O IVE

INSPIRING IDEAS WITH NEEDLE AND THREAD

ER
FF
S
LU

YOUR
C
EX

NO.1
EMBROIDERY
MAGAZINE

JUNE/JULY 2020 | £5.50 ISSUE 125

GRACE & BEAUTY!

BRIDE FROM SILK SCRAPS

LIFE IN MINIATURE
Perfect embroidery meets
the art of bonsai

OVER THE POND

Dream of summer with Anna
Scott’s shimmering silk shading

INSIDE!
ALL THE STEP
S,
TIPS & TEMPL
ATES
YOU NEED

DIVE IN TODAY!
Mix fabric painting with classic
surface stitching

25

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Inside your issue...
7
24
Projects
7 HEAVENLY HANA
COVER
Fashion a traditional kimono for a Japanese STAR!
bride using silk scrap appliqué. Beautifully
detailed and easy-to-follow.
16 LIFE IN MINIATURE
Sometimes you don’t need anything fancy. Perfection is
possible with a few shades of good old DMC and a handful
of basic stitches.
21 BURNING BRIGHT
A bold and striking embroidered tiger captured in step-by-
step instructions for the domestic sewing machine.
29 OVER THE POND
Look forward to summer with these iridescent dragonflies
skimming the water surface. A great introduction to silk
shading if you’re new to the technique.
37 SURF’S UP
One great wave. One 6” hoop. Like a day at the beach: it’s
stitching that’s fresh and exhilarating.
41 DIVE IN!
Take the plunge and mix things up. Play with BrushoTM inks
then get to grips with sublime surface stitching.
4 www.stitchmag.co.uk
21
Inspiration
13 TURNING AN APPLIQUÉ EDGE
It’s all in the detail. Learn how to turn a neat and clean edge
for your appliqué work.
13 MASTERING THE TURKEY RUG STITCH
It’s a back stitch with a loop thrown in. Worked in circles it
creates beautiful floral arrangements. Find out how.
26 CLASS OF 2019, PART 2
Meet the rest of the Embroiderers’ Guild graduates: Elli
Bignell, Tabitha Buckley and Catriona Charlton. Their
approach to embroidery is thoroughly modern!
45 THE ART OF PERFECT BLENDING
Find out how to master long & short stitch for a smooth and
velvet-like finish.
46 MY FAVOURITE THINGS
Enjoy the winning entries from the latest Embroiderers’
Guild Members’ Challenge. They are all the same size, but
the interpretation is so very different.
50 PRACTICALLY IMPERFECT
Breathe new life into worn garments with visible mending.
A Japanese approach that turns unwanted holes into
charming features.
 ISSUE 125 JUNE/JULY 2020

16

41
29

52 CULTURAL EXCHANGE DON’T MISS OUT!

Multi-media artist, Alison Carpenter-Hughes suffers from Let the stitching continue: take advantage of
sensory overload in Tokyo. Read her story. our fantastic subscription offers. It’s the easiest
and cheapest way to get your next issue.

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6 NEWS 14 DELIVERED TO YOUR DOOR

All the latest from the world of stitching. Stay home and have each issue drop through
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36 GALLERY
A stunning collection of stitched projects inspired by 35 DELIVERED TO YOUR DEVICE
Japanese imagery and techniques. Go digital and access the magazine through your tablet,
smart phone or computer.
48 LETTERS
Stay in touch with fellow readers. Be part of the community: 61 SIGN UP TO RECEIVE OUR E-NEWSLETTERS
we love hearing from you.

54 NEXT ISSUE
Here’s a sneak peek at the projects and features coming in
your next issue - on sale in shops on Thursday 24th July. 40 AURIFL OFFER
Love working with these fabulous
55 TEMPLATES threads? The Embroiderer’s Guild has
All the templates and guides to complete this issue’s projects. a special offer exclusively for
readers of Stitch, so you can get
62 STITCH GUIDE your hands on a beautiful kit at a
A handy guide to all the stitches in this issue’s projects. Use discounted price.
it to refresh your memory or get to grips with new stitches.

www.stitchmag.co.uk 5
News

Brilliant
books!

RSN student spreads love

Lucy Martin, a second year degree student at
the Royal School of Needlework, has launched
the NHS Embroidery Challenge. In conjunction
with the University for the Creative Arts and their
#CreatorsAssemble project, this initiative aims to
show love for and solidarity with NHS staff in these
difficult times. She designed a 20cm template with the
NHS logo at its heart. People of all ages and abilities
are encouraged to stitch the letters and hang the
completed work in their window. CREWELWORK INSPIRATIONS
Lucy commented: “I have been overwhelmed Published by Search Press
with the number of pieces created so far. They RRP: £15.99
have been beautifully produced by people of If you’re a fan of crewelwork,
every skill level and are a fantastic tribute to look no further. This is a special
the incredible work of the NHS. The variety and collection of 8 beautiful projects
creativity demonstrated by every person involved curated from the pages of
has shown that despite being in lockdown, the arts Inspirations magazine. Featuring
continue to thrive.” designs from some of the world’s
But there’s more to this project, there are most talented embroiderers,
potential health benefits for those participating. it gives you the patterns,
As the act of hand stitching can be soothing, even instructions, images and insight
therapeutic. The focus required helps block out to stitch for yourself.
worries and the slower pace induces a relaxed state
of mind. Not forgetting a sense of achievement EMBROIDERED TREASURES:
when finished. ANIMALS
Taking part is easy, just find Exquisite
@lucymartinembroidery on Instagram. Needlework of
The template is in her biography and her the Embroiderers’
feed includes video tutorials, plus all of the Guild Collection
amazing hearts submitted so far. Lucy’s personal By Dr Annette
favourites include the NHS heart logo added to Collinge
handmade scrubs by Rebecca Carpenter. And a Published by
goldwork offering from RSN Tutor, Heather Lewis. Search Press
RRP: £20.00
For over 100
EG Members express years the
Embroiderers’ Guild has amassed
thanks to the NHS an incredible collection of
textiles, rarely exhibited to the
Embroiderers’ Guild is calling upon challenging times or celebrate the public. This third book in the
members to thank the NHS through commitment and care shown by series has Dr Annette Collinge
the medium of stitch. The individual NHS doctors, nurses and support turn her expert eye to animals.
messages will then be collated into workers. The aim is to create a series of She makes for a knowledgeable
wall hangings and offered to hospitals combined embroideries that will serve guide through time and around
throughout the 10 regions of the as a reminder of the COVID crisis and the world, putting a spotlight
Guild. act as a permanent thank you to those on the best from the collection.
Each message will measure 10cms who have given so selflessly. Marvel at the skill, styles, colour
square. The design may commemorate Find out how to add your message of and imagination on display.
a life, capture the essence of these thanks at www.embroiderersguild.com

6 www.stitchmag.co.uk
 Project

Heavenly Hana

FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 55

Meet Hana, a Japanese bride, dressed in a beautiful kimono on her

wedding day. Through her, learn about the tradition surrounding this formal
garment while handmaking one yourself using layers of appliqué,
sumptuous stumpwork and decorative hand stitching.
BY EMMA FRITH
WITH GRATEFUL THANKS TO TO AYAKO YOSHINO

www.stitchmag.co.uk 7
Project

1
MATERIALS
• Calico or recycled cotton/
polycotton fabric for the backing:
40cm x 40cm
Plain coloured fabrics – I used silk
dupion from The Silk Route:
Light grey (HA2), 30cm x 19cm
Darker grey (JB777), 30cm x 24cm
Medium and dark leafy greens
(summer leaves theme pack)
A scrap of light gold/tan for the
face
• Japanese kimono & obi remnants
• Bondaweb
• Silicone baking paper 5 6
• Ultrafyne polyester monofilament
threads: black, grey, brown, dusky
pink, red & green
• Stef Francis viscose gimp:
variegated brown
• Assorted stranded cotton threads:
black, greys, greens, browns,
pinks, cream & red
• Coton à Broder No16: black, red &
green
• Thick wool felt for padding: small
piece
• Organza: 15cm x 15cm, 2 pieces
• A scrap of ribbon
“In modern Japanese, kimono (literally ‘thing to wear’) is
EQUIPMENT
• Scissors: fabric, embroidery reserved for formal occasions and festivals. While the basic
• Prick & pounce design transfer: shape of the kimono is very simple, often they are beautifully
tracing paper, large needle, chalk
powder decorated with embroidery, or woven in fine silks and gold
• Rectangular embroidery frame, thread. It is worn with many layers and steeped in tradition and
large enough to hold
40cm x 40cm cultural symbolism. The bride’s name ‘Hana’
• Iron & ironing board translates as ‘flower’.”
• Pins
• Sewing machine
• Small embroidery hoop
• Needles: embroidery, crewel FINDING KIMONO FABRICS 2 Take the two pieces of grey silk.
• Thimble Kimono fabric is often silk crêpe Turn and press a 2cm border along a
with a printed or woven design. The 30cm edge of the light grey. Pin the
STITCHES obi (the sash that wraps round the dark grey silk towards the top of the
Back Stitch, Buttonhole Stitch, kimono) is made of stiffer woven calico. Then pin the light grey across
Couching, Herringbone Stitch, silk. To make this project look for the bottom, with the pressed seam
Ladder Stitch, Long & Short Stitch, fabric with a small pattern repeat, overlapping the dark grey silk by 1cm.
Running Stitch, Satin Stitch (padded or detailed areas you can use. Often The silk area should measure roughly
and slanted), Slip Stitch, Split Stitch, vintage kimonos that can no longer 30cm x 40cm; a border of 5cm on all
Straight Stitch, Trailing Stitch, Turkey be worn are cut up and sold for sides will allow for mounting when
Rug Knot textile art applications. Check on finished. Take care to align the grains,
eBay for remnants. 1 as any bias could cause wrinkling.
See Stitch Guide for details on stitch
formation. GET STITCHING! 3 Using Ultrafyne thread, secure the
1 The background: mount the calico raw edges of the grey silk background
Finished design measures backing fabric into the frame and to the calico with herringbone stitch.
21cm x 30cm straighten. Leave the tension quite Where the pressed seam of the light
loose. grey silk overlaps the dark grey, use

8 www.stitchmag.co.uk

2 3
7 8
appliqué stitch to join the two fabrics.
(See guide on page 13.) Tighten the
frame fully.
4 The trees: start by fusing Bondaweb
to the back of the green silk pieces.
Transfer the outlines of the main
pieces of each tree to the dark green
silk and the detailed sections to the
light green silk.
5 Cut out the light green details and
remove the paper backing from the
Bondaweb. (The Bondaweb prevents
fraying as you work the delicate
pieces.) Arrange the details on the tree
outlines then set in place with an iron.
Cut out the main tree shapes from the
dark green silk. 2
6 Position your tree pieces on the
background, leaving space for Hana in
the middle. Once happy, pin in place.
If your frame has sufficient tension,
lightly apply an iron just to hold the
pieces in place for now. 3
7 Use various shades of brown
stranded cotton to add the texture of
bark in rows of split stitch, running up
and down the trunk and branches of
the left hand tree. These stitches are
decorative but also secure the applied
fabric. 4
8 Use 2 strands of light grey thread to
stitch round the base using buttonhole,
but work the stitches “inside out” to
mimic the look of brick edging. Use
various shades of grey thread to work
French knots in 3 strands at the base of
the tree to simulate pebbles. 5
9 Move on to the right hand tree. Make
the trunks and branches using brown
viscose gimp. Arrange several strands of
the gimp twisted randomly to give the
appearance of gnarled old bark. Couch
in place with brown Ultrafyne; plunge
the ends to the back and secure. 6
10 Define the edges of both trees
using decorative stitches. This will
secure the shapes more permanently
than Bondaweb alone and tidy the raw
edges. Try herringbone, padded satin
stitch, buttonhole (both ways round!)
and couching. Or work a trailing stitch
over a bundle of 6 threads. For a bold
outline take 10 strands of embroidery
thread and couch at 5mm intervals –
or try using buttonhole over the top.
Project
4
9
Experiment with these stitch options
to finish the leafy areas; each gives a
different look. 4 6
11 Make a prick-and-pounce template
by tracing the figure and pricking
round the outline with a large
needle. Pounce the design onto the
background silk and draw the outline
with a chalk pencil. Clean the tracing
paper template and keep safe as you
will use to check the positioning of
various elements. 7 8
12 The kimono skirt: using the pattern
pieces, cut out the kimono skirt, body
and 2 sleeves – flip the template over
to get a left and right sleeve. Repeat
for the sleeve lining using a contrasting
fabric. Take time to work out how to
use the pattern to best effect.
13 Pin the sleeve pieces right sides
together. Machine down each sleeve
side so you have 2 tube shapes. Trim
the seams close. Leaving the ends raw,
turn the tubes out and press flat. Fold
in half and press again. 9
14 The left sleeve will hang behind
the skirt; you need to trim it so ➜
www.stitchmag.co.uk 9
Project
10 11
17 18
the drape of the skirt is not distorted.
Refer to the template and cut so the
skirt just covers the side of the sleeve.
Pin in place then secure with running
stitches to the background. Leave the
other sides of the sleeve free. 10
15 On kimono, furisode sleeves swing
freely, attached only by the top edge.
This means the long left edge on the
right sleeve remains open. Seal the
right edge with ladder stitch. Secure
the raw edges at the top. Set aside.
16 Follow the guide on page 13 to
create a turned edge along each side of
the kimono skirt. Leave the edges raw
at the top and bottom as they will be
concealed. Pin the skirt into place on
the chalk outline, forming the creases
as indicated on the template. The fabric
will lie flat near the waistband with the
creases introducing folds to imitate
drape at the bottom. Attach the skirt
using appliqué stitch down the sides
(page 13). Secure with running stitch
across top and bottom; trim the bottom
edge to fit the outline as required. 11
17 Formal kimono have padded hems
that sweep the floor. A row of red trailing
10 www.stitchmag.co.uk
12
19
stitch over the bottom edge will simulate
this. Form a bundle of 14 threads in
Coton à Broder No16, somewhat longer
than the length of the skirt hem to
allow for plunging. Take a single strand
of red embroidery thread. Starting in
the middle, lay the thread bundle so it
covers the raw edge of the skirt hem.
Trap the threads with closely spaced
stitches so that the core threads cannot
be seen. Keep the trailing stitches even
and perpendicular to the core threads.
Work from the centre to the left; return
to the centre and work out to the right.
Plunge the core threads to the back at
the end of the row. 12 13
18 The obi sash: attach Bondaweb
to the back of the fabric pieces for
the obi. Cut out the knot and layer 2
from the obi fabric and layer 1 in the
contrasting lining. Cut out the notches
around the edges and remove the
paper backing. Crease the tabs under
between finger and thumb.
19 Take layer 1 and press the tabs down
with the tip of your iron, using the
baking paper to protect the sole plate.
Repeat with layer 2, but do not fold the
tabs at the left and right edges. 14
13
20
20 Rest layer 1 on baking paper to
protect the ironing board and press
the centre of layer 2 in place on top.
Turn over, fold the end flaps of layer
2 under layer 1 and secure with the
iron. Position at the top of the kimono
skirt and attach the bottom and side
edges of the obi using appliqué stitch.
The fabric can be quite stiff, so use a
thimble. Leave the top edge open,
to allow the torso section to be
tucked in. 15
21 The head: attach Bondaweb to the
back of your scrap of light gold/tan
silk then use the template cut out the
head. Trace the features with a fine
pencil. Remove the backing paper and
iron into place. Secure the edges of
the neck with satin stitch. 16 17 19
22 Outline the forehead area in split
stitch using 2 strands of dark brown
stranded cotton, Fill the area with
more split stitch. Then with a single
strand, work slanted satin stitch in the
direction you would expect the hair to
lie. Outline the area adjacent to the ear
with split stitch, but do not pad it. Fill
with long & short stitch to create the
effect of hair. 16 17

14
21
23 Cut out a shape from thick wool
felt to pad the bun. Secure with
herringbone stitches. Split stitch
around the bun, then use slanted satin
stitch over the padding to give a three
dimensional effect. 17 18
24 Suggest the facial features in tiny
straight stitches using the Ultrafyne
threads in black, brown and dusky
pink. 19
TOP TIP! Less is more: it is very
easy to overdo the subtle facial
stitching, which gives a cartoony
look. Very fine marker pens could
be used as an alternative.
25 The kimono body: when wearing
kimono, an undergarment is worn to
protect the valuable fabric; only the
collar remains visible. To simulate
this, use a little scrap of white cotton;
no pattern piece needed. Attach
Bondaweb then fold in half and iron
the halves together to make a strip
with a folded edge at the top. Cut two
very small pieces and arrange them in
a “V” shape at the nape of the neck.
Fold the bottom piece under, to give
the illusion it is going around the neck.
15
22
Secure with back stitch as low down
as possible so it will remain hidden.
Leave the collar standing proud so the
kimono collar can be stitched around
it later. 20
26 Take the right sleeve (Step 15). Sew
in position with a line of back stitch at
the top along the bottom of the obi.
No further though, this allows it to be
free swinging, like the real thing! 21
27 Cut the 2 arm padding shapes from
the thick felt. Sew the small shoulder
piece into position just above the
obi. This extra padding will allow the
arm to lie on top of the obi. The full
arm padding is then attached with
herringbone to give the felt a curved
profile. 22
28 Press the tabs on the kimono body
piece into place and iron the small
dart marked on the pattern.
This will give the arm section
definition. Pin the arm and torso
into position, tucking the loose end
of the torso under the open top edge
of the obi. Stitch round with appliqué
stitch; including the top edge of the
obi. 23
Project
16
23 24
TOP TIP! If you are transferring
the design to the Bondaweb paper
backing rather than the fabric itself,
please remember to reverse the
design!
29 Attach Bondaweb to a piece of the
main kimono fabric and cut out the
collar. Remove the backing paper and
iron down the tabs to make the required
shape (use baking paper to protect your
iron). Attach it to the collar line using
buttonhole stitch along the bottom edge
only. The top edge should be aligned
with the white under-collar made earlier;
it will stand proud. At the back edge of
the collar, fold the remaining bit under
itself and tuck behind the white collar.
Trim if necessary. Add a few retaining
stitches to keep in place. 19 24
30 The obi knot: kimono are wrapped
round with a long decorative sash (obi)
which is then tied in a complex knot
behind. Remove the backing paper
from your obi knot piece and iron
the flaps as before. This will create
a strange dumbbell shape. Tie in a
simple overhand knot. This is harder
than it looks: obi silk is very stiff and
thick, so this may prove tricky. ➜
www.stitchmag.co.uk 11
Project
25
28
Be patient and tease into a knot. Twist
the ends, tighten or loosen until you
get a nice shape with only the right
side of the fabric showing. Stitch in
place at an angle at the top of the obi
towards the back. 25 26
31 The chrysanthemums: mount
2 layers of organza in a small
embroidery hoop. Trace the flower
outline shapes with a chalk pencil.
The chrysanthemums are formed with
shades of pink, green and cream; pick a
mix of 6 strands for each flower. Follow
the Turkey Rug Knot guide on page 13
for flower formation. When finished, cut
out leaving a border of fabric.
32 For the bouquet, fold the organza
back behind the top edge and stitch
in place on Hana. Leave a little of the
fabric showing at the bottom edge
of the bouquet. Deliberately fray the
remaining fabric to add detail. 27
33 Repeat for the flowers in the hair.
If you have a narrow bit of ribbon,
concertina into tiny bow shape, wrap
thread around the middle and pull
tight. Nestle amongst the flowers and
attach to the hair. 28
12 www.stitchmag.co.uk
26 27
29 30
34 The umbrella: attach Bondaweb FINISHING
to the umbrella fabric and cut out, 38 Remove from your frame and
noting the position of the tip and the mount in your preferred way. I covered
handle. Cut the notches as noted on the lacing on the back with a piece of
the pattern as these indicate where kimono silk. ❤
the umbrella ribs will be. Remove
paper backing, fold and iron the tabs
in place following the guide on page ABOUT ME
13. Pin the umbrella in position on the I feel incredibly
background. fortunate to
be a full-time
35 Using a length of Coton à Broder artist and hand
No16 in black, come up through the embroiderer,
background just beyond the end of one living and
of the ribs and make a single long stitch working at
to the tip. Continue around the umbrella beautiful
making long stitches at each rib. 29 Southwell Minster in
Nottinghamshire. I am coming to
36 Re-thread with Utrafyne black the end of my RSN diploma, taught
and make tiny invisible couching by Tracy Franklin in Durham. I divide
stitches over the Coton à Broder at my time between that, ecclesiastical
5mm intervals. This will hold the long embroidery, teaching and print
stitches and the umbrella in place. making. I am wife and mum in a
Complete the tip and handle of the clergy family, and our lives flow
umbrella with back stitch in black around the ancient rhythms of
embroidery thread. 30 cathedral worship. The three of
us live with Lottie, my Dog AID
37 Finally in black Ultrafyne thread, assistance dog.
work random, horizonal straight www.emmafrith.co.uk
stitches to suggest shadows under the emmafrithembroidery
trees, figure and umbrella.
 Project

Turning an 1 2 3

Appliqué Edge
1 Transfer the design to
TECHNIQUE both the background fabric
FOCUS
and the reverse of the fabric
to be applied. Remember
to reverse the design on the
4 5 6
applied piece. For fragile fabrics
or complex shapes, you may get
a better result if you stabilise the
applied fabric using Bondaweb. 1

2 Cut around the shape, leaving

a border. Cut tiny ‘V’ shapes in to
the border, ensuring the bottom of
the ‘V’ does not touch the outline.
Carefully press the tabs under into 7 8 9
the required shape. 1 2

3 Pin the shape into place. Using a

coordinating thread, bring the needle
up on the outline, then take a small
stitch inside the folded fabric edge,
then take a stitch of the same length
under the background fabric. 3

4 Repeat these small ladder stitches

all the way around until the appliqué
piece is fully secured. Gently pull
Making Turkey Rug Knot TECHNIQUE

the thread as you work so your

stitching becomes invisible. 4
Chrysanthemums FOCUS

5 Appliqué shapes can be applied
flat or over padding. The tension
can be adjusted to give a firm
shape, or a looser one to create a
pleated drape for clothing.
1 2
3 4
Turkey rug knots may look complex, but
actually it’s a very versatile stitch and, as
a variation on back stitch, it is surprisingly
simple to work. The row builds left to
right in a clockwise direction, but all the
stitches face backwards, ie the needle
always comes up to the right and goes
down to the left.
1 Draw a small circle in chalk pencil as
your outline. Use 6 strands in a crewel
needle. There is no need to knot or
fasten on. Take the needle down at the
starting point. 1
2 Come up a couple of threads to the
right of the starting point and make a tiny
back stitch over the ‘roots’ of where the
thread enters the fabric. Draw the thread
all the way through, making a small, firm
retaining stitch. 2
3 Come up a little to the right, working
along the outline. Draw all the thread
through to the front. Then tuck the tip
of the needle under the back stitch to
the left, and take it through to
the back. 3
4 Slowly draw the thread through until
you have a little loop. Work another
tiny back stitch over the ‘root’ of this
new loop. 4
5 Hold the loop back out of the way to
stop it getting caught in the retaining
stitch. Draw all the thread through to
secure the retaining stitch. Come up
again a stitch to the right. 5
6 Continue in the same way around
the circle with the loops radiating
outwards like petals. 6
7 When you get all the way around,
continue spiralling your stitches
inwards until you run out of space.
Then stop. 7 8
8 No need to fasten off, just snip off
any trailing end. These look beautiful
worked in clusters. 9 1

www.stitchmag.co.uk 13
Project

FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 58

“Inspiration can strike whenever! This design started on a train journey in The Netherlands.
I noticed a logo on a the shopping bag of a fellow passenger. I made a few surreptitious
sketches, worked out who the company were, contacted them to get permission,
concentrated the design on the willow, picked my colours and started stitching!”

16 www.stitchmag.co.uk
 Project

ABOUT ME MATERIALS EQUIPMENT

I’m a Dutch ex-pat
with a passion for
needlework. Like so
many people I started
with cross stitch, but
soon other techniques
and materials beckoned. I keep
experimenting with my designs,
which now include Hardanger,
Shisha, freestyle and goldwork.
Currently I’m giving myself a more
solid technical grounding in the
various techniques by doing the
RSN Certificate; I’ve just completed
the Jacobean module andto start
Canvaswork when classes resume.
www.mabelfigworthy.co.uk
mabelsfancies
mabelfigworthysfancies
• Ivory or antique white fabric: cotton
or linen are ideal. The willow was
stitched on Zweigart Normandie,
20cm x 20cm
• Lightweight calico as a backing
fabric: your main fabric will need this
if the dark threads from the back will
show through at the front or if the
weave is quite open.
• DMC stranded cotton:
Brown - 838, 839 & 840
Green - 3362, 3363 & 3364
Blue - 159, 160 & 161
• Alternatively if working from your
stash, you’ll need 3 shades each of
brown, green and blue.
• A wood-grain effect flexi-hoop: 4”
• Stiff card: 5” square
• Felt: 5” square
• Crewel/embroidery needle: size 7.
If you prefer using a shorter needle
then a quilting/between needle of
the same size would do.
• Embroidery scissors
• Embroidery hoop: 5” (optional)
STITCHES USED
• Long & short stitch (over a split stitch
edge)
• Reverse chain stitch (or chain stitch)
• Split stitch
• Stem stitch
• Straight stitch
See Stitch Guide for details on stitch
formation.
Final stitched area: 7cm x 7¼cm

Life in Miniature
Like the Japanese art of bonsai, this miniature willow tree is
ornamentally shaped and pruned to perfection using simple yet precise
hand stitching.

PREPARATION outlines by placing a second line of

1 To prevent fraying, overlock the raw
edges of the main and backing fabrics
either by hand or machine.
2 Transfer the design to your main
fabric by tracing using a lightbox or a
well-lit window. If your fabric is thicker,
you may find the prick & pounce
method more effective. 1
BY ILKE COCHRANE
GET STITCHING!
3 Start with the trunk. This is worked in
shaded lines of stem stitch, using two
strands. First stitch the outline of the
trunk and the bottom of the branches
in dark brown. Thicken parts of the
stem stitch in dark brown next to the
first lines. 2
4 Make sure you don’t go right to the
tips of the branches: you want the
dark brown to taper slightly. Work the
additional bark lines indicated on the
transfer in dark brown as well. Add any
further lines you feel are needed. 3 ➜

1 2 3

www.stitchmag.co.uk 17
Project
4 5
10
16
5 Start filling in the areas between the
dark brown using medium and light
brown. Try to alternate the colours
so they create a pleasing bark-like
pattern. Avoid having large areas in
one shade. 4 5 6 7
TOP TIP! If, looking at the
completed trunk and branches,
some areas seem flat, work a few
stitches in a darker or lighter shade
in that area to lift it. 8
6 The grassy knoll on which the tree
stands is worked using a single strand.
Start by outlining the top of the grass
in dark green split stitch where it does
not border the tree trunk. Fill the grass
area with long & short stitch shading
18 www.stitchmag.co.uk
11
BRANCH 1
17
from dark green at the top to light
green at the bottom. 9
TECHNIQUE FOCUS See page 45
for details and tips on mastering the
long and short stitch.
7 Work the little tufts of grass at the
sides in light and medium green
straight stitches. Again, use a single
strand. 9
8 The water is worked in reverse chain
stitch using two strands. Work a line of
dark blue chain stitch along the top of
the water area. Make sure the stitches
cover the bottom of the grass to
suggest the water lapping against the
little hillock. 9
6
12
BRANCH 2
18
9 Work further lines of chain stitch,
slightly wavy, and alternating between
the three shades of blue. You can work
the water in ordinary chain stitch if you
prefer, but changing colour within a
line is a lot easier using reverse chain
stitch. 9
10 The leaves on the hanging
branches are worked in slightly angled
straight stitches using two strands. The
hanging branches themselves are not
stitched; their shape is suggested by
the leaves. You can also see this clearly
in the main photograph. 10
11 To give more graduated shading,
the leaves are worked using blended
threads: two shades in the needle,

7 8
13
BRANCH 3
BRANCHES 1,3 & 5
BRANCHES 2 & 4
one strand of each. Roughly speaking
the closer the leaves are to the trunk,
the darker the shade used. Each
numbered branch (see template pages)
is made from the following thread
combinations:
Branch 1: a=light, b=light/medium,
c=medium
Branch 2: a=light, b=light/medium,
c=medium
Branch 3: a=medium, b=medium/dark,
c=dark
Branch 4: a=light, b=light/medium,
c=medium, d=medium/dark, e=dark
Branch 5: a=light/medium, b=medium,
c=medium/dark
14
BRANCH 4
12 Referring to the numbered
template, work each set of hanging
leaves in turn. The left-hand large
branches (1, 3 & 5) are worked left to
right. The two right-hand branches
(2 & 4) are worked right to left. All the
hanging branches are worked bottom
to top. 11 12 13 14 15
13 As a guideline, the shades and
shade combinations are distributed as
illustrated to the left.
14 You will need to adjust for the
number and length of tendrils
each branch requires. Also note
branch number 4 uses five shade
combinations whereas all the others
use three. Again you will need to adapt
the diagram slightly.
FINISHING
1 Take the embroidery out of the hoop
used for stitching. If there are creases
running through the embroidery, iron
on the reverse on to a thick towel. Don’t
worry about any circular mark made by
the hoop. The hoop used for framing is
smaller, so this mark will not be visible.
2 Using the inside of the inner ring of
your framing hoop, trace circles onto
Project
9
15
BRANCH 5
the felt and the stiff card, then cut
out. 16
3 Stretch the embroidery in the hoop,
making sure the outer hoop frames the
picture to your liking. 16
TOP TIP! Experiment with the
placing. Generally embroideries sit
centrally, but sometimes slightly
off-set looks better!
4 Trim the fabric to 3cm all around
and place the hoop upside down on
the table. Place the felt circle inside
the hoop and press it down so it’s
nice and flat.
5 Tuck the fabric into the back of the
hoop and gently press in the circle of
card; don’t push it right down onto
the felt, but let it sit about halfway
down the inner ring. If some of the
fabric has not been pushed down
evenly, use a blunt needle to ease it
down until it folds snugly around the
inner ring and is held down by the
card. 17
6 Hang and enjoy a beautiful bonsai
all year round without the need for
any maintenance. 18 ❤
www.stitchmag.co.uk 19
 Project

FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 59

Burning Bright
Use oriental style fabrics to recreate your own modern textile
twist on this traditional tiger.

BY ALISON CARPENTER-HUGHES

www.stitchmag.co.uk 21
Project

1 2
ABOUT ME
I am an award
winning mixed-media
artist. I focus on free
motion embroidery,
experimenting
with the sewing
machine as a tool for drawing
or painting. Themes of contrast
reflect the essence of my current
work - drawing from everyday
6 7
experience and folkloric symbolism.
At present I am working towards a
solo exhibition showing at the LCB
Depot in Leicester. I also facilitate
workshops and create stitched
pieces for private and public
commissions.
www.ajcgallery.com
pootlesmoon

MATERIALS PREPARATION
• Solvy water-soluble stabiliser, • Orange coral (895) 1 Lay the Solvy on top of the detailed
lightweight: 40cm x 50cm • Yellow beige (249) template. Pin together and carefully
• Base fabric, orange brocade: 33cm x • Dark brown (671) trace all the lines of the tiger’s face,
43cm (2 pieces). I used part of an old • Mustard yellow (591) using the fine Sharpie.
Japanese obi (sash belt); any oriental • Dusky purple brown (429)
style brocade will work. The backing • Dull coral/peach (377) TOP TIP! Hold the Solvy steady
piece can be plain. • Dark mauve (127) in place as you trace, moving the
• Oriental style fabric scraps, light to • Pinky mid-brown (216) template and Solvy round each time
mid-weight, vintage kimono scraps • Bright yellow (417) you draw over a new area. It makes
are ideal: • Bright orange (351) the lines easier to follow and gives a
• Head: orange & yellow floral pattern • Bright orange/yellow (188) neater drawn line.
• Tongue: red • Coral (896)
• Eyes: blue • Dark coral (80) 2 Play with the fabrics for the head,
• Bondaweb: 40cm x 50cm eyes and tongue. Use the outline on
• All-purpose polyester machine EQUIPMENT the Solvy to help decide how the
threads; the Gütermann colour • Black fine or ultra-fine Sharpie patterns will work best in the
reference is shown in brackets: permanent marker pen overall design.
• Black • Iron, ironing board & pressing cloth
• White • Dressmaker’s chalk or vanishing pen 3 Roughly cut around the outline
• Mid-grey (241) for fabric marking template, leaving a 1cm margin. Use
• Pale peach/coral (165) • Embroidery hoop: 8” or 9” this to cut out the head fabric. Now
• Soft dark brown (308) • Sewing machine: feed dogs dropped trim the head paper pattern accurately,
• Dark mid-grey (727) or darning plate fitted, with a quilting then place it right side down on to the
• Pale orange (979) or darning foot. You will also need a paper side of the Bondaweb and trace
• Brick red (519) standard foot. around. Leaving a 5mm margin, cut
• Dusky pink (52) • Universal size 80 machine needles out the Bondaweb. Pin the rough side
of the Bondaweb to the reverse of the
fabric, keeping it central.
“This machine embroidery takes inspiration from the Edo
Tiger painted by Japanese artist, Itō Jokuchū, in 1755. 4 Repeat Step 3 for the blue eye areas
and red tongue pattern pieces.
Last year, I was lucky enough to see it in person during my You may need to trace the tongue
two month residency trip to Tokyo.” pattern again.

5 Use your iron to fuse the fabric and

Bondaweb pieces together. Remove
the pins as you go. Once the fabric

22 www.stitchmag.co.uk

3 4
8 9
pieces are cool, cut out - following the
pen line on the Bondaweb. Remove
the paper backing. 1
6 With your iron still hot, take your
base fabric pieces. Fold and press the
top and bottom at 6.5cm towards the
wrong side. Open the folds out flat.
7 Centralise the Solvy on your front base
fabric, pin together but just at the top.
Now use the traced lines to position and
pin the head in place. Remove the Solvy
and set to one side. 2
8 Protecting the fabrics with a pressing
cloth, use your iron to fuse the layers
together – resting on each area for 6-7
seconds. Allow to cool for 20 minutes
so the adhesive sets properly.
9 Repeat Steps 7 & 8 for the eye area
and tongue pieces to complete your
base pattern. 3
10 Re-position the Solvy on top of
the base pattern. Use a few pins in
the centre to hold together. Now set
these layers in the embroidery hoop,
ensuring both are central, smooth and
taut before tightening. Remove pins. 4
GET STITCHING!
Set your machine for free motion
embroidery. When filling in black
areas, alternate between zig-zag and
straight stitch. Start with a little zig-zag
to cover the area quickly, then fill in
neatly with straight stitch. The other
colour areas are in straight stitch;
this allows the pattern of the fabric
below to show through. Re-hoop as
necessary as you work through the
project.
TOP TIPS! Use an open toe foot;
this allows you to see the area you
are working on more clearly. 5
For speed and ease, stick to two
bobbins: one threaded with black,
the other white . Then swap to
match the shade of the top thread.
Free motion embroidery needs a
fairly consistent fast foot pressure,
but with calm hoop and needle
movement on top. Essentially be
Zen with your mind and hands as
you sew!
Regularly trim any loose threads on
the underside of your work so they
don’t get caught up as you sew.
Keep checking the tension of the
fabric in your hoop and tighten
when needed.
1 The Right Eye 6 7 8 9
Top thread: black. Place your hoop
below the needle, position over the
tiger’s pupil in the centre of the hoop.
Lower your needle ready to start.
Follow the outline of the pupil and
Project
5
10
then fill in. Continue to outline the
other areas of the eye, stopping at
the bottom of the nose. Fill the
eyebrow stripes.
Thread: mid-grey. Fill the iris.
Thread: white. Fill the eyebrow area.
Follow the direction of the
fur upwards.
Thread: pale peach/coral. Fill the rim
of the eye on the outer side.
Thread: dark coral. Finish the top and
bottom of the rim, blending the darker
and lighter tones together.
Thread: soft dark brown. Add a few
straight stitches to the area under
the eye; just to give a little texture
and shading.
Thread: mid-grey. Fill the shadow
under the eye, leaving flecks of brown
showing.
Thread: dark mid-grey. Add a little
depth around the bottom rim of
the eye.
Thread: yellow beige. Finish off this
area with a thin line of stitching along
the nose line.
2 The Mouth 10
Thread: pale orange. Sew around
the nose and upper lip with stitches
flowing upwards and following the
shape of the lip.
Thread: white. Sew along the
upper lip.
Thread: brick red. Fill the little circle at
the right edge of the mouth.
Thread: black. Fill along the edge and
also the mouth stripes. ➜
www.stitchmag.co.uk 23
Project
11
17
3 The Left Eye 11
Thread: black. Focusing on the nose
area and left eye, continue to outline.
Fill in the left pupil and the stripes on
the eyebrow.
Repeat the colours and process as for
the right eye area in Step 1.
Thread: black. Fill in the stripes on
the cheek.
4 The Nose 12 13
Thread: dusky pink. Fill in the end of
the nose, leaving the nostrils with the
original fabric showing.
Thread: dark mauve. Add a little
shading to the end of the nose.
Thread: dark brown. Add final shading
to the end of the nose. Continue
to the area above and fill in. Angle
these stitches upwards and slightly
diagonally towards the sides.
Thread: mustard yellow. Lightly cover
the nose with vertical stitches, so the
pattern still shows beneath. Run a little
over the edges of the dark brown to
add highlights.
Thread: black. Complete the nose area
by filling in the four remaining stripes.
5 The Forehead 13 14
Thread: mustard yellow. Continue
with light stitching over the lower
forehead and left cheek. Keep in mind
the way the fur might lay and stitch
directionally. Blend over the top edge
of the shadow under the left eye.
Thread: black. Fill in the stripes on the
lower forehead.
24 www.stitchmag.co.uk
12
18
6 Top of the Head 15 16
Decide which patterned areas of
fabric you want to stay revealed. Use a
marker to indicate any areas to be
left unsewn.
Threads: dull purple brown, dusky
pink, pinky mid-brown, dull coral/
peach, bright yellow. Use each colour
in turn, blending from dark to light
threads. Start at the front point and
work towards the back. Go back to
an earlier colour if you feel further
blending is needed.
Thread: black. Fill the stripes. Avoid
sewing over any patterned fabric you
want to keep on show.
7 The Ears 17
Threads: black & white. Fill in the right
and left ear areas.
8 The Right Cheek 18 19
Thread: pinky mid-brown. Add a little
detail just above the right eye.
Threads: bright orange, bright
orange/yellow, pale orange, coral.
Working each shade in turn lightly
13
19
23
stitch from the eye area outwards
towards the side of the face. Blend
the oranges over each other to give
a varied texture and shading creating
the effect of fur.
Thread: black. Complete the stripes,
again leaving patterned areas you
like unsewn.
9 The Back of the Head 20
Threads: dusky purple brown, mustard
yellow, dull coral/peach, bright yellow
& bright orange/yellow. Starting from
the top of the head, work towards the
back overlaying each colour in turn.
Use the main image as a guide.
Thread: black. Fill the remaining
stripes.

14
20
24
25
10 The Jaw and Tongue 21 22
Thread: white. Stitch along the jawline
and jowl.
Thread: black. Outline the tongue.
Threads: brick red & dusky pink. Add
detail and highlights to the tongue.
11 The Neck 23 24
If you wish to follow my style with
Project
15 16
21 22
together pin all four sides. Remember
to tuck any loose threads of the way!
4 Change your machine to a standard
sewing foot and setting – don’t forget
to raise your feed dogs! Matching the
thread to your fabric, straight stitch
both side seams at 1.5cm.
5 Iron the seams flat. Turn the piece
through so right sides are showing.
hanging threads, leave any loose ends Press again. Tuck in 6.5cm at each
untrimmed from this point. Pull extra end; iron flat. Slip stitch shut before a
thread out to leave them long. Keep final iron.
the loose threads out of the way as
you sew. 6 Your finished embroidery would look
Threads: bright orange, coral & bright striking mounted in a black box frame.
yellow. Work downwards from the Or attach clips to display as a free
jawline, lightly filling with each shade wall hanging. You could even create a
in turn. statement piece for your wardrobe by
Thread: dark brown. Fill the curved stitching directly on to the back of a
stripe to the right under the tongue denim or satin jacket. 25 ❤
Thread: black. Fill the final stripes.
FINISHING
1 Remove from the hoop. Tear away
the excess Solvy as close to the stitch
lines as possible. JAPANESE
CULTURE AN
D
COLOURS LE
2 Wash out any remaining Solvy with FT A
LASTING IM
water at a temperature suitable for PACT
ON ALISON.
your fabric. Be as gentle and as quick READ
ALL ABOUT
as you can. Hang up to dry, shaping or HER
RESIDENCY
flattening as needed. IN
TOKYO ON
PAGE 52
3 Once dry, carefully iron both base
layers – protecting with a damp
pressing cloth. With right sides
www.stitchmag.co.uk 25
Interview
Class of 2019
Enjoy the second part of our introduction to the most inspiring, talented and
original textile graduates as hand-picked by the Embroiderers’ Guild.
Elli Bignell
What’s your story?
I’m based in Bristol. I studied Textile
Design BA (Hons) at Falmouth
University, specialising in embroidery
and embellishment. I focus on creating
couture fashion items and accessories
by combining digital embroidery
and laser cutting with 3D hand
embellishment skills. Currently my own
freelance projects run alongside full-
time employment.
What role does embroidery play in
your work?
My creative practice is underpinned
by personal interests in colour, culture,
nature and emerging technologies. I
derive inspiration by painting everyday
surroundings, particularly natural
botanical florals and wildlife. These hand
illustrations are translated into intricate
and complex digital embroideries with
3D hand embellishment. Once sampling
is complete, I create engineered repeat
designs combining both techniques. It is
slow but very rewarding.
This sounds complicated! What is
digital embroidery?
It’s CAD (computer aided design)
embroidery software paired with a
26 www.stitchmag.co.uk
digital embroidery machine. Together
they allow me to create detailed and
precise embroidery designs. I use the
most recent version of Wilcom; it has
over 200 creative stitches so I can
adapt my own designs free-hand. I also
use a ZSK sprint 6 model. It features
12 needles which means I can use the
same number of threads, picking out
the right colours and shades.
What are the advantages of going
digital?
A digital embroidery machine can
produce up to 1,000 stitches per minute;
so much quicker than hand embroidery.
The designs can be larger and more
intricate. As I translate my own
paintings and drawings into CAD files,
it also means I can be very illustrative.
Although a complicated piece can
take up to 6 hours to design and 6
hours to stitch. However, once the file
is completed I can produce it as many
times as I want in whatever colourways.
How do you incorporate the third
dimension?
My 3D embellishments all start off as
small initial ideas. These can include
standing long bugle beads closely next
to one another, as well as folding and
manipulating sequins to look like florals.
I take time to consider colour, pattern
and placement before merging with
small digitally embroidered motifs that I
cut by hand to create finished pieces.
What’s been your biggest challenge?
Finding reliable, working resources and
equipment which I need for my work
to progress and develop!
www.ellibdesigns.co.uk
ellibdesign

Tabitha
Aimee
Buckley
What’s your story?
I’m from Worthing, near Brighton and
also studied Textile Design BA (Hons)
at Falmouth University. I’m inspired by
craft, heritage and the natural world –
in particular the rugged landscapes of
Cornwall’s Kynance Cove and Bodmin
Moor.
What have you done since
graduating?
There have been lots of exciting
projects and collaborations. I’ve been a
freelance embroiderer with Alexander
McQueen. During fashion week, I
embroidered tiny sequins at Jenny King
Embroidery for the JW Anderson S/S
2020 womenswear collection. I helped
with Mary Katrantzou’s Greece Temple
of Poseidon Show. I worked as an events
embroiderer for Hawthorne and Heaney
operating their monogramming service
at flagship stores in London and Berlin.
And I created bespoke embroidery for
boutique Lisou London’s collaboration
with Spry workwear.
You’ve been busy! Has there been
time for anything else?
I invested in my beloved Juki Irish
Embroidery machine. (It produces
zigzag stitches with the appearance
of satin stitches) The ultimate is to
combine its machine stitching with
hand embellishment. I start by tracing
a design onto dissolvable fabric. This is
mounted in a hoop, embroidered then
dissolved before embellishing. For hand
embroidered samples, I will sketch a
number of ideas. Normally too many to
be able to stitch them all! But it is when
I am playing with different beads and
goldwork wires that ideas emerge.
So what’s the plan now?
Setting up my own business! There is
so much to learn and I’m still figuring
it all out. The Prince’s Trust enterprise
Interview
programme has given access to a
business mentor and brilliant training
workshops. And I hope to have a
website running in a couple of months.
Tell us more…
The aim is to establish Tabitha Textiles
as a bespoke personalised embroidery
service, in particular making wedding
veils using my Irish machine. These
will be high-end, featuring the couple’s
names, date of their wedding, Cornish
wildflowers and embellished with
Swarovski crystals. When working for
Hawthorne & Heaney I realised people
really appreciate personalisation -
especially in a throwaway society. A
bespoke monogram turns a piece into
an heirloom; something to be treasured
for generations.
What do you enjoy most about
embroidery?
I love putting my own spin on traditional
techniques such as goldwork, silk
shading and beadwork. In my graduate
collection, Rugged Cornwall, I combined
smart textiles with embroidery,
concealing LED sequins and conductive
embroidery threads in heavily
embellished stumpwork. The sequins
have an intense violet light when
switched on – reflecting Cornwall today
against its mining heritage.
Who inspires you?
At university my tutor, Hannah
Maughan always challenged me to
achieve my best. And because I dream
of becoming a costume embroiderer
for film and theatre, I am inspired by
Hattie McGill and Cathryn Avison and
their work on recent adaptations of
Emma and Maleficent.
www.etsy.com/uk/shop/
TabithaTextile
tabithatextiles
www.stitchmag.co.uk 27
Interview
Catriona
Charlton
What’s your story?
I’m from a small town in Scotland called
Linlithgow, but now live in Glasgow.
I studied Costume with Textiles at
Huddersfield University. At the moment
I freelance in theatre workrooms making
costumes for productions and practice
embroidery on the side.
How do you approach your work?
I always start by drawing or painting.
From the theme of the work I will
choose a colour palette. Then there’s
research. I find this step crucial: it
helps develop shape, composition and
colour ideas. Although I don’t copy my
drawings line for line, they definitely
aid me in deciding what to do on the
material. If the brief allows, I will begin
by free-machine embroidering onto the
fabric. I do this because I find it hard to
start any embroidery or beading onto
smooth and/or plain fabric!
What are the considerations when
using embroidery in costumes?
For film and TV, an intense amount of
detail and thought is required for each
stitch. The use of colour is equally
important as the audience is far closer
than in a theatre. The areas around
the actor’s neck, shoulders and wrists
need great care as these parts are often
shown in close-ups. So in a cinema
screening using the wrong colour for
stitching on a shoulder would be very
obvious and distracting for the viewer.
28 www.stitchmag.co.uk
To add to this time-consuming level
of detail, often duplicates are needed.
This could be for scenes involving water
so filming can continue efficiently. Or for
scenes where damage to the costume
happens, possibly involving tears, stains
or dirt. So multiple versions are needed
in varying states of dishevelment.
What’s your proudest achievement
to date?
The costume I made in my final year:
I had to design, pattern draft, cut,
sew together and fit the costume on
my performer before the embroidery
could happen. My inspiration was the
mythical creature Brimstone from ‘A
Daughter of Smoke and Bone’ by Laini
Taylor. He is “part ram, part human and
part other things” and lives in a world
full of magic coins, other chimera
characters and animal teeth. I studied
his actions and personality through
the story and developed his costume
incorporating colour, texture, materials
and embroidery techniques to fit. The
pressure of making the right choice at
every step on my own was tough.
What do you enjoy most about
embroidery?
The texture! A lot of my personal
projects involve lots of layers of machine
stitch, wool, hand embroidery with thick
thread as well as interesting textured
materials. Despite my love of hot
colours, I take inspiration from different
types of moss and lichen, they have
great textures to replicate with stitch.
Catriona Charlton Freelance
catrionacharltonfreelance
 Project

FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 60

Over The Pond

Drift away to lazy, hazy summer afternoons with the quiet buzz of insects filling
the air and dragonflies dancing across the water on the garden pond…

BY ANNA SCOTT

www.stitchmag.co.uk 29
Project
MATERIALS
• Light sage medium weight cotton:
35cm (14”) square
• Woven interfacing or quilter’s
muslin: 35cm (14”) square (optional)
Threads & beads:
• Au Ver À Soie, Soie d’Alger stranded
silk (DMC conversion)
Yellows
A = 622 corn (725)
B = 542 light buttercup (744)
Greens
C = 3421 ultra-light hunter green
(3072)
D = 3422 light grey-green (524)
E = 1831 very light bottle green
(369)
F = 3732 light olive green (3348)
G = 2133 grass green (3881)
H = 3733 medium olive green (371)
Blues
I = 124 sky blue (3766)
J = 133 medium turquoise (3846)
K = 1736 very dark blue green (930)
• Waterlilies by Caron
L = 227 desert shadows (4030)
• Madiera fine Metallic No40
M = gold 4
• Mill Hill petit beads
40557 metallic gold
The colours are represented by letters
throughout (DMC equivalent colours
are shown in brackets).
“Padded satin stitch, in shades of bright turquoise, is used
for the dragonflies’ smooth, brightly coloured bodies. Their
glittering wings and the cheerful buttercups are embroidered
in silk shading. The design is worked onto a
pale sage coloured cotton fabric using 13
shades of stranded silk.”
PREPARATION
Taking time to prepare your fabric
carefully is key to getting the best
results from your embroidery.
1 Transferring the design
Referring to the template, trace the
embroidery design and placement
marks onto tracing paper with a
fine pen. Centre the tracing over a
lightbox or window and tape in place.
Centre the fabric over the design,
aligning the placement marks with the
straight grain of the fabric and tape
30 www.stitchmag.co.uk
If you wish to change any, all you
need to do is replace the colour
number with your own.
EQUIPMENT
• Embroidery hoop: 25cm (10”), inner
ring bound
• Embroidery scissors
• Tracing paper
• Fine pencil, water soluble fabric
maker or heat erasable pen
• Embroidery stand (optional)
Needles:
• No7 crewel: for 2 strands
• No9 crewel: for 1 strand
• No10 sharp: beading, metal thread
STITCHES
• Beading, Chain Stitch, Feather
Stitch, Fly Stitch, Long & Short Stitch,
Padded Satin Stitch, Pistil Stitch,
Rhodes Stitch, Running Stitch, Satin
Stitch, Split Stitch, Split Back Stitch,
Stem Stitch
See Stitch Guide for details on stitch
formation.
Finished design measures 19cm (7 ½”).
in place. Trace the embroidery design
with a sharp pencil or fabric marker,
making sure your lines are smooth,
fine and clear.
2 Backing the fabric
If your cotton is of a lighter weight,
you may wish to back it with a woven
interfacing (A) or quilter’s muslin (B).
A Fusible backing: Fuse the interfacing
to the wrong side of the cotton
with a warm dry iron. Make sure the
interfacing has fused properly all over
as it may otherwise come loose and
1 2
TECHNIQUE FOCUS
STARTING: TO KNOT OR NOT?
I prefer to start my threads with a
waste knot on the right side of the
fabric followed by a couple of tiny
back stitches.
• Tie a small knot on the end of
your thread. Take the thread
through the fabric a short
distance from the area you are
about to stitch, leaving the knot
on the right side.
• Place a couple of tiny back
stitches in an area or along
a line that will be covered by
embroidery a short distance from
the starting point. 1
• The back stitches will be covered
by subsequent stitches.
• Cut the knot once you have
worked a couple of stitches.
Alternatively, you can start your
thread with a knot. However if you
do, it is a good idea to keep the knot
very small and also work a couple
of tiny back stitches in an area that
will be covered by embroidery to
prevent the knot working itself
undone later.
FINISHING
To finish your thread, turn the
work over and run the tail several
times under the stitches on the
wrong side.
start to pucker. Allow to cool so the
adhesive sets properly.
B Backing fabric: Place your green
cotton over the backing fabric making
sure the grains of the fabrics are aligned.

3 4
6 7
3 Setting the fabric
Neaten the edges of each fabric layer
with an overlock or machine zigzag
stitch to prevent fraying. Place the
fabric into your hoop and pull it taut
before tightening the tension screw.
Once in your hoop, tack across the
centre and around the design to hold
the layers firmly in place. To prevent
puckering, place your fabric into the
hoop and keep it taut while you stitch. I
prefer to use a stand to secure my hoop
allowing me to have both hands free.
TOP TIP! When placing fabric
in your hoop only pull along the
grain (the fabric threads) as pulling
on the bias (diagonally) can cause
puckering.
GET STITCHING!
All the embroidery is worked with
the fabric held in the hoop using
one strand of thread unless stated
otherwise. Please read the instructions
for each section through before you
commence stitching.
TOP TIP! To separate the strands
of cotton or silk, cut a length of
thread and hold one end. Pulling
upwards, remove one strand from
the cut length. The remaining
strands will fall back into place.
Pull out another strand in the same
way. Then place the two separated
strands together 2
Buttercups
The three buttercups are all
embroidered in the same way. Complete
each step for all three flowers before
moving on to the next step.
• Threads: A, B, E (725, 744, 369)
• Stitches: beading, long & short stitch,
pistil stitch, split stitch
• Needles: No7, No9 crewel and No10
sharp
1 Outline the petals in split stitch with 1
strand of A (725).
2 Using 2 strands of A (725), work
long & short stitch along the outer
edge of each petal. Starting midway
along the shape, bring the thread to
the front inside the petal and take the
needle to the back over the outline.
Stitch to one side at a time, keeping
the direction of the stitches angled
towards the flower centre. 3 4
3 Change to 2 strands of B (744).
Fill the remainder of each petal with
long & short stitch, stitching into the
short stitches first. Bring the needle
to the front, splitting a stitch in the
previous row and take it to the back
at the centre. You will likely find that
is enough to fill the shape. Fill any last
little gaps, taking care not to get the
centre of the flower too crowded. 5
4 Using 1 strand of E (369), place 3 pistil
stitches over each petal for the stamens.
Project
5
8
For each stitch, bring the needle to the
front near the flower centre. Varying the
length of each stitch, wrap the thread 3
times around the needle. 6
5 Using the same thread in the No10
sharp needle, stitch 3 beads in place at
the centre of the flower. 7
TOP TIP! When I embroider a
symmetrical design such as this,
I always repeat and complete the
same section of all the elements
at the same time. This helps
to maintain consistency in the
stitching throughout the design. 8
Foliage
• Threads: F, G, H (3348, 3881, 371)
• Stitches: satin stitch, stem stitch
• Needles: No7, No9 crewel
Stems
1 Stitching from the flower to the base,
embroider the flower stems in stem
stitch using 2 strands of H (371). Keep
the stitches small and even in length,
skipping any areas where the leaves
overlap. 9
2 Using 1 strand of the same colour,
stitch the stem for the buds, finishing a
short distance from the curled tip. 10
3 Change to 1 strand of G (3881), and
embroider a row of stem stitch along
the right hand side of each flower ➜
www.stitchmag.co.uk 31
Project
9 10
15
stem and along the upper edge of the
bud stems, continuing to the tips.
Leaves
1 The leaves are embroidered in satin
stitch using 1 strand of F (3348) or G
(3881) in the No9 crewel needle. Refer
to the main photograph for colour
placement.
2 Start at the base of the leaf. Bring
the thread to the front at the point and
place the first stitch along the lower
edge of the leaf. 11
3 Keeping the stitches parallel, continue
to the top of the leaf, maintaining the
stitch direction across the shape. 12
TOP TIP! When you use a hoop,
remember that it is really important
to work your stitches in a stabbing
motion. Also, it is a good idea to
remove the fabric from the hoop
when you are not stitching to
prevent permanent hoop marks.
Buds
The buds are embroidered in padded
satin stitch using 1 strand of thread.
Refer to the main photograph for
colour placement.
• Threads: A, B, D (725, 744, 524)
• Stitches: padded satin stitch, split
back stitch
• Needle: No9 crewel
32 www.stitchmag.co.uk
16
18
1 Outline the bud with tiny split back
stitches.
2 Fill the bud with satin stitch padding.
Starting with 3 or 4 small satin stitches
in the centre of the shape, followed by
slightly larger stitches at a right angle
to the first for the next layer. 13
3 Stitch another 1 or 2 layers of
padding inside the outline. Each layer
is perpendicular to the previous.
4 Change to a new thread. Starting
across the widest point, cover the bud
with satin stitch, stitching over the
outline and to one side at a time. 14
TOP TIP! The more layers of
stitched padding you work, the
more domed the bud will be.
Dragonflies - body & head
The three dragonflies are all
embroidered in the same way. Complete
each step for all three dragonflies before
moving on to the next step.
11
• Threads: I, J, K, L (3766, 3846, 930,
4030)
• Stitches: chain stitch, fly stitch,
Rhodes stitch, satin stitch, split back
stitch
• Needles: No7, No9 crewel
Body
1 Using 1 strand of I (3766), outline
the tail and middle part of the body
in split back stitch. Fill the middle
section with straight stitch padding
using the same thread. First, place
3 or 4 stitches along the length of
the shape, then place a second layer
across the width, inside the outline.
Finish the padding with a third layer
along the length, stitching inside the
outlines. 15 16
2 Use 2 strands of the same colour to
fill the tail section with chain stitch for
padding. Start near the body and keep
the stitches to one side as the shape
gets wider. Stitch a second row, next
to the first at the end. Stitching from
the end towards the body, work chain

12
17
19
stitches over the top and along the
centre of the previous layer part way
to the top. 17
3 Change to 1 strand of J (3846) and
outline the upper body section in split
back stitch. Use 2 strands of the same
colour to fill the section with satin
stitch padding in the same way as the
middle part of the body.
4 Stitching over the outline, cover the
upper body section with satin stitch
using 1 strand of J (3846) and the
middle part with 1 strand of I (3766).
Change to 1 strand of L (4030) and
cover the tail in satin stitch. 18
5 Use 1 strand of K (930) and place
straight stitch stripes across the two
body sections. 19
6 Run the thread under the stitches
on the wrong side to the tip of the tail.
Then work small fly stitch at the tip of
the tail.
21
TOP TIP! Use a different section of
thread for each dragonfly so that the
colour variation differs on each tail.
Head
1 Using 1 strand of K (930), embroider
a circular Rhodes stitch for each eye.
Place the first stitch across the middle
of the circle. Next, bring the thread to
the front just next to the first stitch and
place a stitch across the circle to the
other side of the first stitch. 20
2 The second stitch crosses the first at
the centre. Continue around the circle
crossing the stitches in this way.
Project
13 14
20
22
3 Change to 1 strand of J (3846) and
place a few satin stitches along the
length of the head between the eyes.
21
4 Using the same thread, embroider
each antennae with tiny split back
stitch.
Dragonflies – wings 22 27
The wings are filled with long and
short stitch using 1 strand of thread.
• Threads: C, D, E, M (3072, 524, 369)
• Stitches: feather stitch, long & short
stitch, stem stitch
• Needles: No9 crewel, No10 sharp ➜
www.stitchmag.co.uk 33
Project

23 24

crewel needle, work a tiny running

stitch over each marked dot around
the outline.

FINISHING
Once the embroidery is complete
all that is left to do is a few finishing
touches before you can frame it or use
it in a more practical way.

1 Remove your embroidery from the

hoop. Place your embroidery with the
right side facing down onto a soft,
padded surface. Pull the edges straight
and even.
25 27
2 Press the embroidery well (use a dry
iron if you have fused stabiliser to the
27
back). Leave to cool flat.

3 ‘Over the Pond’ will look lovely

framed, make a really pretty cushion or
gorgeous small bag. ❤

1 Start at the tip of the wing with C
(3072). Work long & short stitch to one
side at a time. For each stitch, bring
the thread to the front inside the shape
and take the needle to the back on
the marked line. Angling the stitches
towards the base of the wing, continue
in long & short stitch, splitting the
previous stitches until approximately
one third of the shape is filled. 23
2 Change to D (524) and continue
in long & short stitch until two thirds
of the wing is filled. Embroider the
remainder of the wing using E (369).
Repeat for the remaining wings. 24
3 Using 1 strand of C (3072), outline
each wing in stem stitch, keeping
the stitches closely against the edge
stitching and along the void formed
where the two wing halves overlap.
The stem stitches need to be really
short around the tips. 25
4 Thread M in the No10 sharp needle
and embroider large feather stitches
over each wing for the vein markings.
Start at the tip and keep the stitches
inside the stem stitch outline. 26 27
Outline
Using 2 strands of D (524) in the No7
ABOUT ME
I am a Danish-born
embroidery artist,
designer and tutor.
Although Australia
is now home: I live
in the beautiful
Adelaide hills in the south. After
writing for and editing Inspirations
magazine for many years, I now
focus on my own embroidery
business: creating stitched art
pieces, teaching both locally
and around the world, as well as
developing kits for my Fine Stitch
Studio brand.
I enjoy styles that involve colour,
pattern and texture – crewel
embroidery, raised embroidery
and goldwork being my favourites.
My designs are largely inspired
by traditional hand embroidery
and decorative arts, with a subtle
contemporary twist.
My life is in stitches, literally. I stitch
when I can find time or make time
– it is part of who I am. If I am not
stitching, I am most likely thinking
about it!
www.annascottembroidery.
com.au
@annascottembroidery

34 www.stitchmag.co.uk
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Gallery

THE GALLERY

Journey toJapan
In each issue we ask you to send in your best pieces based around a theme.
This issue we are delighted to showcase stitched work featuring Japanese
imagery and techniques.

ANNE GÖRNER ELLA RICHARDS

My inspiration lays
in my deep love
for Asia, especially
Japan. The country
and its culture
have fascinated
me since I was a
teenager. For me
embroidery is a
wonderful method
to show the
beautiful art Japan has to offer in a different way. I’m fully
self-taught and trying to improve my technique and style
with every new piece I make.
yarn_and_birds
I love the
calming colours,
sculptural shapes
and meditative
feel of Japanese
Zen Gardens. My
aim was to echo
that same sense
of tranquillity in
my embroidery.
And as it turns
out the process of sewing hundreds of French
Knots and Ghiordes stitches was itself a great form
of meditation!
ella.l.richards

LYNDA NORRIS SARA RICKARDS

This piece uses three In the second year of my
different Japanese apprenticeship at the Royal
techniques. The School of Needlework
background was we had to work a figure
made at a beginner’s stitched in a technique
Shibori workshop I called tapestry shading. It’s
attended at a Camping worked in the same way
and Caravanning Folk as silk shading, but with
Group Rally. This was one key difference. Instead
then framed with a border of the stitch direction
of basic Sashiko and following the angles of
finally embroidered with the shape, the stitching all
a Japanese tree. The runs vertically. Whilst I find
pattern was from a past this easier, it is surprisingly
issue of Stitch Magazine. I difficult to keep that angle
am really pleased with the straight!
final result. wellembroidered

Many thanks to everyone who sent us pictures of their stitching. Seeing all that’s possible with needle and thread is a joy.
Sharing it is a pleasure. Next issue we’re putting a positive spin on things so let us know about the embroidery that’s put a
smile on your face. Simply email a few words about your inspiration and a high resolution photo to:
StitchEditor@warnersgroup.co.uk

36 www.stitchmag.co.uk
 Project

Surf’s Up!

FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 61

The Great Wave is perhaps one of the most iconic works of Japanese art.
The original is a woodblock print, but now all the power of that enormous
crashing wave is translated into stitch.
BY TAMINA ASTRID

www.stitchmag.co.uk 37
Project

1
MATERIALS
• DMC stranded cotton: 310, 823, 517,
3765, 3761, Blanc, B5200
• White drill linen: 10” square
• Felt: 6” square

EQUIPMENT
• Light box
• Pencil
• Embroidery hoop: 6”
• Embroidery needle
• Embroidery scissors
• Fabric glue

STITCHES
• Back Stitch
• French Knot
• Straight Stitch

See Stitch Guide for details on stitch

formation.

“The biggest inspiration for this piece is obviously ‘The Great Wave off Kanagawa’ by
Japanese printmaker, Hokusai. It’s such a beautiful artwork and I love
the movement of the piece. My favourite material to use is drill
cotton as it’s thick and allows for a lot of stitching detail.”

PREPARATION
1 Using your light box and a pencil (or
your preferred method) transfer the
pattern onto your fabric. Don’t worry
too much about it being perfect as it’s
just a rough guideline! 1
GET STITCHING!
2 Take the DMC 310 (black) and split
the 6 threads into 2 strands. Start by
tracing the outline of the break of the
waves in back stitch. Follow this with
lighter straight stitches to add texture
throughout the crests. These details
will create depth. 2
3 Now take the DMC B5200 and
split the 6 threads into 3 strands.
The remainder of the project will be
worked in 3 strands. Fill in the crest
of the waves with straight stitch and
back stitch. The stitching needs to be
closely packed. Stitch in the direction
of the ‘flow’ of the water as the crest
would naturally tumble over. This
will create movement. Since you are
covering a largish area with dense
stitching, you may need to purchase
an extra skein of B5200. 3
4 Now it’s time to fill in the bottom
half of the waves. For this you will
need DMC 823. Follow the traced
lines, filling every other curved stripe
with lines of back stitching to create
thick blocks of navy blue. You could
choose to make them different widths
or have them exactly the same. It
depends on the style you prefer. 4 5
TOP TIP! As an alternative, try
using lines of stem stitch to fill in the
waves.
5 Now fill in the stripes in-between
in DMC 517 again using close lines
of back stitch. The main wave is now
finished! 6
6 To complete the side of the waves,
you will need DMC Blanc, 3761 and
3765. First complete the outer edge of
the waves in Blanc using back stitch.
Then working in rows of tightly packed
back stitch work the inner sections in
DMC 3765. Then form arches around
these in DMC 3761. Before filling in
any spaces left in Blanc. The stitching
should follow the direction of the wave
as it starts to arch up. 7 8
7 The last step is to add the detail of
the spray. Form a series of French
knots in DMC Blanc and 3761,
randomly scattered like water droplets
being thrown from the top of the
wave. 9 10 11
TOP TIP! For a more dramatic
look, use black or navy blue fabric!
FINISHING
8 Pull the fabric so it’s sitting flat and
taut. Then trim any excess to 3cm. For
a quick finish, simply glue the edges of
your fabric to the back of the hoop.
9 If you have more time, run a
gathering stitch all the way around
the trimmed fabric and pull the thread
tight. Carefully remove the outer hoop
(the fabric will be held in place). Draw
around the inside of the hoop on to
your felt. Cut out. Replace the hoop.
Secure. Now whip stitch the felt to the
fabric to hold in place. ❤

38 www.stitchmag.co.uk
 Project

2 3

5 6 7

8 9 10

11
ABOUT ME
I’m Tamina Astrid
based in Sydney,
Australia. I started
embroidery in 2015
and have loved it ever
since. I’d say my style is very freehand
and I love making unique works. My
favourite design to stitch is waves and
the ocean. I love showing others that
embroidery can be a modern art form
and how it can help to put your mind
at ease!
www.etsy.com/shop/
TaminaAstrid
Tamina Astrid
taminaastrid

www.stitchmag.co.uk 39
Fantastic
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discounted price of £25.00
plus £1.50 p&p.

This pack includes 10 spools

For more
of 18yds of the finest Egyptian information about
six strand cotton, which is the threads visit
suitable for hand embroidery. www.aurifil.com
To order, complete the order form on this page and send with payment details (cheques made payable to E G Enterprises Ltd)
to Aurifil Thread Offer, Embroiderers’ Guild, Bucks County Museum, Church Street, Aylesbury, Bucks, HP20 2QP.
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40 www.stitchmag.co.uk
 Project

Dive In!

FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 58

Make a splash with this Art Deco inspired swimmer. Fabric paints mimic the
shimmering water surface. Colour blocks of classic surface stitching highlight
her streamlined silhouette.

www.stitchmag.co.uk 41
Project
1 2
MATERIALS
BRUSHO FABRIC PAINTING
• White linen or cotton: 2 pieces,
at least 25cm x 25cm
• Brusho™ Powders: Gamboge,
Lemon, Sea Green, Ost Blue
• Water spray bottle
• Large painting brush
• Protective waterproof surface
cover, glass is ideal
• Jug
• Protective gloves
• Kitchen roll
• Apron
• Newspaper
• Iron
EMBROIDERY
• Light box & pencil
• Drawing pins
• A light Siesta frame  available online.
• Calico backing fabric:
35cm x 35cm
• DMC Stranded Cotton:
• Yellows: 972, 743
• Greens: 165, 3819, 702, 991, 166,
581, 580
• Blues: 747, 3766, 3756
• Embroidery needle:
size No9 or No10
• For mounting:
canvas, felt, card & glue
STITCHES
• Herringbone Stitch
• Long & Short Stitch
• Split Stitch
Stitched area measures:
9.7cm x 12cm
42 www.stitchmag.co.uk
3 4
“Start by transforming a plain piece of calico into the watery
depths of a swimming pool with Brusho™ inks. Then give a
nod to the colours, shapes and lines of the Art Deco era
with extravagant use of long and short stitch.
For a quicker result, you can change up
to satin stitch. Either way take the
plunge and have some fun!”
PREPARATION 3 Decide where to work
1 What is Brusho™? 1 Work in a clearly defined space with
Brusho™ is tiny crystals of super- everything to hand. You can work at a
concentrated ink. It is water soluble table but ensure your surface is flat with
- allowing it to be used for painting, newspaper placed under a protective,
in mixed media and textile art. It is waterproof cover. Keep a full jug of
endlessly versatile, cheap and readily water to hand to wash out your brush
or to top up your spray bottle.
2 A word of caution! 4 Take protection seriously!
Before you start, read my advice Wear protective gloves or your hands
carefully! Brusho™ is a very lightweight will be blue and yellow for days! If you
dust that can get everywhere. And prefer not to, then you can clean your
it stains. I have worked out a very hands with a solution of dilute bleach
efficient way of working with it to and laundry detergent/liquid. You
eliminate unwanted spillages! will need to scrub lightly to help shift
though! Rinse in warm soapy water
TOP TIPS! and pop some hand cream on your
If like me, you choose to work on a hands to sooth them. Always wear an
kitchen sink drainer make sure all apron and keep kitchen roll to hand.
tiles are covered and there is no food
nearby. Brusho™ will stain whatever 5 Keep your workspace tidy
it touches – even a stainless steel Mop up as you go with a piece of
sink. Kitchen wipes or bleach will kitchen roll, rice paper or more fabric.
clean it off. The rice paper and fabric could be
re-used for another project. When you
Control the sprinkling of crystals have finished double-check there are
by piercing a small hole in the top no crystals anywhere! Once water hits
of the Brusho™ container. Tap the them they have a mind of their own!
bottom gently then cover with tape
after use.

5 6
9 10
GET PAINTING!
6 Place your linen flat on your
protective surface. Sprinkle a pinch
of granules across using each colour
in turn. Place the colours where you
want. However, be warned: LESS IS
MORE! A tiny pinch of Brusho™ goes a
very, very long way. 2
7 Spray the linen with water and watch
the crystals burst into colour! 3
8 For a softer look you could
brush the colours out with a wet
brush. Alternatively, there is no
reason why you couldn’t pre-wet
the fabric first if you want to. Both
approaches will give a softer effect
with more colour connection and
blending. 4
9 If you want to lighten colours just
add more water. Dab areas of excess
water or colour with kitchen roll. 5
10 Have a play! If working on a glass
mat, spray the residue left on the
surface and place your other piece
of linen over it. It will take on a softer,
more subtle ombre effect. Most of all
have fun and be curious: you can’t go
wrong and can have hours of fun!
7 8
11
11 Hang your fabric pieces up to
dry; put newspaper on the floor
underneath to catch any drips. When
dry, press with a hot iron to set the
colours. 6
TOP TIP! I use a glass mat as my
base. It is a nice, firm and easily
wipeable surface. Also the dilute
colour mixes stay on the surface
– almost like the gel plates used
in surface printing. This gives the
opportunity to pull off secondary
paler shades. So keep a few extra
bits of fabric to hand.
GET STITCHING!
Please see my guide on page 45 where
I outline the best approach to long &
short stitch.
12 Trace the pattern template onto the
coloured linen using a lightbox and
pencil. I used the paler piece of fabric.
The darker piece I set aside to create
an extra frame when mounting the
finished embroidery; see Step 28.
13 Now add guidelines for the
direction of the stitches. The stitched
sections in the background rings run
Project
12
vertically and in parallel. The stitched
sections in the middle section rings
around the swimmer slope diagonally
to form an arrow shape. 7
14 Sew onto the calico fabric backing
with herringbone stitch. Secure to your
frame. 8
15 Refer to the Colour Chart Template
for thread shades and stitching order.
Work in turn: sections 1 through to 6,
then 7 through to 12. All stitches are
worked in a single strand of thread.
16 Central Diagonal Sections 1-6
Start each numbered section with
a split stitch outline. When working
against a stitched section, you will still
need to include a row of split stitch
running alongside. 9 10 11
TOP TIP! You will find turning the
design upside down with the diver’s
feet nearest you, the easiest way to
work.
17 Add more stitching direction
guidelines as needed. For the section
under the body, start from the outside
edge and work across starting below
the toes. 12 13 ➜
www.stitchmag.co.uk 43
Project
13 14
21 22
18 Within each section, work across -
methodically and slowly intersecting
stitches so each area is densely filled.
The effect is like velvet. 14 15 16 17
19 Keep following the guidelines.
Where the split stitch becomes wider,
start at the first stage of long & short
stitch, working below the outer edge
and working upwards. 18
20 The diagonal section above the
body is worked from the bottom edge
upwards, thus giving the outer edge a
smoother line. Along this edge keep
the threads laying flat and tucking in
parallel under the split stitch edge as
you work down.
21 As you get to the head and chin,
work a long straight stitch with a single
strand of 581 along each of the lines
above and below the arm. 19 20
22 The Outer Sections 7-12
This is very straight forward as all
the stitches point downwards. The
challenge is to keep them upright but
if you work in sections this shouldn’t
be a problem!
23 Split stitch each section as you come
to it. However, with these sections you
44 www.stitchmag.co.uk
15
23
won’t split stitch the diagonal edge next
the central section already stitched. 21 22
24 Always work from the inside to the
outer edge. In other words, start next
to diagonally stitched central section
and work outwards towards the split
stitch edge. 23 24 25 26 27 28
25 As you sew the first row of stitches,
tilt the needle and bring it under the
inside edge and lay the stitches over
the split stitch outer edge. This will
give a smooth, neat result.
TOP TIP! See the next page for my
guide to working with long & short
stitch: practice really does make
perfect! However, if you don’t feel
confident or want a quicker project,
feel free to use satin stitch.
FINISHING
26 No matter how neatly and carefully
you sew, the linen will pull out of
shape due to the different directions
of the dense shading. Once laced onto
a board or canvas this will become
much improved so don’t panic!
27 I mounted this piece on a canvas
by lacing in the usual manner. Then I
backed it with felt.
16
24
28 I used the darker piece of fabric I had
put aside from the Brusho™ painting
to cover a frame cut from grey board.
I then glued this onto the canvas,
surrounding the design neatly and
creating an extra connection between
the beautiful painted fabric and the
colours within the design itself. ❤
ABOUT ME
I‘m a perpetual
dabbler in other
crafts. Although my
style is fairly formal
and rooted in my
appreciation of historical design, I
am always curious to see how other
techniques and mediums can be used
with embroidery. Chiefly self-taught, I
find embroidery instinctive but a work
ethic of courtesy of ‘musical’ practice
has never left me! I quickly realised
embroidery can inspire a sense of
accomplishment and promote self-
esteem in anyone; they just need
encouraging instructions. Since 2013
I have focused on designing and
producing my own kits.
www.etsy.com/shop/
MaggieGeeEmbroidery
MaggieGeeNeedlework
maggiegeeneedlework

17 18
25 26
The Art of Perfect Blending
Long & short stitch is a simple concept:
TECHNIQUE
straight stiches of varying lengths used to fill a
FOCUS shape. It takes practice to achieve the desired
silky smooth appearance.
• Draw guidelines to divide the area
into stitching segments and show
stitch direction.
• For a smooth, neat edge, work the
outline in split stitch; use the same
colour as the first row.
• A single strand gives a finer,
smoother finish. Work from the
centre to the left, then repeat to the
right to spread stitches evenly.
• First row: bring the needle up in the
area to be stitched and sew over the
split stitch edge, tucking the needle
close. Vary the length of the stitches
and leave no gaps.
• Subsequent rows, bring the needle
up - splitting an existing stitch -
and work downwards, overlap by
Project
19 20
27 28
around a third. Keep stitch length
random and stagger where the
needle comes up/goes down to
avoid unsightly ridges.
• Get into the habit of tilting your
needle into and over edges. And
keep thinking about how one stitch
can help ‘move’ the next in to
position.
• Use your fingers! It’s the secret of
neat embroidery. Threads don’t fall
into place by luck, they need to be
coaxed and encouraged. Use your
fingers to pull the thread towards
the place you want your needle tip
to go.
Please don’t fret: the less you think
about it, the easier it will be, just stay
in a straight line!
www.stitchmag.co.uk 45
 Feature

My Favourite Things
THE PRESIDENT’S CUP –
CONSTANCE HOWARD AWARD
FOR THE MOST OUTSTANDING PIECE
OVERALL JOINT WINNERS: Liz Smith & Jennie Riley

JULIA CAPRARA AWARD

FOR USE OF COLOUR
WINNER: Jennie Riley, Pelargonium
EG Member Derby Branch
The sheer exuberance and colour of a pelargonium makes
it one of my favourite flowers. I have always enjoyed
drawing, especially with pastels. I create my embroideries
as I would draw and paint: looking long and hard at the
subject then simply creating colour and line with appliqué
and machine stitch - never using a hoop. I began with a
firm background and added multiple layers of satins and
sheers to give strength of colour - but hopefully not lose
translucency. As a final touch I added separately stitched
LL
OVERA S leaves to overlap the edges of the canvas slightly.
N E R
WIN
MARGARET NICHOLSON AWARD
FOR COMPOSITION
WINNER: Liz Smith, Linen Buttons
EG Member Glossop Branch
I love these buttons! Over the years I have been given
several cards with linen buttons of various sizes and made
by different manufacturers. All have eye catching logos
but follow the same strip format, with rows of buttons
separated by a single line. I find the simple compositional
elements, together with the pattern and rhythm created
by this arrangement very appealing. It is these qualities,
together with the colours used in the logo design itself
that I wanted to capitalise on in this textile. The materials
used are recycled linen fabric, some kindly-gifted
Pearsall’s original silk threads and the buttons themselves.

BERYL DEAN AWARD

FOR HAND STITCHING
WINNER: Sue Cork, The Beauty of Wildlife
EG Member Grantham Branch
Wildlife in all forms gives me great pleasure, with so much
variety and colour. Needle painting fits the embroidery of
birds and animals so well: fur and feathers seem to come
to life. My inspiration came from a rare visitor to my local
river. There are fifty four different colours of DMC and
Anchor single stranded cotton thread in the 4” kingfisher.
He’s worked on hand dyed cotton, representing a waterfall
background. It was copied by hand from an original photo
by Isidro Vila Verde, with permission.

46 www.stitchmag.co.uk
 Feature

The Embroiderers’ Guild set a challenge to its members: capture what makes you
smile in stitch. This could be collections, people, places, stitches, mementoes or
even a moment. The only stipulation: it can be no bigger than 30cm square.
Size really is the only thing these winning entries have in common!

VAL CAMPBELL HARDING AWARD

FOR MACHINE STITCHING
WINNER: Jean Chisholm, An Evening Walk
EG Member South Somerset Branch
In May 2019 my husband sadly died. After months of
caring for him I had to get back my creativity. So I pursued
my other love and enrolled on a botanical art course. A
subsequent walk to the pub in Mevagissey with a friend
one evening led us through several fields of wild flowers.
The light and views were fabulous. The photographs turned
into a watercolour painted directly on to calico. Then
overstitched with my old Bernina 707, constantly changing
the thread – building up colour as you would when
painting. This is the second time I have won this prize.

ARTISTIC DIRECTOR AWARD

FOR INNOVATION
WINNER: Paula Perrins, Show Your Working
EG Member Airedale Branch
On the wall of my loft studio, beneath the window with
the best view, I have a printer’s tray displaying my favourite
sewing notions. Some things have been there for years,
others don’t stay very long at all. Always in front of me as
I work, the tray is an ever-changing mood board: inspiring
me and reminding me why I love what I do. Sewing is my
work, it cares for my family, it makes me happy, it brings me
pride and self-confidence. It is the cornerstone of my social
life, it is how I express myself. My favourite things are on
my desk and in my hands every day and recreating them in
stitch was a true labour of love.

JANE LEMON AWARD

FOR DRAMA AND CREATIVITY
WINNER: Nikki Parmenter, Fabulous Flora and Fauna
EG Member Glossop Branch
l am delighted to have won again! This piece combines
many of my favourite motifs: flora and fauna, architectural
features and lots of bling! The frame is constructed from
wood and funky foam then covered with thin gold paper
from China Town. The background is bonded fabric, plastics
and free-machine embroidery. The grass is needle-felt
with hand-stitching and flower sequins. The butterflies are
drawn on to plastic; the frog and tulips on to calico. These
have been heavily machine embroidered and padded. Wire,
painted funky foam, wrapped pipe cleaners and stitched
plastic form leaves and stems. The pieces are glued so they
sit away from the surface creating a more organic effect.

www.stitchmag.co.uk 47
Focus
Practically Imperfect
1 2
9 10
MATERIALS AND EQUIPMENT
• Darning mushroom (DMC)
• Water-soluble Chaco pen by
Clover or other marking tool
• Scissors
• Fork
• Darning needle
• Needle threader (optional)
• Iron
• Yarn
50 www.stitchmag.co.uk
3 4
11
Visible mending extends the life of
loved garments and adds a bit of
charm. So stains can be covered
with pretty hand stitching. Frayed or
worn areas might be reinforced with
appliqué. While holes are patched with
needle-felting. Or they can be filled in
using traditional darning techniques.
GET DARNING!
1 Position the hole on the darning
mushroom, and grip the handle through
the fabric. Mark about ¼–3⁄8” (5–10 mm)
around the hole with your marker. 1
2 Thread the darning needle and insert
the tip at the edge of the mushroom.
Pull out the tip of the needle at the
marking from Step 1. Continue pulling
and leave a thread tail of about 4”
(10 cm). 2
3 Sew running stitches along the
marking. 3
12
4 When the stitched circle is complete,
use the needle to scoop a bit of fabric
about the length of a single stitch. 4
5 Alternately form warp threads from
top to bottom, then from bottom to
top, making sure to scoop a stitch just
outside the running stitched circle
each time. The space between each
warp thread should equal the width of
a single strand of yarn. 5
6 When you reach the farthest left
point, pull the needle out from the
edge of the darning mushroom. Leave
a tail of about 4” (10 cm) and cut the
thread. 6
7 Thread the darning needle with a
new piece of thread. Insert the tip of
the needle at the edge of the darning
mushroom and pull it out from the
centre of the warp thread furthest to
the right. 7

The Japanese have an approach to mending clothes: don’t hide it, show it
off! They want to transform the damage and make it a feature. The traditional
technique of darning is revisited here with a fresh and colourful twist…
5 6
13 14
8 Weave the needle from right to left,
scooping every other warp thread. 8
9 Once you reach the leftmost part
of the circle, use the needle to scoop
a stitch just outside the warp threads,
from bottom to top. 9
10 Rotate the circle 90 degrees
and continue to weave the thread
horizontally. When you reach the top,
scoop a stitch from right to left just
outside of the warp threads. 10
11 Continuously repeat Steps 8–10. As
you progress, use the needle tip or fork
tines to neatly arrange the “woven”
threads. 11
12 When the upper half of the weft
threads are complete, pull the tip
of the needle out at the side of the
darning mushroom. Leave a tail of
about 4” (10 cm) and cut the thread. 12
BY NORIKO MISUMI
7 8
15
13 Repeat to fill the lower half of the
circle with weft threads. 13
14 Turn the fabric inside out and
position on the darning mushroom
again. Thread the darning needle with
the tail from the starting point and
sew running stitches inside the outer
running stitches. Repeat with the
thread tail from the ending point. 14
15 Lightly press with a steam iron to
shape. 15
16 Experiment with different types and
colour of yarn. Use a wool to create
your warp threads, then mix up with
a bright stranded cotton for the weft.
For a final finish, you could add a circle
of chain stitch to the outside. And
next time you find a hole, smile: it’s an
opportunity! 16 ❤
Focus
16
ABOUT THE BOOK
Joyful Mending
by Noriko Misumi
ISBN:
978-4805315743
RRP: £12.99
Publisher:
Tuttle Publishing
Available from www.amazon.co.uk
WIN! WIN! WIN!
ENTER
ONLINE Find out more about turning
tears and flaws into beautiful
features on your favourite items.
We have 3 copies of Joyful Mending
to give away. For your chance to win,
simply enter your details at:
https://craftmag.co/stitch-win
Competition closes on Wednesday 29 July 2020.
No entries received after this date will be accepted.
Winners are picked at random; the Editor’s decision is
final. Please state when entering if you do NOT wish
Warners Group Plc to contact you regarding their
products or services that may be of interest. Or for
your details to be shared with reputable third party
companies. For more competition information please
visit www.warnersgroup.co.uk/competition-terms/
www.stitchmag.co.uk 51
Feature

Girl on Train

Girl on Train: source photo

Girl on Train: work in progress

Cultural Exchange
The dream of visiting Japan started as a teenager when
Leicester-based artist Alison was gifted her great grandmother’s kimono style
dressing gown. A two-month residency in Tokyo realised that dream. But the
explosion of culture and colour had an impact way beyond her expectations.
By Alison Carpenter-Hughes

A
s a multi-media artist, I am
probably best known for
my free-motion machine
embroideries. I have always
felt drawn to the work of artists
influenced by the influx of Japonisme to
the Western world at the end of the 19th
Century, including Klimt, Van Gogh and
Pierre Bonnard. I particularly connect
with their use of colour and pattern.
So I was thrilled to be part of the AIR
3331 residency in 2019 funded by Arts
Council England and StudionAme in
Leicester. Over the two month period,
the purpose was to research, gather
inspiration and create new artworks.
Despite my thorough research,
there were things I was less prepared
for: learning to navigate the city, a
new culture, the language, as well as
living with and getting to know artists
from other countries also on the
residency. All this on top of jetlag that
lasted a month!
Tokyo is the biggest and most
populated city in the world. It is also
the most organised and well-tuned city
I have ever visited. The underground
system was astounding: running on
time to the exact second, stopping
at the same point each time, people
queuing and moving to the side to let
others out before getting in themselves.
This made exploring easy.
An assault on the senses
Right from the start I gathered and
absorbed inspirational material. Tokyo
is fascinating; it’s where tradition and
modern collide. There’s an explosion
of colour and pattern in all forms
throughout the city, culminating in
a sensory overload. A slight sense of
panic began to rise: how would I fit it
into my art practice?
Thankfully by the end of the third
week, things began to fall into place.
I realised the people inspired me
most. They dress beautifully and often
flamboyantly, particularly with teenage
cultural fashion. Highly decorative new
and old kimono type garments were
on show in many places.
I had surreptitiously been taking
photographs of people that caught my
eye. Sometimes I approached them
directly, but I preferred the outcome

52 www.stitchmag.co.uk

of taking pictures of people unawares
- even if I felt like a voyeur. Narrowing
it down further, I was particularly
drawn to faces. They offered a deeper
consideration, as a moment caught
and then passing away.
A paper bag passenger
The ‘Girl on Train’ piece was one such
moment: she’s listening to music, a
contemplative expression and lost
in her own world. I took the photo,
not sure what I would do with it. A
week later, I purchased some sewing
Anne Stijnen: source photo
threads. These were put in a little red
and white checked paper bag. Back
at the studio, I realised it was similar
to the girl’s blouse. Suddenly I could
clearly visualise the check of the
bag showing through as colour and
pattern on her cheeks.
Stitching on to very thin materials
can be quite volatile. First I had to
create sturdy layers for the paper
to cope. I use a hoop as much as I
can to keep the materials taut and
prevent puckering. However with the
heavy stitching involved, my pieces
often gain a natural curvature. This
can be both a blessing and a curse.
Water-soluble fabric helps not only to
stabilise as I sew, but also to set the
work in place. With the girl, I needed to
manipulate the stitched areas, pushing
the curves in and out to create the
contours of her face.
Taming a textile tiger
The mix of traditional and modern
art in Tokyo is incredible, the former
often informing the latter. One of
my first days was spent at the Tokyo
Metropolitan Art Museum for The
Miraculous World of Edo Painting,
showing works from 1615 to 1868.
The work was vibrant, colourful and
imaginative: whole stories are told in
a single piece. Often the imagery is
as though from a graphic novel; it’s
easy to see how it resonates today. I
particularly loved the Edo-style tigers
and managed a quick, rough sketch of
one by Itō Jakuchū.
On my trips out I had picked up lots
of postcards and ephemera, gathering
what others might see as rubbish. I
wanted them for visual research, to
incorporate into my mixed media work,
Anne Stijnen
for collage in my sketchbook and in my
textile pieces. I used these found pieces
of papers and paint to create a scaled
up collaged piece of the tiger. Eventually
this would become a sewn artwork.
Hunting for resources was
particularly enjoyable at the flea
markets held at the Ohi Racecourse,
a short ride away on the monorail. I
purchased vintage kimono, obis (the
sash) and haori (a man’s garment) for
about a pound each. When I discovered
a beautiful orange obi, I knew my Edo-
style tiger had his base. On top of this
heavy silk, I appliquéd scraps of kimono
and embroidered over leaving small
elements of pattern showing through.
The obi was exhibited in Japan; hung at
full length from the ceiling, completely
changing its orginal use.
Not as black and white as it seems
Living with artists from other countries
was stimulating. The artistic dialogue
Feature
and sharing of perspectives fostered a
cross-cultural exchange of ideas and
knowledge. I struck up a friendship
with Anne Stijnen, a graphic artist from
Holland. Anne is pale skinned, blonde
and almost always wears black. The
contrast was striking and inspired my
next work.
There is a shop in Tokyo called Ozu
Washi. It sells a mindboggling range
of washi paper of all sizes, colours,
patterns, textures, thickness and price.
The delicate, lacey design that caught
my eye was only available in white. To
Anne Stijnen: work in progress
get the black background I wanted, I
experimented with different ways of
dyeing the paper black. Once dry, I
used free motion embroidery on top to
create Anne’s image.
Typography is key to Anne’s art;
she had been exploring the Japanese
alphabets as inspiration. To capture
more of her character, I took a fragment
of her lettering, adding it as a backdrop
and to frame her portrait. The final
piece was exhibited hanging from the
ceiling, the light through the holes in
the paper creating a play of shadow on
the wall behind, giving extra dimension.
My residency application outlined an
interest in the principles of ‘Wabi-sabi’
or ‘Mono no aware’; the ideal of beauty
that is imperfect, impermanent and
incomplete. These philosophies fit with
my current work exploring our natural
contradictions, imperfections and in-
between states, as well as reflecting the
asymmetry in my pieces. Along with
all of the visual stimuli from my time
in Tokyo, I have a cornucopia to work
from for a long time to come!
Please, turn to page 21 and follow
my instructions to stitch a tiger for
yourself. ❤
www.stitchmag.co.uk 53
 Your Next Issue...
STITCH: MAKING BEAUTIFUL EMBROIDERY EASY

FANTASTIC
PROJECTS!

Don’t be late!
Take your time over the white rabbit’s
beautiful hand-stitched details.

Botanical Beauty
The hairy coo! Stunning needle-painting from Trish
He’s Scottish and magnificent. Dani Ives Burr - based on an illustration from
guides you through every step. the Kew Gardens archives.

Party poodle!
Have some fun with a spot of
frivolous stumpwork.

PLUS!
✶ Flower power: Georgina Bellamy puts
a contemporary spin on a summer brooch.
✶ Experiment with wool: work with colour and shape on a decorative case.
✶ A look at natural dyes: transforming fabric colour with plants from your garden.
Queen Bee ✶ Meet embroiderers Jessica Devin and Janine Heschl – both aim for realism
A treat from Hattie McGill: her goldwork with needle and thread, but their approaches are so very different!
is simply gorgeous!

ON SALE THURSDAY 30 JULY 2020

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STITCHING KNOW-HOW • NEW TECHNIQUES • ALL THE STEPS • EVERY ISSUE
Contents may be subject to change.

54 www.stitchmag.co.uk
 Templates

Templates
All the templates, guides and patterns you
Hair padding

will need to complete this issue’s projects.

Please note the scale before starting.

Heavenly
Hanna
Arm padding Page 7
Obi layer 2
Scale:
100%

Obi layer 1

Sleeve

Obi knot Template

Trace and prick

Retain for reference

www.stitchmag.co.uk 55
Templates

Heavenly Collar

Hanna
Page 7
Scale:
100%

Upper section
Crease

Flower templates

Lower section

Head

Crease

Crease

Crease

= Edge left raw

56 www.stitchmag.co.uk
 Templates
Dark Green

Heavenly
Hanna
Left hand tree Page 7
Scale:
100%
Light Green

A B Right hand tree

C
B
C

Dark Green
Light Green

Umbrella

contrast
fabric

Position of handle

www.stitchmag.co.uk 57
Templates

Life in
Miniature
Page 16
Scale:
100%

Dive In!
Page 41
Scale:
100%
Colour guide
7.
972

1. 8.
3819 743

2. 9.
702 165

3.
991

4. 10.
166 747

11.
3766 5.
581

12. 6. 580
3765

58 www.stitchmag.co.uk
 Templates

Burning
Bright
Page 21
Scale:
60%

Template outline

Template detail

www.stitchmag.co.uk 59
Templates

Over The
Pond
Page 29 placement
guide
Scale:
100%

placement
guide

Over the Pond

Embroidery design
&
Stitch direction diagram
60 www.stitchmag.co.uk
 Templates

The Great
Wave
Page 37
Scale:
100%

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www.stitchmag.co.uk 61

Appliqué Stitch (See guide on page 13.)
Back Stitch
Bring thread through on the stitch line and take
a small backward stitch through the fabric. Bring
the needle through again a little in front of the first
stitch, take another stitch, inserting the needle at the
point where it first came through.
Blanket Stitch
Bring the thread out on the lower line, insert the
needle in position in the upper line and take a
straight downward stitch, keeping the working
thread under the point of the needle. Pull the stitch
up to form a loop and repeat.
Buttonhole Stitch
Work as for blanket stitch, but stitching lies on the
fabric surface rather than over the edge.
Chain Stitch
Bring the thread up at the top of the line and hold it
down with the left thumb. Insert the needle where
it last emerged and bring the point out a short
distance away. Pull the thread through, keeping
the working thread under the point of the needle.
Repeat following the design line.
Couching
Lay down the cord or braid to be couched and
with another thread catch it down
with small, evenly spaced, stitches
worked at right angles over
the top.
Feather Stitch
Bring the needle out
where you want to start
stitching, hold the thread
down with the left thumb,
insert the needle to the
right on the same level
and take a small stitch down to the centre, keeping
the thread under the point of the needle. Next,
insert the needle to the left on the same level and
take a stitch to centre, keeping the thread under
the needle point. Work these two movements
alternately, as shown.
Fly Stitch
This stitch can be worked
singly, in rows or as a
filling stitch. Bring the
thread through at the top
left, hold it down with
the left thumb and insert
the needle to the right on the same level, a little
distance from where the thread first emerged. Take
a small stitch downwards to the centre with the
thread below the needle. Pull through and insert
the needle below the thread, as shown, to hold it
in place, bringing the needle up again in position
to work the next stitch. Place the stitches closer
together with a short tying stitch for a closed fly
stitch filling.
French Knot
Bring the thread out at the required position. Keep
the thread taut, holding it firmly about 4cms from
where it emerges. Encircle the thread twice with
the needle and, still holding the thread firmly, twist
the needle back to the starting point, inserting it
62 www.stitchmag.co.uk
close to where the thread first emerged (not in the
exact place or it will simply pull back through). Pull
the taut thread so that the knot slides down the
needle until it is touching the fabric. Pull the needle
through to the back, leaving a small knot on the
surface.
Herringbone Stitch
Bring the needle out on the lower line at the left
side and insert on the upper line a little to the right,
taking a small stitch to the left. Next insert the
needle on the lower line a little to the right and take
a small stitch to the left. Repeat, making sure that
the stitches are of equal size and evenly spaced.
Lazy Daisy Stitch
Bring the thread through and, holding the thread
down with the thumb insert the needle again just a
single thread away. Still holding the thread, bring the
needle through. Pull the thread through gently to
form a small loop, then insert the needle to form a
small tying stitch over the loop.
Long & Short Stitch (Also see guide on page 45.)
The stitches in the first row are alternately long and
short and closely follow the shape of the outline.
In the following rows, the stitches are even in size
and worked to achieve a smooth appearance. To
give a good edge, stem, back or chain stitch can be
worked around the outline; stitches should be taken
over the stitched outline, as shown.
Padded Satin Stitch
Work a layer of straight or split stitches horizontally
across the shape to be filled, keeping the stitches
just inside the design line. The stitches must lie
side by side so closely that none of the background
fabric shows through. When working the top layer
of vertical stitches over the padding, start in the
centre of the shape to establish the direction of the
stitches. The top layer of stitches should be worked
just over the design line so that the line does not
show.
Pistil Stitch
This is a French knot on
a stem. Bring the thread
through at the base of the
stitch. Keeping the thread
taut, wrap the thread twice
around the needle and insert
the needle a little distance
away, in the position for the
top of the stitch. Slide the
thread down the needle until
it is touching the fabric and
pull the needle through to the
back, leaving a small knot on
the surface, as shown.
Plunging Threads
Used to take the ends of threads
to the reverse of the fabric.
Thread a large needle with a loop
of sewing thread. Take the needle through the
fabric, leaving the loop of thread on the surface.
Place the loose end of the other thread through
the loop (if couching two strands, take them to the
back one at a time) and then pull the loop to bring
the end of the thread to the wrong side. To hold the
ends in place, use sewing cotton in a fine needle to
over-sew the end in place on the reverse.
Stitch Guide
Reverse chain
stitch
It’s a chain stitch,
but worked in
reverse! Start
with a lazy daisy stitch. Now bring your needle up
one stitch length along from where the first loop
originated. Run your thread through the base of this
loop without catching the fabric. Then pop your
needle back through the same spot to form the next
loop. Continue to make the chain.
Rhodes Stitch
This is a great filling
stitch creating a
spinning effect; it’s
often used in canvas
work. A series of
straight stitches
are worked in an
anticlockwise direction with each stitch spanning
the shape being filled. Works well to fill symmetrical
shapes: squares, rectangles, circles, triangles.
Running Stitch
Pass the needle in and out of the fabric, making the
surface stitches of equal length. The stitches on the
underside should also be of equal length, but half
the size or less than the upper stitches.
Satin Stitch
Work straight stitches so that they lie side by side.
The number of threads over which the stitches are
worked may vary depending on the effect desired.
Split Stitch
Split Stitch
Following the line to be covered, take a
small back stitch so the needle comes
up through the working thread.
Split Back Stitch
A hybrid of the back and split stitches. Start with
back stitch, as the thread comes back to form the
next back stitch, the needle is plunged down just
catching the previous back stitch. It lies flatter than
its cousin.
Stem Stitch
Work from left to right, taking regular small stitches
along the line of the design. The thread always
emerges on the left side of the previous stitch. It can
be used for flower stems, outlines, etc. It can also be
worked as a filling stitch if worked closely together
within a shape until completely filled.
Straight Stitch
Single, spaced stitches sometimes of varying size.
The stitches should lie flat on the surface and not be
loose or pulled too tight.
Trailing
Using one thread in the
needle and one thread (or
more) as a core thread, lay the core thread
on the fabric in the direction of the grain.
Over sew closely, as shown, to completely cover
the core thread.
Turkey Rug Knot (See guide on page 13.)
Waste Knot (See guide on page 30.)
Whip Stitch
Generally used to join 2 finished edges, or to hold
a raw edge neatly against a flat surface. Insert
the needle at a right-angle and close to the edge,
picking up only a few threads. Repeat.
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