouette for leisure wear, from
robes worn with pajamas to bathing suit
cover-ups.
Design selection
In general, Muslim tenets prohibit repre-
sentational art, so decorative patterns have
evolved from geometric forms and flowing
calligraphy. Even the influence of the
A Draw guideline 1 3⁄4" above lower
edge of each front piece to indi-
cate lower edge of embroidery
2" designs. Draw vertical guidelines
2", 4" and 6" from front raw edge
to indicate vertical center of each
4" design column.
6"
1 3⁄4"
9 Creative Machine Embroidery
The hemline motif is a repeating
tile design similar to those found in
Moorish architectural details.
indigenous Berber people contributed
geometric patterns to Moroccan art.
 For a traditional appearance, look for
embroidery designs that mimic geometric
mosaics or knot work borders. Repeating
and interlocking geometric patterns are
wonderful choices.
 Border designs stitched on either side of
the neckline slit mirror traditional Moroccan
decoration created with applied braid. Add a
single motif across the slit’s bottom to com-
plete the effect and reinforce the slit opening.
B Loosely gather remainder of sleeve into open circle
around embroidery area and stitch motifs.
The brown robe worn by
Obi-Wan Kenobi in the Star
Wars movies was based on a
traditional jellaba.
 Other locations for jellaba embroidery
are the sleeves, hood and hem. Stitch the
same border used at the neckline around
the hood’s outer edge and the sleeve hems
or create a slit in the sleeve above its
hemline and embroider it to match the
neckline detail.
 Embroider the border motif around the
entire jellaba hem, if desired. As another
option, use short border segments or spot
motifs to fill a triangular area above the
hem on each side of the center front seam.
Our jellaba
Our Moroccan influenced robe is con-
structed from a textured woven crepe. It’s
thin and drapeable for comfortable wear
in warm weather. Neckline embroidery
might be hidden by the open-necked hood
or interfere with the zipper, so the embroi-
dery is concentrated at the front hemline
and on the sleeves.
The embroidery colors represent the cli-
mate of Morocco: Mediterranean blues,
hot orange sun and the golden browns of
camel hair and desert sands. The hemline
motif is a repeating tile design similar to
those found in Moorish architectural
details. The sleeve seam is left open for 41⁄2"
above the hem, creating a slit embellished with
a narrower embroidered border design, mim-
icking the braid on the authentic garment.
C Guidelines for
decorative stitches.
Zipper
Decorative Stitches
Embroidery
Morocco
Officially this country on the northwestern corner of Africa is the Kingdom
of Morocco. It is an ancient place, inhabited at least since 8000 B.C. It
was drawn into the modern world during Greek and Roman times by
Mediterranean traders, and became part of the Arab world during Muslim
expansion 700 years B.C.
In 1777, Morocco became the first country to recognize the United States
as a separate nation. The 1786 Treaty of Friendship between the U.S. and
Morocco is the longest unbroken friendship treaty in the history of the U.S.
Today the heavily populated portions of Morocco, especially the cities
of Casablanca and Marrakesh, attract tourists from around the world.
The country’s interior ranges from forested mountains to arid, sparsely
inhabited desert.

Supplies
 Butterick 6881
 Fabric and notions according to pattern
envelope
 Adhesive tear-away and water-soluble
stabilizer; lightweight tear-away stabilizer
(for decorative stitching)
 Embroidery, bobbin and sewing threads
 Removable marker
 Embroidery designs of your choice:
approximately 13⁄4" diameter for hemline
and a border approximately 3⁄4" tall for
sleeve
Construction
& embroidery
 Cut out the pattern pieces following the
pattern guide sheet.
 Use a removable marker to draw a
guideline 13⁄4" above the raw lower edge of
each front piece to indicate the lower edge
of the embroidery designs. Draw vertical
guidelines 2", 4" and 6" from the front
raw edge to indicate the vertical center of
each design column (A).
 Hoop adhesive stabilizer and attach the
prepared fabric. Use a large hoop, if avail-
able, to minimize re-hooping.
to stitch the columns on the second front
piece, with the longest column again posi-
tioned nearest the center front.
 Serge or otherwise finish the raw edges
of the sleeve underarm seam. Mark the
seamline 41⁄2" above the hem foldline. Stitch
the seam from the underarm to the mark.
 Press the underarm seam open, pressing
under 5⁄8" on the unstitched portion of the
underarm seam. Hoop water-soluble
adhesive stabilizer and attach the lower
portion of the sleeve, where the seam has
been left open.
 Using templates or the machine's tracing
function, position a narrow border design
on each side of the open seam. The design
should stretch from the hem foldline to the
beginning of the stitched seam and lie atop
the pressed seam allowances. Note: Turn
the sleeve wrong side out and attach the
embroidery area to the stabilizer. Loosely
gather the remainder of the sleeve into an
open circle around the embroidery area
and stitch the motifs, repositioning the
upper sleeve as necessary for each motif
(B). Stitch the border on each side of the
slit. Position a single motif from the repeat-
ing border horizontally across the top of
the slit, covering the first stitches of the
continue each line to connect it with the
outermost group of embroidered motifs.
Draw a pair of lines almost parallel to the
first ones from the central embroidered
group on each side to a point on the center
front seam, 2" below the zipper (C).
 Stabilize the lines with lightweight
tear-away stabilizer. Convert to standard
sewing and sew a decorative stitch along
each line. Tear away the excess stabilizer
after each line of stitches and replace it
with fresh stabilizer for the next row of
decoration. Complete the robe following
the pattern guidesheet.
Optional ideas
 Make a shorter jellaba-styled top that
ends at the hipline to wear over jeans or
pants.
 Eliminate the hood and embroider
around the entire neckline as well as the
front slit.

Rebecca Kemp Brent is a freelance author, educator and
designer who enjoys travel and exploring the rich visual
heritage of societies around the globe. She is the author of
Fill in the Blanks with Machine Embroidery.
Hemline: Baby Lock, Border Collection 1 (BLDP-P10),
design 1
Sleeve: Baby Lock, Border Collection 1 (BLDP-P10),

 Use software or the machine's screen

design 15 (edited)
seam, and stitch. This motif will strengthen
functions to combine motifs and create a the slit as well as adding a design detail. Credits

vertical border about 11" high. Center the
combined design on the 2" vertical guide-
line, with its lower edge on the horizontal
guideline and stitch.
 Shorten the combined design by one
motif and embroider along the 4" line.
Remove another motif and stitch the final
column of motifs along the 6" line. Repeat
 Cut away most of the excess stabilizer. Floriani Wet N Stick and Wet N Gone Tacky provided by
RNK Distributing.
The remaining stabilizer will dissolve when
Designs edited in BuzzEdit version 2, provided by
the robe is washed after construction. BuzzTools.
 Assemble the robe front, including the
zipper. With a long ruler and a removable
marker, draw lines 3⁄4" on each side of the
center front opening along the entire zip-
per length. Turn the ruler at an angle and

Creative Machine Embroidery 10

 Mexican
International inspirations

Marvels
Think of traditional Mexican clothing and visions of whirling skirts in bright
colors worn with white peasant-style blouses come to mind. Vividly col-
ored embroidery conveys national pride in its depictions of flowers and
iconic Mexican motifs—prickly pear cactus or an eagle clutching a snake.

History
The year is 1620 and European coloniza-
tion is spreading throughout the Americas.
A young girl from India is sold into servi-
tude by pirates and brought to Mexico,
where European masters refer to all Indian
and Asian servants as Chinese, regardless
of their origins. She later marries a Chinese
servant, adding to the legend that she her-
self is from that part of Asia.
This woman, called La China Poblana
(the Chinese woman from Puebla) by con-
temporaries, would be no more than an
anonymous character in the history of
Puebla, Mexico, was it not for the embroi-
dered white blouses and colorful skirts she
made and wore as a reminder of her
homeland and in defiance of her captors.
While native Mexican women wore a sim-
ple straight dress called a huipil, La China
Poblana’s style was adopted by India-born
servants throughout the country.
This Asian-influenced costume has
evolved into the “Ballet Folklorico” dress
style symbolic of the Mexican peasant
dress. The dresses, called China Poblanas
in memory of their originator, are a perfect
complement to the swirling moves of
Mexican folk dance companies. China
Poblanas differ by region throughout
Mexico, and exist today alongside huipils
as examples of traditional Mexican style.
Fabrics & threads
Mexico plays host to a variety of climatic
conditions, from tropical to frigid, depend-
ing on latitude and elevation. Northern
Mexico encompasses the Sonoran and
Chihuahuan deserts, and much of the
country receives insufficient rainfall during
part of the year.
For comfort in the hot, dry regions,
Mexican folk blouses are constructed of
lightweight cotton or linen. The blouse is
traditionally white, with a neckline cut low
enough to expose the neck and upper
bosom, a characteristic that scandalized the
upper class ladies of the 19th century. A
shawl worn with the blouse and skirt pro-
vide modest coverage, as well as protection
from cooler temperatures and rain. The
China Poblana blouse is embellished with
colorful silk embroidery of flowers or geo-
metric patterns. The embroidery lies on the
upper portion of the blouse, just below the
neckline, and extends across the sleeves as
well as the garment front.

11 Creative Machine Embroidery

 Create the look of
Mexican embroidery
on a peasant blouse
with a combination
of bright threads and
floral motifs.

Simplicity
3887

Creative Machine Embroidery 12


To re-create the trendy looking Mexican
folk blouse, select a lightweight woven
fabric. Handkerchief linen and fine cotton
broadcloth are possibilities; even high-
quality muslin can be used. Ideally, the
fabric will gather softly and drape well.
(Always preshrink the fabric, as cotton
and linen will shrink when washed.) For
machine embroidery, choose rayon or
glossy polyester embroidery threads to
simulate the appearance of silk. A pattern
with an elastic neckline or small yoke
with gathers below reproduces the China
Poblana’s characteristic silhouette.
Design selection
Simple floral designs are ideal for stitching
a China Poblana blouse. Look for small
flowers or open fill designs to preserve the
lightweight fabric’s drape. Stems created
with running stitches are more suitable
than satin-stitched stems. Look for designs
created from old hand needlework pat-
terns, or motifs digitized to mimic the
appearance of hand embroidery.
Mexican folk embroidery is stitched
13 Creative Machine Embroidery
with bright, pure colors that range
across the spectrum. Red and green on
white, the colors of Mexico’s flag, are
traditional choices. There is little shad-
ing in the motifs, so generally only one
value of each hue is used in the design.
Such a basic color palette contributes to
the folk-art appearance of the China
Poblana style.
Our peasant blouse
Like a traditional China Poblana blouse,
our sample adaptation is sewn from cool
white cotton. The blouse and sleeves are
gathered to a curved yoke for a flattering
fit without neckline elastic.
The embroidered satin stitch flowers
accentuate the rayon thread’s sheen, and
are traditionally positioned on the front
and sleeves. Pair the blouse with a skirt or
jeans and wear it tucked in or as an
overblouse—belted or not.
Supplies
 Peasant blouse pattern

White cotton fabric and lightweight
Stitch Mexican motifs
such as folk dancers,
burros or sombreros
on table linens.
fusible interfacing as called for on the
pattern envelope
 Rayon embroidery, bobbin and sewing
thread
t Heat-soluble or adhesive water-soluble
stabilizer
 Removable marker
 Floral embroidery designs of your choice
Embroidery
& construction

Cut out the pattern pieces as directed in
the pattern guidesheet.
 Using removable marker, draw a series
of dashes around the neckline, 5 ⁄ 8" below
the cut edge, to indicate the seamline.
Draw another set of dashes 1" below the
first in the area that will feature the
embroidery (A).
 Print or stitch a template of the designs.
Create a mirror image of the design in
software and print a second template.
 Position the template under the blouse
left front with the embroidery's upper edge
along the second set of dashes and its
front edge 1" from the garment center
 If the machine has an automatic jump-stitch cutter, turn it off to decrease the long
colored threads left on the wrong side. Instead clip the jumps after embroidery, which
will leave fewer threads to show through the fabric.
front. The template should be visible
through the fabric; if not, lay white paper
under the template to improve visibility.
 Using removable marker or chalk, mark
the cross marks. Turn the template over to
create a mirror image, and place it in the
corresponding position under the blouse
right front.
 Mark the cross marks for the second
motif.
 Draw similar guidelines on each sleeve,
but make the second guideline just 3 ⁄ 4"
below the seamline. Draw a vertical line
on each sleeve 1 ⁄ 4" to the front of the
shoulder dot marked on the pattern piece.
 Place the template under the sleeve fab-
ric with its upper edge on the 3 ⁄ 4" guide-
line, matching its vertical centerline to the
drawn guideline. Mark the design's hori-
zontal center. Turn the template to create a
A Mark garment front 5⁄8"
from cut neckline edge.
Mark 1” below seamline.
Position template under
fabric as shown.
mirror image, and position it under the Rebecca Kemp Brent is a freelance author, educator and
second sleeve. Mark in the same manner. designer who enjoys travel and exploring the rich visual
 Hoop the stabilizer with the fabric. heritage of societies around the globe. Her most recent
Embroider the first design. It may be neces- book is Fill in the Blanks with Machine Embroidery.
sary to decrease the thread tension to mini-
Floral designs: Brother, Card #23, designs 67, 68
mize puckering around the satin stitched
Napkin designs: Oklahoma Embroidery Supply & Design,
roses. Repeat to embroider all designs. Pack #12181, designs NB155_48 (folk dancer),
 After embroidery, remove the markings; NB157_48 (burro)
remove the excess stabilizer following the
manufacturer’s directions. Carefully press Credit
around the motifs with the fabric right side Floriani Heat N Gone stabilizer provided by RNK
down on a thick towel. Distributing.
 Assemble the blouse following the pat-
tern guidesheet.
 Optional: Launder the blouse in cool
water on a delicate cycle. Press from the
wrong side with a light application of
spray starch to refresh the embroidery
after laundering.

5 ⁄ 8"
1"
1"
Creative Machine Embroidery 14
 FAB DESIG NS
20 EMBROID 25 OVER
DAY ERY SHOWCASED INSIDE
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