BLACKWORK

A New Approach
BLACKWORK
•
• •
• • •

A New Approach
BRENDA DAY

Guild of Master Craftsman Publications Ltd

 CONTENTS

INTRODUCTION 1

MATERIALS AND EQUIPMENT 8

BASIC TECHNIQUES 12

C H A P T E R O N E

THE TRADITIONAL BLACKWORK STYLE 20

C H A P T E R TWO

C ONTEMPORARY BLACKWORK I 30

C H A P T E R TH R E E

C ONTEMPORARY BLACKWORK II 40

C H A P T E R FO U R

NEGATIVE IMAGES 50

C H A P T E R FIV E

EXPERIMENTING WITH COLOUR 60

C H A P T E R SIX

USING ACCESSORIES 70

FINISH ING TECHNIQUES 83

GETTING STARTED WITH YOUR OWN D ESIGNS 88

SOURCES OF INFORMATION AND SUPPLIERS 100

ABOUT TI-IE AUTHOR 103

 INTRODUCTION
•
••
•••

When Catheri n e of Aragon arrived in E n g l a n d i n 1501 to w e d Prince Arthur,

e ldest son of King H e n ry VII, her trouss e a u co n t a i n ed several items of

'Sp a n ish work of black s i lk'.

Faire Katherine, Daughter to 1he Castile King,

Came into England with a pompous trai11e

ef Spanish Ladies, which she thence did bring.

She to the eight King Henry married was

And afterwards divorc'd, where verti111sly

(Although a Q11eene) yet she her dayes did passe,

In working the 1Veedle curiously,

As in the Towre, a1Id place more beside,

Her excellent memorials may be see11e:

Whereby the Needles prayse is dignifide

By her fair Ladies, and hersei!fe, a Q11eene ...

JOHN TAYLOR
THE JYEEDLE'S EXCELLE.\"C\". 1636

!..I TTLE T U D O R H I S T O R Y

-:en Catherine of Aragon arrived in England in

= • to wed Prince Arthur, eldest son of King
"'.!...:· VII, records show that her trousseau

:.amed several items of 'Spanish work of black

These beautifully embroidered items reflected intricate, interlacing patterns which are a feat ure of I'iJi la.
Example of
_nly the S pa nish style and Catherine's love of the Alhambra in Granada to see how easily they
Nfoorish architecl11re
• ework, a skill and a pas sion she inherited from were translated into embroidery. The Islamic at tlzc Allzambra,
Granada
::10ther, but secured her place in embroider y preoccupation with s ymm etry and th e use of
The legacy of this myth persists today, begging geometric motifs and all-over patterns is very

_e-tion: did Catherine introduce blackwork to apparent (Figs 2a & b), hil e more naturalistic
w

-d. or did she simply popularize a vi brant, n ew
:·a much older craft?
-
e Spanish blackwork style has its roots in
:\frica. Spain was ruled by the Moors for
:e!lmries until their final overthrow in 1492
forms, because of their rel igious exclusion, arc not.
It is less easy to pinpoint the ori gins of the
En gli sh blackwork style. They may be Moorish,
although various forms are also knovvn from the
Slavonic countries of Eastern Europe. Although n o

_ -c!l g their long reign the Moors influenced all exam ples remain, the craft evid ently pre-dates the
Fig 1. Micliiel
of Spanish life, including artistic and Tudor period , for in Geoffre y Chaucer's 'The
Sittow's portrait of
••:..aal forms. One only has to look at the Miller's Tale', written between 1388 and 1400, Catheri11e cifAraj/011
Bla<kw o rk

J:'�� 2b. Example qf

.\loorislz tile at tlie
Allia111bra, Cra11ada

F(� 3. /Jaus
Holbei11 �portrait ef
jcme Se)'mour. �'�ore
tlie elaborate sritcli­
in.� 011 tlic n!ff of
lier sleeve

Alison, the carpenter's wife, is described thus: double running stitch. pr Holbein stitch as it became
I

known, because 'of its appearance in the many

Her s111ock 111as 111/iite; e111broidery repeated
portraits by Hans Holbein the Elder (1-165-1524)
Its pattern 011 the collar fro11t a11d back,
and his son, Hans Holbein the Younger ( 1-197-13-13).
luside a11d out; it 111as ef silk and black.
The latter's portraits of King Henry Vlll and of

From Chaucer's Ca11terb11ry Tales we can only Henry's wife, Jane Seymour (Fig 3), show fine

deduce that blackwork was presumably wi dely examples of blackwork of the per iod, with the

used, even by the working classes, and wonder wh at formal arabesques and geometric patterns

form it took. It is impossible to ascertain the history reproduced in derail. One of the best examples of

of blackwork before this p eri od because, as many this period, however, is George Gower's portrait of
writers have noted, although stone, brass and other Mary Cornwallis, dated 1573, whose sleeves, cuffs

memorials depict decorative patterns on cl ot hing, it a nd gown display a c omplex, intertwining pattern of
is difficult to distinguish between lace and oak leaves, lilies and roses (Fig -l). Por traits by other

e mbroidery. Eu ropean arrists of the same period confirm that this

It seems li ke ly that Catherine's passion for fashion was not unique to England.

beautiful, decoratiYe needlework reinvigorated and Beautiful examples of the later, more naturalistic

popularized an already established form of styl e of the Tudor per iod haYe survived and are held

e mbroider . y Ladies at court must have noted and in collections around the world, particularly in

emulated Catherine's choice of household linen, Britain and America (see Sources of Information,

sheets and pillow cm·ers, as \Yell as her embroidered page I 00). That there are not more examples can

garments. The influence of royalty on fashion is simply be accounted for by the fact that the storage

prevalent today and so it \Yas in Tudor times. of clothing was not a priority in Tudor times. Soap,

This, then, was the basis from which it seems which was first home-made in the fourteenth

English blackwork grew and eventually develope d century. must also have contributed to the

into the flowing, leafy designs, of which fine destruction of many beautifully worked fabrics. It is

examples still survive. hard for us to imag ine laundering cloches with soap

The early Tudor examples were worked 111 made from cow-dung, hemloc k, nettles and refuse!

2
 .:ch a mixture, and the effect of time, might well F A BRICS F O R B L A C K W O R K F(l/ 4. Geo\!/C
GowerS portrait of
-.:ount for the fact that some surviving blackwork Both clothes and household articles in the sixteenth 1\tfary Cornwallis

� .2!11ples are not black, but brown. century were made of linen, ranging from 'lawn ', a

very fine, semi-transparent cloth named after the

-HE P RO D U C T I O N OF B L A C KWORK French town of Laon, to 'lockram' which was much

-:::: name 'blackwork' refers to the fact that the coarser. The wealthy English classes used a huge

·�roidery was usually worked with black silk amount of linen and alth ough much was h ome­

-:
: ad, most of which was impor ted via the produced, still more had to be imported, particularly

:::..'1erlands, for silk production in England did not the fine qualities from France. Linen was pro duced

_ ·elop until the seventeenth century. Originally, r m the flax Li1111111 11sitatissi11111111, the stalks of which
fo

:".5 for silk which could be made up at home were were retted, dried, crushed and beat en to pro duce

�ared from tannins of oak galls or the sumac tree bnen thread which was very strong and durable. The

,.: from salts of iron . Many such dyes were not range of dyes available in this period was limited so

�urfast, another contributor y factor to the brown linen thread was bleached pure white, forming a

·;.work. Some examples departed from the strong contrast to the fashionable blackwork. The fine

...:.:::ional Spanish use of blac k silk and were worked weave of lawn requires a great deal of vvork and is,

-ed or green, but black was generally the order of therefore, very seldom used by the present-day

�y. Today's embroiderer deviates in a number of stitcher in favour of fabrics such as Aida and
from the traditional blackwork, but evenweave cottons. Linen, on the contrary, is much

- '11inantly in the use of colour - often using a favoured today because of its availability in a range of

= :::\·e image. The later Tudor blackwork featured a colours and evenweave form vvhich produces patterns

-.: outline of stitches containing a pattern, but of great accuracy. Cotton was not generally used in

:: i-iave now given way to softer edges formed by any quantity until the late sixteenth century with the

:--rrern itself. defeat of the Spanish Armada and the establishment

_ ?angles, very similar to our present-day sequins, of the British East India Trading Company which
-:c o rren used to embellish blackwork. Originating meant that raw cotton, rather than the spun fibre,

- \·. t h ese were made from thin sheets of silver became available. Linen nonetheless remained and

:::� into sm all circles with a hole pierced through continues to remain, the first choice for blackwork.

-::::-:rre. Similarly, modern blackworkers often use

.:.....'"lg and sequins to add a gleam and sparkle to I NS PIRA T I O N S A N D D E S I G N S

- .,.ork. As we have seen, the formal arabes ques and

�e needle was (and still is) the embroiderer 's geometric patter ns which are the hallmark of Arabic

- nsential item. In the Tud or period, they were work in Spain gradually gave way in English

e:ther ofdra1;vn wrought iron which was not blackwork to scrolling, more naturalistic designs and

.:..irable, or, preferably , of steel which was hard variations in texture were achieved with the use of

'"':."<ilie nt. Those made of the latter were known as stitches such as coral, satin, her r ingb o ne and

- needles and were highly valued. Very often, buttonhole (Fig 5 ) . A few examples feature a plaited

-,·ere so costly to manufacture that a small braid stitch worked in metal threads. As the motifs

.:nity might possess only one. Pins were also became more varied, some tended to the rather

:'·e. Made in two parts with the head soldered freakish: a bodice known as the Falkland tunic in

:: shank, a day's output would number only London's Vict o ri a & Alber t Museum collection,
- :: has been suggested that t he expression 'pin displays a range of mythic figures, fantastical animals

derives from the length of time re quired to and creatures such as the griffin (Fig 6). More

: :hem. generally, the coiling designs depicted the familiar

5
B I a c k "' o r k

f(� 5. Late six­ flowers and herbs of the Tudor knot garden and herb usually woodcuts which, being printed in black on a
rer11th·rr11wry grape
garden, including roses, pansies, honeysuckle and \Yhite page, provided a rea dy source of design
patteru worked ,.,, "
pillo11• C<l!ler. The comfrey. material for the stitcher. Herbals, which included
embroidercss /ms
The change in styl e relates historically to the illustrations of the plants used in their recipes , and
used a m11ge �(
stitches i11cl!ldi11.� period of transition between the end of the Middle bestiaries, with their illustrations of strange animals
backstitch, cilai11
Ages and the beginning of Renaissance England, a and birds from far-off lands, as well as books such as
stitc/1 a11d b111to11-
hole stitch change which is evident in all art forms, particularly Aesop's Fables, gave the needlewoman further

architecture, where the ornamental strapwork and material from which co select motifs. Wallpapers and

scrolling are typical of the exuberant Elizabethan lining papers of the late sixteenth century, also

interpretation. printed from wood blocks, offered another source of

The development of sixteenth century embroidery design inspiration. These papers were used to line

owed much co the appearance of the first pattern chests and desks and while some are based on diaper

books. The invention of printing in the mid-fifteenth patterns. others show English birds and butterflies as

century transformed the scene and by 1500 scribes well as floral, fruit and heraldic motifs.

were no longer required. In England, the aristocracy The first embroidery pattern book to be

commissioned books from William Ca.-xcon, whose published in England, in 15-+8, was engraved on

first printing press ran in this country in 1-t76. Many copper by a surgeon named Thomas Geminus. Only

books were imported from the Continent, although one copy now exists of lvforyssche & Dai11asc/1i11

these were usually in Latin. In later books the same rwe111ed & e11creased very profitable for Goldsmiths and

illustrations reappear, so we can only imagine that the Embroiderars. Very early examples of pattern books are

block maker travelled with them or sold them abroad. rare, as the actual pages of the books had to be

or else copied whatever cook his fancy. pricked during the transference of the design to the

The earliest pattern books contained little text fabric, a process known as 'prick and pounce ', where

apart from the title page and the illustrations \\·ere the outline of the design was pricked very regul arly

6
 l n r r o d 11 r r o 11

::: a need le before pounce pmYder (made from s ryl c conti nues to be \Yorked 111 mam· countries. All

..c
: o al and cuttlefish bone) \\·as pushe d through the m·er the world . Yanauons on blacb\·ork h ave

_,,, onto the fabric. This left a dot te d lme \Yh i ch enlh-ed our of local cusroms a nd trad i t io n s.

_:d then be j oined up \\-it h a fine i nk line drawn landscapes and influences. from as far apart as

:_-:a quill.The technique is s till used rodaY for some _Australia. Ne \\- Zealand. Russia and South Africa.
� of embroiden-, minus the quill , of course r By Embroiderers todaY use b lac k wor k in a very

_ end of the sixteenth ce ntury designs \Yere being moder n \\·ay. basing their \\"Ork on the contrast of
-::ed direc tly omo the fabric from engraved plates. stitch and bac kg ro und \Yhich is an integral part of its
3etwee n 1501 when C ath erine of Aragon appeal. combined \\ ith a more lib era ted a pproach to
-:-ied Prince Arthur and 1603 \\·hen Queen design and function.

=-.:.:beth died, blacbYork underwent a remarkable In the projects \\· hich follow, I have used many of
-s
. rormation. What star red om as sim p le bands of the counted thread patterns from the Tudor per io d ,

�ation on the edges of garnienrs. deYeloped into as \\·ell as a \·ariety of stitches. Some designs, for
_ ;;-xuberant, foliar forms of the Elizabethan era. a exarnplc the mirror frame , are based upon traditional
:::opmem which can be directly related ro parallel designs and others, like the sheep panel, push the

::-:oprnents in such diver se fields as architecture. limits of the technique well beyond that env is aged

;raphy, com_111unications and printing. by the Tudor needlewoman. If you have not tried

blackwork before, start with a charted design before

:l::lERN BLACKWORK vou attempt one of the more comp lex projects.

-':. rhe advent of the Stuart perio d_ the use of I hope that you ha\·c as m u ch fun stitching these
F(� 6. Thi.< derail
::onal black silks gave way ro coloured silks an d projects as I did design ing them and that once you ()( 1/ie E1/klaud
r1111irf('at11re.'- a
--:.:s. This was largely a response ro dewlopmen ts have deYelop ed a little confidenc e. you will des ign
raiher ntrim1s .1!rUli11
---:_ fash ion and technology. The needlewoman mam· of your own I ct11d ll'frrrim·-/ike litm

_,: l ess on the star k contrasts typ ical of the Tudor

; ·"
...
J. than on the subtle use of shadi ng and colour.
_:-e afi:er, blackwork in its purest sense nrtualh·

::.:! to exist in England until rhe adwnt of the

.:.:id Crafts movement at the beginning of the
::eth centur y \ v hich s ough t to reY iYe traditional

-:::i.a nsh ip. A number of key texts appeared in the

Jn d 30s, most notab ly Sa111plers and Stitches b\·

_ Ch ri stie, published in 1929. The proli feration

-: <chool courses on t he su bjec t encouraged

_ - interest, and forms of cm broiden· char had

- ·oeen fo r gotten have. as a r esu lt . once agam

�de accessible to presem-day stitch er s .

orher parts of the world. howe\-cr, blackwork

�.:: 111 d ifferent ways. In America, f(Jr example.
�·,·ork enj oye d a resur gence in interes t in the
_ :;;-enth century, alt hough blue rhread \Yas often
:::ured for the traditional b la ck and w as probabh­
;::�ced by the pop u lari ty of Delft riles impor ted
:---Iolland. In many countries thro ughout

:-:-: Euro pe, red thread was very p opular and this

7
 MATERIALS AND EQUIPMENT
•
••
•••
F o r t h e tech n iques u s ed i n t h is b o ok, v e ry l i t t l e is n e eded i n t h e way of equ ipme n t.
A s y o u p rogress a n d tackle more comp l e x designs y o u w i l l n e ed to add to y o u r ra nge of
t h r e ads, fa b rics and o t h e r items.
·:· Selection of tapestry, beading and
sharps needles
·:· Fine-pointed embroidery scissors
•:• Dressmaker's scissors
•:• Roller or hand-held rectangular frames
(available in a variety of sizes)
•:•Thimble
•:•Ruler
•:• Good quality white tissue paper
•:• Thread for tacking
•:• Good quality dressmaker's pins
FABRIC
The best fabrics for blackwork are closely woven
evenweave fabrics of cotton or linen with easily
counted threads. The count relates to the number of
threads or blocks to the inch, which in turn governs
the size of the blackwork patterns. For the projects
in this book I have used the following fabrics:
• Aida is a 100% cotton blockweave available in a
variety of counts from 11 to 1 8 . It is a very flexible
fabric, available in a variety of colours including a
version with lurex thread woven into it, which
produces a striking effect. Many ready-made items
are available with Aida panels in them, such as
aprons and handtowels, which are wonderful to
make up for the home and as gifts.
• Brittney is 52% cotton and 48% rayon, giving it a
softer texture than Aida. It can be substituted for
8
14 count Aida and when stitched over two threads
gives a more even surface.
• Jobelan is a 28 count fabric, usually worked over
two threads and can be substituted for 14 count
Aida.
•Jubilee 1s a 28 count 1 00% cotton fabric,
particularly suitable for table linens and any article
which may require frequent laundering.
• Linda is a 27 count 100% cotton evenweave fabric,
closely woven. Tr drapes very well and has an easy­
care finish.
• Oslo is a 22 count mercerized cotton, hardanger
fabric which has a lustrous, silky appearance,
making it suitable for a range of uses.
• Linen is available in a range of thread counts from
1 9 to 55 and is the traditional choice for
blackwork.
A NOTE ON M E A S U R E M E N T S
Some materials used in blackwork are only sold in
metric units while others are commonly sold in
imperial measures and although the fabrics are now
sold in metres, they are still described in terms of
'holes per inch', or hpi. Throughout, measurements
are given in both imperial and metric systems. Please
use only one system for each project. The following
conversion table may be useful.
11 squares per inch = 43 squares per 1 Ocm
1 4 squares per inch =
55 squares per 10cm
1 6 squares per inch = 63 squares per 10cm
1 8 squares per inch =
71 squares per 1 Ocm
22 squares per inch =
87 squares per 1 Ocm
 :::-.VE R S I O N C H A RT F O R S T R A N D E D T H R E A D S

..: work your way through the projects in this book you will notice that I use DMC stranded threads
-� are available in a dazzling range of colours. If you cannot find a specific DMC thread, or prefer to
.:;. alternative brand, please substitute. To help you, please refer to the following conversion chart,
;: eYery DMC thread used in the projects and its Anchor equivalent.

D.\1C Anchor DMC Anchor DMC Anchor

98 553 98 938 381

- ... ' 897 610 889 958 187

_:. ) 403 699 923 959 186

_. J 1019 701 227 961 76

- 400 720 326 991 1076

_:I 399 747 158 995 410

:i- 101 791 178 996 433

_:33 1 19 796 134 3021 905

..
\
� 35 101..J. 798 146 3022 8581

-:3 401 799 145 3350 59

-:..J. 400 824 164 3371 382

- 15 398 830 277 3740 872

-35 365 832 907 3768 840

-69 267 895 1044 3799 236

500 683 924 851 3812 188

502 876 926 850 3816 876

535 ..J.01 935 862 5200

550 101 937 268 Blanc 2

CONV E R S I O N C H A RT F O R T H R E A D S O T H E R T H A N S T R A NDED

Anchor

.�ie size 3 Size 3

de size 8 Size 8

::-. �le size 12 Coton a broder size 12

-
.)tOn a broder size 16 Size 16

-•ron a broder size 25 Size 25

;erallic stranded thread Lame (two strands for every one ofDMC):
Gold 300, Silver 301

_oft embroidery thread 2926,850,2924,851

9
8 I a c k 111 o r k

Designs can differ grearly depending on the fabric experimenting with a few. There are various weights

count you choose. If you work on a 22 count fabric of machine threads, single-strand metallic threads

your design ·will appear more dense than if you work and combinations of cotton and metallic threads.

on a 1-l count fabric. As you progress, you may \Yish

to experiment with the count size, though it is best NEEDLES

to practise first on a small piece of fabric. Keep in There are many types of needles and each performs

mind that altering the scale will also affect the a slightly different function. Although they are, to

quantities of thread you require. some degree, interchangeable, it is advisable to use

the appropriate needle for a task.

E M BROIDERY T H R E A D S

Thread' are available in a wide range of colours and • Tapestry needles for counted stitches have a large

textures. Some are used as a single thickness (a thread eye and blunt end which separates the threads of

which cannot be separated into strands), while the fabric instead of splitting them. They are

others are composed of six strands which can be available in sizes 14-26.

separated and rejoined in different proportions. To + Sharps needles are, as their name suggests, fine and

prevent excessive friction on your thread, it is best to sharp-pointed, with a small eye. They are used for

restrict its length to no longer than 18in (-lSOnrn1). general sewing tasks such as hemming, and are

Additionally, the thread should sit happily on the available in sizes 3-10.
fabric without distorting its structure, so work small + Beading needles are very long and fine and used
sample areas before embarking on a larger piece. The for attaching beads to an item. They are available

following threads are suitable for blackwork and in sizes 10-13. For the projects in this book a size

have been used throughout this book: 10 is adequate, but if you find the beading needle
awkward to handle, you may find a size 10 crewel

• Stranded cotton, or 'silks', is normally available in needle a good alternative.

skeins 8yd 2ft (8111) in length in an extensive range

of colours. It is a six-strand thread with a slight Needles for blackwork have longer eyes than needles

sheen and is very adaptable. for plain sewing because they must accommodate

• Perle cotton is a two-ply thread which is more thick threads or se,·eral thin ones. They arc

lustrous than stranded cotton and cannot be split. numerically graded from fine to coarse, the higher

It comes in four sizes: 3, 5, 8 and 12. numbers being the finer needles.

+ Coton a broder is a single thickness thread, softer Your choice of needle is a matter of preference,

than stranded or Perle cotton and not as lustrous. but the eye of the needle should acconunodatc the

It is available in a range of sizes. thread without difficulty and draw it through the

+ Caron Wildflowers is a single-strand, hand-dyed fabric without distorting it. In the projects which

cotton, in variegated or space-dyed colours. The follow, I tend to use either a size 24 or 26 tapestry

shading of these skeins is beautiful and it is needle for stitching. As a general rule, use a size 26

tempting to let them overwhelm your work, so try for working one strand of thread and a size 24 for

to exercise a little restraint! t\YO strands or a single thick thread. Once you have

+ Metallic embroidery floss is a six-strand metallic completed one or two projects you will soon be able

thread which can be split in the same way as to judge which size needle suits a particular cask.

stranded cotton and is about the same weight.

SCISSORS

There are many other threads available and it 1s It is a good idea to have two pairs of scissors: a large

worthwhile having a look at the selection and pair of dressmaker's scissors for cutting fabric and a

10
 B I ,r t k u• ,, r k

,iaU pair of em broidery scissors for cutti ng threads. more expensi,·e, but that"s fine - you can build up

To maintain your scissors and get the best results, it your range of accessories gradually.

best to use each for their appropriate tasks. If you stitch in a room with po or day light , or

only ban: ti me to stitch in the evening when it is

"RAMES dark. it is "·orth im·esting in an angle-poise lamp.

ollcr frames are rectang ular stitching frames. Rather than the usual tungsten variery, use dayli ght

..ilable in a variety of sizes from 12 to 36in bulbs. They have a blue coating which emulates

;<}-900nun) and ess ential for l arge. conce ntr a te d d aylig ht , enabling you to see the colour of your

�a� of stitching. The la rger o nes are supported on a threads and fabrics in a more natural light.

-Or-stand or can be propped against the edge of a l find a floss bobbin very useful , too. A floss

:-le and enable the stitcher to control the tension bobbin is a piece of card or plastic with a slit in it; you

-J have both hands free to stitch. The smaller size mnd your thread around tht: floss bobbin to keep it

• hand-held . Some embroiderers advocate the use ne a t a nd tidy while you work. or to store half-used

- .. ring or hoop frame, which consists of t\Yo rings. skeins of thread once you have finished a project.

l fitting neatl y inside the othe r. The fabric is Other useful items are m agnifi e rs and metal

1 rioned between the two rings \Yhich are then chart stands. The former enables y ou to see your

..:htened toget her with a screw fitting to keep it taut work more clearly and is a,·ailable m different

.:: even. Howc,·er. I would not rcconunend these forms. while the la tter enables you to keep abreast

-""les for larger projects. They tend ro trap stitches of your posirion on the chart without ha \'in g to

:he groove bet\veen the frames which can stretc h search for it.

.: distort them . There is nothing more s ati s�·in g than producing

You may find it e asi er to work smaller projects in a good piece of work and then either m ounting it or

r hand withour the aid of a frame. but I always making it up as a cushion.You do not have to make

ne where the technique dema nds an c\·en tension. up an item from scratch, howe\·er. There arc a

number of ready -made items on the market, ranging

�:>TIONAL ITEMS from towels to kitchen aprons \\ith Aida band inserts

,e you have been stitching for a while, you will ready to stitch. You will also find napkin rings and

cha t somt: optional items makt: your work much other smaller items which you can i nc orporate into

•r. Some an� very cheap to buy whilt: ochers are your home or g ive to friends and family as gifts.

II
 B AS I C TECH NI QUES
B efo re y o u b eg i n w o r k O i l y o u r e m b ro i d e r y t h e r e a r e a fe w b a s ic t e c h 11 i q 11 es w i t h w h i c h y o u
n e e d t o b e fa m i l i a r, fro m p re p a r i ng y o u r fa b r i c a n d t r a ci llg y o u r d e s ig n s t o t h re a d i ng a
n e e d le a 11 d t h i s c a 11 b e m o re d iffi rn l t t h a n y o u t h i 11 k ! I h o p e t h a t t h e s e g u i de l i n es w i l l
p ro v i d e y o 1 1 w i t h a I I t h e i 11fo r I l l a t i o / / y o 1 1 1 1 e e d t o Ii e Ip y o 1 1 o n y o 1 1 r way.
=> R E P A R I N G T H E FABRIC
: is always worth spending a little time o n the
�reparation of your chosen fabric before you begin
o work your design. First, to remove any creases,
�ress your fabric using a steam iron or, if you don't
uve one, a dry iron and a damp cloth. Next, cut the
:ibric to the size indicated in the instructions for the
�roject and oversew the edges either by hand or
'.P.achine to prevent fraying (Fig 7).
Fig 7
.., A R K I N G T H E C E N T R E O F T H E F A B R I C
Charted Designs Begin by ensuring the design is
centred on the fabric. To do so, fold the fabric in half
.rnd in half again. Form a crease where the two folds
_ oin and open out the fabric. Mark with a pin the
?Oint where both folds intersect and begin stitching
:here, relating your stitching to the centre of the
chart. This method is satisfactory for small projects
\foch can be worked in the hand. If the design is
:arger, use a tapestry needle and work a line of
•
••
•••
I
v
tacking stitches along both vertical and horizontal
folds, using a thread \\'hich contrasts with the
embroidery threads in your design so that you can
remove it without difficulty (Fig 8).
Tacked Designs It is useful to tack your design if
you are working a non-geometric design. Tack the
vertical and horizontal folds as above, but use a
different colour to tack the outline of the design.
First, press a piece of good quality white tissue
paper to remove any folds, then trace the vertical
and horizontal lines on the drawing using a
coloured pen. Trace the design itself with a
contrasting colour. Lay the fabric onto a clean, flat
surface and place the tissue paper with the traced
lines on top. aligning the central lines on the tissue
with the tack lines on the fabric. Working large
stitches, tack the tissue to the fabric Y:iin ( 1 2111111)
from the edge, ensuring that both are completely
flat (Fig 9). lf necessary, place a heavy weight on
13
B I c1 c k "' o r k

I
I _,p I '

I
',_ _ _ _ _

I_ _ _ _ __ _

Fig 9

top of the tissue. Once flat, tack along the lines of PRE P A R I N G T H E T H R E A D S

the design with small stitches to preserve the Stranded cotton has six strands which you will need
shapes. As you stitch, ensure the fold lines always to separate. Locate the end of the thread in the skein
match. B egin each length of thread with a couple and, holding the skein at the band, pull gently on the
of overlapping stitches to ensure that it does not thread until you have the required length, which

come loose and fin i sh in the same way. Once you should not be longer than 1 8i n (450mm). Ifit is, the
have transferred the whole drawing in this way, friction will produce an ugly, fluffy thread which will
trim any loose ends, then very carefully tear away degrade the qual ity of the finished work. NmY

the tissue from around the tacked area of the separate the strands of cotton. The best way to do
design first and then from the centre. You are no\\' this is to take the ends of the cut length in your
ready to frame the fabric and b egi n stitching. fingers and gently pull apart. Separate each strand

and assemble the required number (Figs 1 l a & b).

P R E PA R I N G A S T IT C H I N G F RA M E

A stitching frame i s essential when working on a

large design because it helps you to stitch \Yith a

consistent, even tension. Begin by making a �in F\� 1111
(1 2mm) turning at the top and bottom edges of your

fabric. Mark the centre of the edges and the centre

of the webbing on both rollers. With right sides
together, align these points and pin the fabric and
webbing together. Starting from the centre and
working outwards, stitch the fabric to the \Yebbing

using small, even overcasting stitches (Fig 1 0). Roll

any surplus fabric onto the roller. Slot in the side
pieces of the frame and tighten the screws to make
your fabric taut. If your design is larger than the
exposed area of fabric, it is ad\·isable to trap a clean
sheet of tissue paper bet\\'een the layers of finished
\\'Ork as you roll it on. This preYents any damage to
the work. F(� 1 lh

14

- -! R E A D I N G T H E NEEDLE
:<eedle threader i s useful, though not essential. for
.� needles. Pass the wire loop through the eye of
_ needle, place the thread through the loop and
·· the loop back through the needle eye, taking
• thread with it. Alternatively, use the loop
.=hod. Loop the end of the thread around the
.dle and pull tightly. Slide the loop off the needle,
� ;:-ing it tightly between your fingers, and push it
- ugh the eye of the needle (Fig 1 2).
Fig 12
Threading the needle with metallic thread can be
.::.::icult. Flatten the end of the thread with a small
.ce of paper folded in half around it and push it
�:lilly through the eye of the needle (Fig 1 3) .
:�:natively, you could follow the manufacturer's
: nunendations and knot the metallic thread with
-p knot through the eye of the needle to prevem
.:?ping (Fig 1 4) . Use a needle one size larger than
- would normally use to stretch the holes
�··een the blocks or threads of the fabric, enabling
F(� 1 3
B a s i c T e c l1 11 i q 11 e
the metallic thread to pass through more easily.
When you are finally ready to stitch, you must
secure your thread to the fabric. Do not make a
permanent knot - this will leave an unsightly bump
in the sur£•ce of your work. Instead, anchor the
thread ,,·ith a \Yaste knot. Knot the end of the thread
and, leaving the knot on the front of the work, insert
your needle into an area which will be disguised by
a blacbrnrk pattern. This is particularly important if
you are using a dark thread, as it may leave a mark
where it pierces the fabric. Work an area of pattern
until you reach the waste knot, cut it off, and
complete the pattern. The thread which lies on the
back of the work is now secured by the stitches of
the pattern. Finish a thread by darning it securely
into the back of existing stitches. When using a
couching thread, leave a short length on the back of
the work. Once you have finished couching, return
to the loose end and secure it in place with one or
two oversewing stitches, ensuring that they do not
show on the front. Finish the end of your thread in
the same way (fig 1 5) .
J'(e 15
15
B l a c k w o r k

S T I TC H GLOSSARY

One of the joys of blackwork emb roidery is that while there are many differen t stitches you can use co

your designs, there are few \Yhich are ,·ery difficult. With a little practice, you will soon be proficient.

Backstitch thread and one down (Fig 17) whereas the

Aside from being used to work blackwork patterns, weave of evenweave fabric demands that the

backstitch is often used to o utlin e a pattern and add be worked across two threads.

definition. Following Fig 16, you first bring the

needle up through the fabric a stitch-length along

the line you wish to work. Then pierc e the fab r ic Whipped backstitch

with the needle at your s tarting poi nt, drawing the Whipped backstitch produces a slightly raised •=

thread through so that you now have a single, Pass the whipping thread through each backsc·.
co mplete stitch. Finally, bri ng the needle up again turn, always through the same side and, apar.

through the fabric a stitch-length ahead of the last. beginning and fin ishing off, you do not p
needle through the fabric at all. It is best to ri.�­
the eye end of the needle under

prevent the n eedl e splitting either the

itself or the background fabric (Fig 18).

F(� 16

Your stitches should be neat and even in length.

Backstitch is worked s lightly differently depending

on the fabric. With Aida, for example, each

backstitch is worked along one side of a square,

diagonally across th e weave, or across t\VO blocks of

--- .

-
�----r- ......
r<\
..

\ �I ,,.
'1
/
Holbein or double running stitch
I ·-�f.I
\' }�'V( / .
v
Holbein stitch is the traditional

·,t .t
-
.
blackwork em b ro i de ry. Its alternatiw

t double running stitch, 1s exp l ai ned

L.--'-...
---- - ...J.-
\ construction. You first stit ch a row of r­

Fig 17 stitches, then make a return journey by wo:-'

16
 B a s i c T e e /i n q 11 e s

between your original stitches (Fig 1 9) . Cross-stitch

Occasionally you can \vork the stitches o n the This is usually completed in two stages , parti c ularly
diagonal, but gene rally, follow the warp and ,,·eft \Vhen \rn rking large areas. Stitch a ro\v of diagonal

of the fabric. This stitch works best on a regularly stitches until you reach the end then return along

woven fabric because it is important for the stitch the same ro\v. stitching a reverse diagonal across the

to remai n regular, the same length on either side first. You can use this method h ori zontally or

of the fabric. ,-cnically. but always ensure the mp arms of the

c rosses point in the same direction. This procedure is

the same \vhether you are working on Aida or fine

linen, except "·ith Aida you work over one block of

threads "·hile \Vith evenwea\·e, you generally work

over two threads of the fabric (Figs 2 l a & b).

Fig 1 9

Couching

Couching is used to secure your thread to a pi ece of

:abric, but it is also used for sti tchi ng an outline.You
couch a thread by h ol di ng it down with a second,

often finer thread by stitching small stitches at right

angles over the first, like tiny bridges, to hold it i n

?lace, hence 'couching' the thread t o the fabric (Fig

Fi� 2 lb
20) . To achieve the best result, ensure these stitches

lre evenly sp ac ed.

Chain stitch

Chain stitch produces a medium-thick, even stitch

which is easy to manip ulate around curves in a design.
You bring the thread up th rough the fabric and then

re-insert the needle at the same spot, bringing the

point o u t a stitch-length ahead along the row.Take the

thread under the needl e-p oi nt in a si mple loop. Pull

the needle through and the thread re-emerges 111 a

position to \vork the next stitch (Fig 22).
n� 20

I7
B l n c k 111 o r k

STITCH GLOSSARY

Repeat the sequence as many times as necessary

until you have a criss-cross network of stitches (Fig
2-1-).Your chart will advise you of the correct spacing
to follow.

Fly stitch

Fly stitch is an open chain stitch. If yo u imagine a

letter Y, draw the thread through at the top of the
left-hand arm and insert it again at the top of the
right-hand arm. Draw th e needle through at the
base of the V of the Y and pull it through over the
working thread. Secure this loop with a straight Pattern darning

stitch to form the leg of the Y (Fig 23). This is basically a series of runni ng stitches which is
\Yorked in rows and covers a set number of threads.
For pattern darning, you generally work on an even,
countable weave and on the warp or \Yeft of the
fabric, although occasionally you can \\·ork on the
diagonal ( Fig 25) .

F(� 23

Herringbone stitch

This stitch is generally used for dccoratin� borders.

but can also be used as a filling-in stitch. You ,,·ork
this broad, open stitch by br inging the needle up
through the back of the fabric at the top of a rO\Y.
then taking it diagonaily down to the bortom to
form a complete diagonal stitch. B r ing the needle
up through the fabric a sma!J sti tch-length back\Yard
along the same row and take the thread diagonally
across the first to form a broad. i rregula r cross. F(� 25

18
 B a s i c T e c '1 11 q 11 e s

Slip stitch Compensation or partial stitch

This simple stitch is used to finish hems or close This stitch is required "·hen another element in the

openings. Bring together the two edges of fabric you design interrupts the repeating pattern, for example

wish to join and stitch a line of small. diagonal an outline. The outline may be a stitched outline or

stitches through both layers until the hem is a row of tacking "·hich delineates the point at which

completed or the opening sealed (Fig 26). che pattern finishes. The partial stitch brings the

sritch used in the repeating pattern up to, but not

beyond, the break at the outline. Always begin your

repeating pattern from the centre of a shape so that

the partial stitches are spread evenly around the edge

(Fig 28). To ensure that the partial stitch lies at the

correct angle, you may need to split a thread.

'
I
"".. t-f-+-L!+!-+1
I I
l' I

I I ,r I '- / I
.......
I " '
F(� 26 I I I/• I '-. I !/ I '-.
I ! >-I++
I I
I
,
,
"
"
4-
1/>- ,
I
I/
>.
I
,
Ladder stitch I
I I ' I '/I 1 ' / "
/ " I ,r
This stitch is also used to close opcninbrs, but I I
I -- ' I/ I '" I I/ I "'- 0/
,,·ithout shO\Ying a trace of the stitch itself on the I I I I ,\ I I
� I I
' ' / I 1'- /
ur£1ce of the fabric. Following Fig 27, begin at one "
"' �-
I L'"i-.I '-.I I I/ v
c>nd of the opening in the two edges of fabric. Take �
I

�I
/ I "- "' ii
a small stitch along the edge of the near piece of I
...L! I I I II II I
:abric, then a second along the edge of the far piece 11 111 I I I I I I , II I 11 I t 1 1 I I
of fabric, so that the second stitch begins opposite
Fig 28
•he end of the first. Work se,·eral stitches in this way,

pulling up the thread as you \rnrk so that the stitches

disappear. Continue until you have a sealed scam.

F(� 27

19
 - - -

C H A P T E R 0 N E -�----------
----
-
----------

•
=------------_____. � ��-- • •
:;:::...--....----� --= -= * . ·-

-- --

THE TRAD ITIO NAL

__
_ __ B LACKW0 RK
_ _
�S� T�Y�L�E�=��;;
----- --- -�-�------
-

Th e d e s iJ, n s i n t h i s c h ap te r a re. b a s e d up o n t h e

n a t u ra l fo rm s a n d s t y l e s t h a t i n s p i r e d t h e- Tu d o r

____ - _ -
-_ e m h r o i deress. Th e y o_[
fe r t h e b eJ; i n n e r a g e n tle

---
i n t r o d u c t i o n to t ra d i t i o n a l b l a c k w o rk t ech n i q u es) t h e

k e y fe a t u re of w h i c h i s t h e rep e t i t i o n of s m a l l

p a t t e r n s c o n t a i n e d- w i t h i n-. b o 1 d o u fl i n e s .
B l a c k w o r k

ROS E AND TULI P B OOKMAR K S

•
••
•••

T h e fl o r a l d e s ig n s fo r t h e s e b o o k m a rks a re s o s imp l e a n d p re t t y, y o u m ig h t l i k e
t o a d ap t t h e m t o o t h e r i tems : p e rh ap s a sp e c i a l g r e e t i ngs c a r d . A l t e rn a t i v e l y, s e l e c t o n e
aspect a n d u s e i t a s a m o t if fo r t h e b o rd e r of a nz i r r o r frame, h a n d t o w e l o r c u r t a i n

t i e - b a c k . O n ce y o u h a v e exp e r i m e n t e d w i th t h e t e c h n i q u e, y o u c a n a d ap t t h e

des ig n s t o w h i c h e ve r i te m y o u c h o o s e .

SKILL LEVEL I
WORKING THE DESIGN 3 Count from the centre of the chart
1 Find the centre of the fabric by to the nearest point on the outline of
DESIGN S I Z E

folding it into four, and mark it with a the design and begin stitching at the
2'/a X I OI N ( 6 4 X 254MM)

pin. Find the centre of the charted same p oint on the fabric, using a single
5TITCH COUNT

area by counting the squares and thickness of cotton Perle to backstitch

ROSE 23 X I 1 6

pe ncil a cross. or sew double running stitch. Complete

T U L I P 22 X I I 9

M A T E R I A L S
For each bookmark
you will need the following:
White, 28 count Zweigarr Jubilee,
4in (330 x 101 mm)
White cotton for the backing,
2 Attach the fabric to your frame
(see Basic Techniques, page 1-+),
ensuring that the fabric is pulled taut.
13 x
the whole outline before beginning the
blackwork pattern s in stranded cotton.
You will need to work some
compensation or partial stitches (see
Basic Techniques, page 19).
4 When the emb roidery is comp lete
check for any mistakes, loose threads
or areas which may have been soiled

13 x 4 in (330 x lO!nm1)
(anorher piece ofJubilee will do)
Size 24 tapestry needle for the
and size 26 for the pattern
Hand-held rectangular frame, small
Tacking cotton
and then carefully press your work. If
necessary, clean your work and press
outline (see Finishing Techniques, p age 83).
5 Cut a co-ordinating piece of fabric
for the back of the bookmark and
with right sides facing, tack the t\¥0

Threads as listed in the colour key pieces together (Fig 29).

6 Stitch along the tacked line, leaving

a small opening in one long side.

RemoYe the tacking, trim away the
surplus fabric Xin (7mm) from the
s titching (Fig 30) and mitre th e
corners. You are ready to turn your
bookmark right side out. Use ladder
stitch to sew up the opening.

22
 T h e T r a d i r i o 11 a l B l a c k w o r k S t y l e

7 If you wish, add a pretty tassel to

the bottom of the bookmark using the
surplus Perle cotton (see Finishing
Techniques, page 87) .

A
/ '
/
/ '\
( '\
I
I
I
I
I
I
I
I
I
I I
I I
I I
I
' /
'\
/
'\
/
'\
'v /

Fig 29

Fig 30

C O LO U R K E Y

DMC Perle DMC Stranded Size Amount Strands for backstitch Strands for blackwork

310 12 1 ball 1

310 1 skein 1 thickness

NB: each square on the chart represents 2 x 2 threads of the fabric.

23
B I a c k "' " r k

G RAPEV INE MIRROR F RAME

•
••
•••

Th is d e s ign w a s i 1 1 sp i r e d b y a fa 111 0 11 s b l a c k wo rk c us h i o n in L o n d o n 's Vi c t o r i a

& A l b e r t Jvfo s e 11 111 . A l t h o ug h I h a ve a d ap t e d i t t o fra 111 e a 111 i r r o r, i t w o u l d rn i t a 1 1 y

fra m e y o 11 w i s h t o d e c o ra t e . Yo 11 m ig h t l i k e t o a da p t t h e v i n e a n d l e af m o ti:f i n

o t h e r w a y s - p e r h ap s fo r a I/l a tc h ing p l a cel/l a t a n d n a p k i n s e t fo r y o u r d i n i ng ro o m .

SKILL LEVEL 2
WORKING THE DESIGN your embroidery threads.
1 Using rhe template (Fig 3 1 ) , trace 3 Attach the fabric to the frame (see
DESIGN SIZE

the design onto the tissue paper. Basic Techniques, page 1 4) . Following

F R A M E CUT-OUT S I Z E
2 Transfer the design onto the fabric the tacked lines carefully, stitch the
(see Basic Techniques, page 13). Ensure outlines of the vine leaves and tendrils
4% X 4%1N ( l l S X l l S M M )

that the centre lines align. When in backstitch with one thickness of
racking, use a comrasting colour to Perle. Rather than remove all the

M A T E R I A L S

Cream, 27 count Zweigart Linda (26.\),

1-l:h x 1-ll6in (368 x 368nun)

Sheet of good quality white tissue

paper. 1-ll6 x I .\)!,in
(368 x 368mm)

Size 2-1 tapestry needle for the outline

and size 26 for the pattern

Hand-held rectangular ffame.

12 x !Sin (300 x 459nun)

Tacking cotton

Thr�ads as listed in the colour key

24
 T h e T r a d i t i o 11 a l B / a c k 11, o r k S t y l e

(Enlarge this template by 1 43 %) Fig 3 1

25
B l a r k w o r k

tacking thread once you have
completed your stitching, you may
prefer to remove it a little at a time as
you work.
4 Now stitch the trellis using the dark
grey Coton a broder thread. Take care
with the overlap of the sections and
the position of the tendrils.
5 Work the blachvork stitches
with the stranded cotton, using the
stitch key to guide you. You may
need to ·work some compensation or
partial stitches (see Basic Techniques,
page 1 9).
6 Check for mistakes and loose ends
and remove from the frame. If
necessary, clean any soiled areas of the
S T I T C H K E Y
work then press (see Finishing
Techniques, page 83).
7 This design requires a complicated
mount and is quite difficult to stretch,
therefore I suggest you ask a
professional framer to do it. If you
2
plan to use the frame for a mirror, you
will not require glass to protect your
piece of work.
8 If you wish, ignore the instructions
to cut the fabric into a frame given
3 4
above and, instead, embroider the
centre of the work, adding your name
and the date. Alternatively, simply
elaborate the main design further.

COLOUR KEY

DMC Strands Strands

Coton a broder DMC Perle DMC Stranded Size Amount for backstitch for blackwork

413 16 1 skein thickness

310 8 1 ball thickness

310 2 skeins

NB: use backstitch throughout and work it over two threads of the fabric.

26
 T h e T r a d i c i o 11 a l B I a c k 111 o r k S r y I e

H ERB CUP B OAR D

•
••
•••

Fa m i l i a r g a rd e n flowers a n d herbs are k ey mot ifs 1 11 E n g l ish b l a c k work . They give the door

of this herb cupboard a l o v e ly, fre s h loo k . O n ce y o u h a v e m astere d the d e s i g n , y o u m ay w i s h

t o r e - work a partic i t l a r e l e m e n t as a s m a l le r des ig n , per/z aps for a gre et i n gs card .

A l tern a t i v e ly, why n ot work som e of the p l a llt designs i n d iv i d u a l ly a n d h a v e them

fra 1 n e d for your hom e ?

SKILL LEVEL 3

DESIGN SIZE

M ATERIALS

Cream, 22 count Zweigart Oslo (264) ,

1 5 x !Sin (380 x 459mm}

Sheet of good quality white tissue

paper, 15 x 18in (380 x 459nun)

Size 26 tapestry needle

Tacking cotton in two contrasting

colours (I've used black and red)

Hand-held frame, 12 x 18in

(300 x 459mm)

Mahogany storage box, 16Y:i x 13in

(430 x 330mm}

Threads as listed in the colour key

27
B l a c k w o r k

(L11/mge this 1e111pla1e by J .+ 9%) F(� 32

28
 T Ii e T r " d i t i o 11 " I B I n c k II' o r k S t )' I c

WORKING T H E DESIGN 4 Next work the blackwork patterns

S T I T C H K E Y
1 Trace the design onto the tissue within the red tacked sh apes , using the
paper using the black and red stitch key tO guide you. You may find

[I]
I I I I 1 1 I
colouring pens where specified on the it necessary t0 work some
:emplate (Fig 32). compensation or partial stitches (see 1
1 1 I I I I I
2 Transfer the design onto the fabric Basic Techniques, page 19). 1 1 1 1 1 1
1 1 1 1 1 1 1 I
using the same two colours of tacking S C he ck for any mistakes and lo ose
1 2
cotton (see Basic Techniques. page 13). ends. Ensure that you ha\·e removed all

1,�·1 11
m
Try to ensure that the centre of the of the tackin g thread and then remove­

111 11 11 1 1111 1:1 f 11 1 ! I

'.ines align. the \York from the frame. If necessary,
I 11
3 Attach the fabric to the frame clean your \York. then press gently (see I

see Basic Techniques, page 1-1-). Finishing Techniques, page 83). � I

3 4
:=ollowing the tacked lines carefully, 6 If you wish, you may stretch your

backstitch the outline of the shapes.
This fabric has a fairly open wea\·e. so
:.ake care to control the tension in
your stitches to avoid creating holes.
You can either remove the tacking
m
work (see Finishing Techniques, page
{fVlVT}
83). Gently but firmly \Hap your �
�
work around the board supplied with
the cupboard, placing a sheet of acid­
5 6
free paper between. Finally. insert the

••
;:hread once your stitching, is complete finished work into the front of your
or remove it gradually as you work. herb cupboard.

�
7 8

l� I 9 10

11

COLOUR KEY

DMC Stranded Amount Strands for backstitch Strands for blackwork

938 3 skeins 2

NB: for the outline, work each backstitch over one block of the fabric. For the patterns, each square
on the blackwork chart equals 2 x 2 blocks.

29
· .��¥:[{!
...."' �:
;,:P<"·
j F -t
·4.�·'.�,;:­
"":
......
 C H A P T E R T W O

•
• •
• ••

C O N T E M P O R A RY

B LAC KWO RK I

The des('?ns i n t h is c h ap t e r depart fro m. t h e t ra d i t i o n a l

b l a c k w o rk s t y l e b e c a u s e t h e y a r e fo r111ed b y fu ll a n d

p a r t i a l s t i tc h es a n d d o n o t m a k e u s e of a c o n ve n t i o n a l

o u t l i n e . I u s e tree fo r m s t o d e m o n s trate t h i s t e c h n i q u e ,

i n terpreting t h elll in d iffe re n t w a y s : as a fo r m a l

d e s ign of reg u l a r tree s h ap es fo r t h e cll s h i o n }

a s ty l i z e d d e s iin fo r t h e Ch r i s t m a s cards a n d

a n a t u ra l i s t i c design fo r t h e Jap a n es e l a n dscape.

B l a c k w o r k

CH RIS TMA S CA R DS
•
••
•••

Th e s e C h r is t m a s t r e e s a r e w o r k e d i n t ra d i t i o n a l fes t i v e c o l o u rs a n d d e c k e d w i th s t r i ngs of

b e a ds a n d s i l v e r o r g o l d s t a rs . D i sp l a y e d i n a c o mp l e m e n t a ry c a r d m o u n t , t h e y m a k e v e r y

sp e c i a l g r e e t i ngs ca rds fo r fr i e n ds a n d fa m i ly. Yo u m ig h t l i k e t o e x t e n d t h e t h e 111 e a n d w o rk

a r o w of t h e m a /0 11g t h e l e n g t h of a ru n n e r t o deco r a t e y o u r C h r i s t m a s t a b l e .

SKILL LEVEL I
WORKING THE DESIGN the beads in place. To secure the beads,
1 Find the centre of the fabric by darn through the back of the
D E S I G N SIZE

3'/, X 5 1 N (89 X 1 27 M M )
folding it into four and mark it with a embroidery stitches between them.

STITCH COUNT
pin. Find rhe centre of the charred 4 Check for mistakes and loose ends.
area by counting the squares and If necessary, clean your work and
49 x 70

pencil a cross. gently press (see Finishing Techniq ues,

2 Worlcing from the centre of the page 83).
fabric outwards, stitch the rows of 5 Trim the fabric to fit the card
MATERIALS
blackwork. Once you have completed mount and, ensuring that the tree is
White, 28 count Jobelan.
this. add the stars. centred within the frame, affi.-x with
6 x Sin (152 x 203mm)
3 Using a co-ordinating thread, stitch double-sided adhesive.
Christmas Green, 28 count Jobelan,
6 x Sin (1 52x 203mm)

Size 26 tapestry needle

Beading needle

Scarlet red beads

Gold and silver linen-embossed

card mounts

Threads as listed in the colour key

J.:?
 C <1 11 r e "' p <1 r a r y B I a c k "' o r k I

COLO U R K E Y

DMC DMC Strands for Strands for Strands

Stranded Metallic Amount backstitch blackwork for stars

- 893 1 skein

Gold/Or 1 skein

= 3200 1 skein

Silver/ Argent 1 skein

NB. use backstitch or double running stitch throughout. Each square on the chart represents 2 x 2 threads of the fabric.

JJ
B l a c k w o r k

W INTER TREE CUS H ION

•
••
•••

T h i s d e s ig n is w o rk e d o n a sage green b a c kgro u n d ·w h i c h c o - o rd i n a tes ll icely w i t h t h e n e a t

b o rd e r of w i n try trees. D a rk g r e rn t a s s e ls a t e a c h co r n e r of t h e c u s h i o n a d d fu r t h e r i n teres t .

T h e tree m o tif c a n b e u s e d e ls e w h e r e i n y o u r h o m e - o n p l a ce m a ts a n d llap k i 1 1 s a t t h e d i n i n�

t a b l e o r o n p i l l o w c a s e s a n d c u r t a i n s i n t h e b e dro o m . If y o u w i s h , c o - o rd i n a te t h e c o lo u r

sch e m e of t h e p i ece w i t h y o u r o w n deco r fo r a n e n t i rely d iffe r e n t l o o k .

SKILL LEVEL 2

D E S I G N SIZE

STITCH COUNT

200 x 200

MATERIALS

Sage green, I.+ count Zweigart Aida,

1 8 x 18in (-159 x -159mm)

Plain furnishing fabric in

co-ordinaring colour, 1 8 x I 8in
(459 x 459mm)

Size 2.+ tapestry needle

I-land-held rectangular frame,

1 2 x 18in (300 x .+59mm)

4 x cotton tassels

Thr�ads as listed in the colour key

WORKING THE DESIGN stitching a t this point. Count the 6 Tack a square me asu ring 17 x i -'­
1 To centre the design o n the fabric, squares to achieve a pe1fect square. ( 431 x 43 1 mm) arou nd the outside

fold it in half and tack a row of 4 Next work the outer line \Yhich the embroidered area, ensuring cha:
stitches along the fold. Fold in half forms the tree trunks, then the the centre point of this square mare

again the other way and repea t. black"·ork trees. exactly that of the worked area. Th:
2 Attach the fabric co your frame (see 5 Once you have completed the a
m rks the edge of the finished cusb

Basic Techniques , page 1-f). embroidery, che ck for m istakes and and acts as a stitching guide.
3 To find the position of the inner loose ends. Remm·e the work from its 7 You arc now re ady to make up ·

line of the design, count 7 1 blo cks frame and press gently (see Finishin g cushion (see Finishing Technique>.
outwards from th e centre and begin Tec hniques, page 83). page 86).

34
 C o " f f m p o r a r y B I a c le w o r le l

Al
-
-*
- �� A
�
1
-+-- --
)* �
,.. � *
'"
�
...... ;..... ....
,if;
II
+.
r¥'Y'¥'f' _,
_
,.,

- ii
I
-- -- �
I
�
;
1
x, "
... ;llUll
... �
� ;Ip;; � ; � ... ,,.. �
... · ' ���
�x

LJ=w
--
n:
J
� -
- 1--
I:::--

-
- rr=r---v v - -f- "" -

� � ....
�J� I-
-
--

-
--=
I=-
-�
-�

-� ·-
�-
-

- � -
..:-:::,___
:C ___
� -- _,__ -
�
,. ll � - ----=�
..1 ... .. - 1-1-- -

� .,.n.,_:..
� - -
>
-�
-

�* IE
t( -
-
+: --
- � -
-
�
- _-�

=--; r � �I - �- --
�
..} 1 � H
l �l�I· � ...
� � -
-

-�l.7r·
'�
1-
f- ---
J -
-
- 7, -
---
�

- -

B
� ,_ -
---
>-< ... ... -

p�� '.IF � ' - -

(TI1is template forms one quarter of rhe design. Repeal template tl!reejurtlrer times for the complete wshion.)

DMC Strands Strands for tree trunks

Stranded Amount for blackwork & inner rectangle

- 221 I skein

- ;oo 2 skeins

NB: each block of fabric is represented by one square on the chart.

J5
B i a k w o r k

J APANES E LANDS CAPE PANEL

•
••
•••

W i th t h is b I a c k w o r k d e s ig 11 , I h a 11 e a d a p t e d t h e k e y 11 a t 1 1 ra I e I e m e 11 t s of Ja p a 11 es e I a 1 1 d s cap e

a r t - a g r o up of t r e e s , a s m a l l i s l a l l d , h i l l s i n t h e d i s t a n c e - t o c r e a t e s o m e t h i ng d iffe re n t .

A s a r e s u l t , I h o p e t h i s p roje c t d e 111 0 // s t ra t e s t h e w a y s i H w h i c h y o u m ig h t a ls o d e v e l op

t ra d i t i o n a l b l a c k w o rk p a t t e rn s in a / / i 1 1 11 o va t i v e way.

SKILL LEVEL 3
WORKING THE DESIGN pattern darning and blackwork.

1 Fold th e fabric in half and tack 4 Check for mist akes and l o ose ends.
D E S I G N SIZE

along the fold. Fold in half again and 5 n.. cmove the fabric from the frame.
13 X 7 '/2I N !330 X 1 9 1 M M )

repeat. Mark the centre of the chart If necessary, clean any soiled marks
STITCH COUNT

with a pen cill ed cross. then gen tly press (see Finishing
1 82 x 1 05

2 Mount the fabric on the frame (see Techniques, page 83).

Basic Techniques. page I .+). 6 You m ay wish to stretch and mount

3 Following the colour key, work your work by yourself (sec Finishing
MATERIALS
outwards from the centre of the Techniques, page 83). Alternatively, ask
Cream. 1 4 count Zwcigan Aida, a professional framer to stretch, mount
design . Use a size 2.+ needl e for cross­
18 x 13in (459 x 330mm)
stitc h and b ackstitch and a size 26 for and frame it for you.
Siz� 24 tapestry needle and
size 26 tapestry needle

Hand-held rectangular frame,

18 x 12in (459 x 3001m11)

Tacking cotton

Threads as listed in the colour key

36
 C o 11 r e 111 p o r a r y B I a c k iv o r k

COLOUR KEY

DMC Strands for Strands for Strands for Strands for

Stranded Amount cross-stitch backstitch pattern darning blackwork

310 1 skein 2 2

318 1 skein 1

414 1 skein 1

415 1 skein

535 1 skein

3799 1 skein 2 1

::-nJ: the different greys in this design are represented on the chart by other colours to avoid confusion.

37
 B I a c k w o r k

--
-

l=:-
=-·b---..J:....=•' ' �:r'IYSr�
...., •_IT�-:71'\i
� 'r,·��"'
il _ _ _xA�=3
�
�� =� · � IJ\l!llf!l11 1 1
- _ �-
- - - -
- - - - - - -

I �
r------ �--1
J_ T J _ p --.-1-­
_....r-.
., �..,.

-� �- -i----- - i;::::::Ji_ I"- ----- ----�

---
._=J_
 C o n t e m p o r a r y B l a c k w o r k

__,_._

-+- - -- ----+----

I I · ·· ' -
-+-

' JI

IJ. -1--

�', �v-- ---+--­

- +-
-L--
�
- - -'"'" - - - - �- -
- - . ..,- ----· - - - --·

-----�-
_ _ _...,._,
...-.:f"=-
�
- - f --· --

- -- -
+L±±:==I===±=- �-

-
_,_,_ -f-----
--1---:_-:-----=:-t;=:+::==r-====::t:
L
===::t====t===::I
i=+r+i="'=e=- ----
- -+--
- - I- �
- -+

39
 -

-
rt

... -

_... ..
A P T E R -

•
l a s t c h ap t e r I explored ways i n. w h i c h b l a c k w o rk

i s transfo r m e d by t h e a d d i t i o n of a n e w tech n i q u e .

I n t h is c h a p t e r I i n c o rp o ra t e b a cks t it ch a n d c o u c h ing
-

i n t o t h e b l a c k w o rk designs to a dd c o m p l e x i t y

t o t h e p ieces. A l t h o ug h t h e s e prnjects m a y appear

-

to be m o re c o m p l i ca t e d , t h e te c h n i q u e is very s imple .

I hope t h a t y o u enjoy t a c k l i ng t h e m ! �"'-"��===���==;�����§�:��

-
B l a c k w o r k

AUTUMN LEAV ES H AND TOW EL

•
••
•••

Th is p re t t y h a 11 d t o 11Jel i s e n r i c h e d b y t h e u s e of b a c k s t i tch t o c r e a t e v e rn s a n d s t e m s fo r t h e

l e a v e s . I h a v e w o rk e d t h e des ig n i n s h a des of o ra ng e a n d b r o w n o n a cre a m b a ckgro u n d , b u t

y o u c a n e a s i l y a d a p t t h e c o l o 1 1 rs t o y o u r 0 11111 deco r, o r e x te n d t h e t h e m e b y c r e a t i ng a

d iffe r e n t c o l o u r s c h e m e fo r e a c h of t h e s e a s o n s .

SKILL LEVEL I

DESIGN S I Z E

1 8 X 2 '/d N ( 4 5 7 X 6 4 M M )

MATERIALS

Cream, 1 6 count blockweavc border

hand rowel, 19 x 40in
(483 x 1 0 1 4mm)

Size 26 tapestry needle

Sheer ofgood quality white

tis.<ue paper rhe same size as
rhe rowel panel

Tacking cotton in a
contrasting colour

Threads as listed in rhe colour key

WORKING THE DESIGN

1 Using the template (Fig 33), trace

the design onto the tissue paper.
2 Ensuring that it lies straight on the
weave, transfer the design onto the
towel (sec Basic Te chniques, page 1 +). stitch key to guide you. loose ends. Ensure that all ends are
3 Making use of compensation or 4 Stitch the veins and stems and, as securely darned on the back.
partial stitches (see Basic Techniques, you work, carefully remove the 6 If necessary, clean your work and

page 19), work the blackwork tacking. press gently (see Finishing Techniques,
patterns. Follow the colour key and 5 Check the work for mistakes and page 83).

42
 C o 11 1 e 111 p o r a r y B l a c k w o r k I I

STITCH KEY

1 2 3 4 5

Fig 33

Enlarge this template by 1 49 % and join left- and right-hand sides togetha)

COLOUR KEY

DMC Stranded Amount Strands for blackwork Strands for backstitch

435 1 skein 1

610 1 skein 1

400 1 skein 1

3371 1 skein 1

43
B l a c k w o r k

H ED G EROW B ELL PULL

•
••
•••

Th is d e s ig n is b a s e d o n t h e p o p u l a r l e af, b e rry a n d h ip m o t ifs u s e d

i n t ra d i t i o n a l b l a c k w o rk e m b ro i d ery. It is w o r k e d o n a n e v e n w e a v e b a n d a n d,
w i t h t h e a d d i t i o n of a n a rrow length of r i b b o n a n d a t w o - t o n e t a s s e l ,
m a kes a v e r y e y e - c a tch i ng p roj ect fo r t h e h o m e .

SKILL UVEL 2
WORKING THE DESIGN 6 Thread the ribbon through the

D E S I G N SIZE
1 Using che templace (Fig 34), crace sloes in the edge of the band,
che design onto the tissue paper. trimming it to the same length.
I S 1/41N X 21/.dN (387 X 57MM)

2 Ensuring that the design is cencred, 7 Turn over the top edge of the band
SIZE OF COMPLETED BELL PULL

transfer che design onto the panel 1in (25mm) and sew a hem just deep
17 X 3 '/.d N (430 X BOMM)

(see Basic Techniques, page 14),
placing che first unit 2in (50mm)
from che top of the band.
MATERIALS
3 Working compensacion or partial
White, 28 count Zweigarr evenweave
stitches (see Basic Techniques, page
band (7347/1),
20in (503mm)
1 9) and following che colour key and
sticch key, complete all of the
Forest green, 3mm double-face satin
ribbon, lyd (lm) blackwork patterns.
enough for the wooden crossbar to fie
chrough. (You may need to trim the
crossbar to fit.) Insert it inco the hem.
8 Following Fig 35, and ensuring
that che point at the bottom of the
band is centred, turn under the edge
from both sides once, lin (25mm)
away from the embroidery. Cut Y:!in

Size 26 tapestry needle 4 Backscicch che veins, stems and (1 2mm) beyond these folds,
tendrils and finish che top of each trimming away any surplus fabric.
Wooden beU puU ends,
Sin (126mm) hip wich a fly scicch. RemoYe the Fold under a Y+in (6mm) hem. Scitch

A rwo-tone cotton tassel tacking as you work or once you into place, micring the point and

1 sheet of good quality white tissue

have completed the embroidery. catching in the ribbon as you do so.
paper the same size as the band 5 Before you go any further wich che 9 Sew the tassel at the point of the
Tacking cotton bell pull, check the work for mistakes panel, and give the work a final press
and loose ends. (see Finishing Techniques, page 87).
 C o 11 r e rn p o r a r y B l a c k w o r k I I

�-\\
,/ ·..
.,
'·

\>\

Fig 34 (E11 /m;ge tI11s. rernplate by 1 42%)

45
B l a c k w o r k

STITCH KEY

1
BJ2

� �
� � 3 4

II
.

Figs 35a, b, c and d

COLO U R KEY

DMC Strands for Strands for Strands

Stranded Amount blackwork backstitch for flystitch

720 1 skein 1 2 2

502 1 skein 1

500 1 skein 1 2

699 1 skein 1 2
 C o 11 1 e 111 p o r a r y B l a c k w o r k I I

SHEEP WA L L PA N E L
•
••
•••

Th i s d e s ig n u s e s o n ly o n e b l a c k w o r k s t i t c h , w o rk e d i n d iffe r e n t t o n e s of c o l o u r

t o b u i l d up t h e fo r m s of t h e s h e ep . Th e s h e ep a re s o c h a r m i ng t h a t I h a v e o n ly h i n t e d

a t a b a c kg ro u n d i n o rd e r t o e mp h a s i z e t h e m . Th e y m a k e a n a t t r a c t i v e m o t if

a n d y o u m ay w i s h t o u s e t h e m e ls e w h e re - p e rh ap s o n a c u s h i o n c o v e r o r

a s a b o rd e r t o c u r t a i n s fo r a c h i l d 's r o o m .

S K I L L LEVEL 3

DESIGN SIZE

1 3% X t O I N ( 3 2 4 X 2 5 3 M M )

MATERIALS

Ivory, 28 count Zweigart jubilee ( 1 0 1 ) ,

22 x 18in (564 x 457mm)

Sizes 20 and 26 tapestry needles

Size 10 crewel needle

1 sheet good quality white tissue paper

Tacking cotton

Hand-held rectangular frame,

12 x 24in (300 x 600mm)

COLO U R KEY WORKING THE DESIGN

f Using the template (Fig 36) , trace
DMC DMC Coton Cotton
Stranded a broder Perle Size Amount the design onto the tissue paper.

310
2 Ensuring that the design is
1 skein
centred, transfer the design onto the
413 2 skeins
fabric (see Basic Techniques, page 13).
414 1 skein 3 You are ready to work the sheep.
3022 1 skein Begin with the body of the front

310 r
- :::> 2 skeins sitting sheep using the Coton a broder
thread and working the basic form of
310 3 1 skein
blackwork stitch (see 1 in the stitch

47
 B l a c k w o r k

key) . Where necessary, also work a single strand o f stranded cotton, cotton, working over the threads in

compensation or partial stitches (see stitch down the couching thread . the following pattern: 3-1-3-1-3 (see
Basic Techniques, page 19). 6 For the shaded areas of the sheep 's 4 in the stitch key) .

4 Carefully following the tacked horns, backstitch, using a single strand 9 Check for mistakes and loose ends

areas, further work the next two stages of stran ded cotton. For the sheep's and carefully remove the tacking.

of the stitches in the appropriate face, nose and ears, use nvo strands of 1 0 Gently press your work (see

s ecti ons (see 2 and 3 in the stitch key). strande d cotton and c ros s-stitch . Finishing Te chniqu es , page 83).
5 To work the face and horns, use 7 C arefu lly following th e threads 1 1 You may wish to stretch the

the size 20 tapestry needle and Perle key, work the remain in g sheep in the emb roidery yo urself (see Finishing

cotton, threading the couching thread same way. Techniques, page 83). Alternatively, ask
through to the back of the fabric. 8 For the background, darn small a professional framer to stretch, mount

Switc h to the crewel needle and, using areas using a single strand of stranded and frame it under glass for you.

(Enlarge this template by 190%)

48
 C o 11 t e 111 p o r a r y B l a c k w <> r k I I

T HR EAD KEY

Front sheep (sitting) Front sheep (standing) Centre sheep (left) Centre sheep Rear sheep

Body 1 strand Coton 1 strand Coton 1 strand stranded 1 strand stranded 1 strand stranded
a broder, 3 1 0 a broder, 3 1 0 cotton, - H 3 cotton, 413 cotton, 414

Outline 1 strand Cotton Perle, 1 strand Cotton Perle,

on horns 310, couching stitch 310, couching stitch

Shading 1 strand stranded 1 strand stranded

on horns cotton, 310, backstitch cotton, 310, backstitch

Face, ears, 2 strands stranded 2 strands stranded 2 strands stranded 2 strands stranded
nose cotton, 310, cross-stitch cotton, 310, cross-stitch cotton, 310, cotton of both 310
cross-stitch & 413, cross-stitch

Legs 2 strands scranded

cotton, 310, cross-stitch

Shading on 1 strand stranded 2 strands stranded 2 strand stranded

legs cotton, 310, backstitch cotton, 413, cotton, 413,
cross-stitch cross-stitch

Outline on 1 strand Coton

top of head a broder, 310, backstitch

Outline, 1 strand
back leg Coton a broder,
310, couching stitch

Shading below 1 strand stranded

head cotton, 310

Head 2 strands
stranded cotton,
413, cross-stitch

S T I T C H K E Y

1 2 3 4

49
 -
..

.
-

B l a c k w o rk p a t t e r n s c a n s o m e t i m es fo r m a

b a c kgro u n d t o a n o u t l i n e d s h ap e to g re a t effe c t

t h i s is c a l l e d m a k i ng a n ega t i ve i m ag e . Th e

d e s ig n s i n t h i s c h ap te r offe r t h e e m b ro i d e r e r t h re e

-
d iffe re n t i n t e rp r e t a t i o n s of t h is t e c h n iq u e :

a g e o m e t r i c d e s ig n o n a c u s h i o n , a C h a rles R e n n i e

Mack i n t o s h - s ty l e r o s e d e s ig n o n a p la c e m a t a n d

n ap k i n , a n d a w a l l p a n e l of a Tu d o r m a n o r.
B l a c k w o r k

IS LAMIC CUS H ION

•
••
•••

Geometric a n d a ra b e s q u e p a tt e r n s fo u n d i n Islamic a n d Sp a n ish a rc h i tectu re h a v e a s t r o ng

h is t o r ica l co n n ecti o n to Eng l i s h b lack w o rk a n d co n ti n u e to i nfl u e nce co n temp o ra ry
emb r o i d e ry. This d e s ig n is i n sp i re d b y t h e b e a u t ifu l fre tw o r k d e s ig n s s uch a s t h o s e fe a tu re d
i n t h e A l h am b ra i n G ra n a d a . The s t a r m o t if, i n t r ica te p a t t e rn s a n d h ig h ligh ts of co l o u r
comb i n e t o fo rm a s t r i k i ng w h o l e w h ich is a d ap t a b l e t o o th e r i tems i n y o u r h o m e .

SKILL LEVEL I

DESIGN SIZE

C U S H I O N SIZE 1 7 X 1 7 1 N ( 4 3 1 X 43 1 M M )

STITCH C O U N T

1 32 x 1 32

M A T E R I A L S

Navy, 14 count Zweigart Aida (589),

18 x 18 in (459 x 459mm)

Furnishing fabric in a co-ordinating

colour, 18 x !Sin (459 x 459rnm)

Size 24 and 26 tapestry needles

Hand-held rectangular frame,

12 x 24in (300 x 600mm)

Tacking cotton

Threads as listed in the key

W O R K I N G THE D E S I G N backstitch using a single thickness of edge of the embroidery, ensuring that

1 To centre the design on the fabric, Coton a broder and then fill in the the centre of this square matches

fold it in half and tack along its blackwork patterns. exactly the centre of the embroidery.

length. Fold in half again the other 4 Once you have completed the This square marks the shape of

way and repeat. embroidery, check for mistakes and the finished cushion and acts as a

2 Mount the fabric onto the frame loose ends and remove the tacking. stitching guide.

(see Basic Techniques, page 14). S Remove from the frame and press 7 Having completed the above, you

3 Following the chart carefully, work (see Finishing Techniques, page 83). are now ready to make up your piece

outwards from the centre of the fabric. 6 Tack a square measuring 1 7 x 17in of embroidery as a cushion (see

First stitch all the outlines in (431 x 43 1 mm) around the outside Finishing Techniques, page 86).

52
 N e g a t i v e I m a g e s

COLO U R KEY

DMC Coton DMC

a broder Stranded Size Amount Strands for backstitch Strands for blackwork

Blanc 16 1 skein 1 1

Blanc 2 skeins

995 1 skein 1

�: each square on the chart represents one block of the fabric.

53
B I a < k 111 o r k

MACKINTOS H TAB LE LINEN

•
••
•••

C h a rles R e n n ie l\lla c k i n t o s h was a n exp o n e n t of t h e A r t To u ve a u m o vem e n t a n d h is

d i s t i n c t i ve s t y l e re m a i n s p op u la r t o day. The d e s ig n fo r t h is s e t of c o - o r d i n a t i ng p l a c e m a t
a n d n ap k i n i s b a s e d up o n Ma c k i n t o s h 's c l assic r o s e m o t if The c o l o u r s c h e m e of p i n k , grey
a n d w h i te is a l s o typ i c a l of Ma c k i n t o s h a l t h o ug h , 1f y o u p refe r, you m ig h t l i k e to
exp e r i m e n t with a l te r n a t ive colo u rs to create s o m e t h ing d iffe re n t .

SKILL LEVE L 2
WORKING THE DESIGN stitch your thread ends as securely as

D E S I G N S IZ E
1 The design for this place mat is you can.
small eno ugh for you to work in the 4 Fill in th e blackwork pattern to the
PLACE MAT 1 'h X 67'1.IN

hand. Begin the design by stitching background, paying attention to the

(44 X 1 7 6 M M )

N A P K I N 1 % X t 'le ! N ( 4 2 X 4 2 M M )
the four large squares in dark grey tension in your stitches: a tight stitch
stranded cotton at the base of the will distort the fabric.
STITCH COUNT

design and, once complete d, work 5 Once you have completed the
PLACE MAT 24 X 97

your way up until you reach the rose embroidery, check for mis takes and
NAPKIN 23 X 23

motif an d the leaves. loose ends. Gently press (see Finishing

2 Couch the rose and leaves (see Basic Techniques, page 83).
Techniques, page 17) using the size 20 6 Now work the napkin.You will, by
M A T E R I A L S
tapestry needle for the couching thread. now, be familiar with the design and it
White place mat and napkin
3 Yo ur table linen will n eed to be is simply a matter of translating one
with Aida panels
frequently washed, so it is advisable to element to a smaller area.
Size 20 and 26 tapestry needles

Threads as listed in the key

54
 N e g a t i v e I m a g e s

"' ..

I I r n r-. n n r r1 o r1 r:i r I I r n n u r_1 1 [J l"'l 1"'1 1"'1 -- COLO U R KEY

4--H- + n ,. n n-n · ., I I l.J I I LI l LI LI L.J LI l LI L.J f"'I Ll l
f_U- 1.. I�...... n n-r
''
I I .
..,,,...
�u I DMC Amount
1-H I I n t" oi,6rf
�,\',---. [ LI [ --.�
,,
,.,,,
'"'
''
• Stranded

-'1� .
I I
I I ' I II I l
I - I ' 'I 317 1 skein
I nr � . . ' � I I -""' -- �
__ -- I
�I-I
r �

11 I I I_ I., Il
µ I
�\: ." 961 1 skein
· --

n ,.\-�
- -.... � n ,. - '"' --(-� .
�. I
-

_, � /---- / _ I "-.-" - ,, II �, •
. I
II r n I I l k:
--
ILJ l:t J 3799 1 skein
.... I.I
I I r LI LI l LI l LI - _.__, LI I.
,,;/' -
--

I I M II . I I --'-� I I I �I I I -- -
NB: each square on the
1 1-i [�n r -. n --. --,.-- I I .I • uu I
+-----
chart represents one block
'
I
rY--
. .
.... -
71'
- --- "" of the Aida panel.
- - -
... .I.
-
- ux -- .

I I l_l_I I l -n 1 . I
11I �n r OJll!'- -· ---
.... ...
., ., ,...
I-I- .... - � . --
- I '
,_
10 I
1-tt- "- • u_ Q M M 1
' I [
-- - -

I I -

!-+ L l.J' .... .

' I
'
. . . . -- - ---- -
.... I '
...
I
- .
I� � . .
I I 11 I. • I.I I �
--

l-J--1.u,, .n ,. 1 --n
� ..,
i-i- --

' ., � � ..."-
__

I I
-- . --
"" II
4 I : 131.,, ,
,
I
�

I. u
' �
--

I I I I 11 11 --- · ·- -- -

- r� -n --, • u u-0-0- 1..

--'-----

I
- --
I
· ---

I I 1-n-r --
n�o-o u '- -+ -
I • --, I - Q:: Q_ l"'l 1"'1 1
I 1 .. : +t-• . . I
I I I
--
I I
I . . . . .. 1:1 I
..
I 1--1 I I
U I.
H fU . .
--

I I
--
r-. 1 o o n • 11 • -+- •
11
I
..
--. 1 1
. .
I - __. .
LI l - --
11 , U I.
. . .
I n r .--. 1 1 . 1 1 ---
I
- ·-
.
n 1 I I I I 11
--

..
-- -- .
· +��
nr 0 0 1 . I 11 I.
I
I I I u o· n I 11 L
-
·
..
.-
n 1 1 1 11 -n . I
.. . . •1
. . . . l:I . [
11 I . I I
I . . . .. .. 1 • . I --
· -
·
-
-- .
1 1 I
I
I
--
I I . -- - -- -

I
-+-- I 11
.
I I .: -- -

I
�
.

T H R E A D KEY

Outline Dark Grey blocks Blackwork background pattern Pink infill

1 thickness (6 strands) 2 strands stranded cotton 1 strand stranded cotton, 317 2 strands, stranded
stranded cotton, 3799, 3799, backstitch cotton, 961
stitched down with 1 strand

55
B l a c k 111 o r k

TU D OR MANOR WALL PANEL

•
••
•••

Th is d e s ig n is b a s e d up o n a t i m b e red Tu d o r b u i l d i ng, b e a u t ifu l e x a mp les of w h i c h s t i l l

e x i s t . A p a r t fro m a few s i mp le p a t te r n s w h i c h e m u l a t e t h e decora t i o n c h a ra c t e r i s t i c of t h e s e
b u i l d i ngs, I h a ve n o t o v e r - w o r k e d t h e m to p r o v i de con t ra s t w i t h t h e m o re c o mp lex, freely
s t i t c h e d b l a c k wo r k p a t t erns w h i c h fo r m t h e l a n dscape.

SKILL LEVEL 3
WORKING THE DESIGN building and the blackwork patterns

DESIGN SIZE
1 Find the centre of the fabric by for the landscape. If necessary, work
folding into four and marking it ·with some compensation or partial stitches
1 27/•< X 67/olN (3 1 4 X 1 76 M M )

a pin. To find the centre of the chart, (see Basic Techniques, page 19).
STITCH C O U N T

count the squares and pencil a cross. 4 Once you have completed this,
1 73 x 97
2 Mount the fabric onto the frame check for mistakes and loose ends. If
(see Basic Techniques, page 1 4) . As you necessary, clean any soiled areas and
work, ensure that the fabric is pulled press your work (see Finishing
M A T E R I A L S
completely taut. techniques, page 83).
White, 28 count Zweigart Brittney,
3 Working outwards from the centre, 5 You may wish to stretch and mount
15 x 1 1 in (380 x 279nun)
begin to stitch the design. Complete your work (see Finishing Techniques,
Size 26 tapestry needle
the building, using 1 thickness of page 83). Alternatively, if you are not
Hand-held rectangular frame,
Coton a broder, before any other comfortable with the task, ask a
1 2 x 1 5in (300 x 376nun)
section of the piece - it will act as a professional framer to stretch, mount
Threads as listed in the key
stitching guide for the panerns on the and frame it under glass for you.

56
 N e g a t i v e I 111 a ,� e

i
.j
1
.1
·

COLOUR KEY

DMC DMC Coton Strands for Strands for Strands for

Stranded a broder Size Amount blackwork backstitch pattern darning

310 r
-:> skein 1 thickness

355 skein

926 skein

832 skein

830 skein

937 ske in

935 skein

3816 skein

991 skein

NB: One square on the chart represents 2 x 2 threads of the fabric.

57
B l a c k w o r k

58
I\T e g a t i " e I m a g e s

59
 C H A P T E R F I V E

•
• •
• • •

EX P ER I MENTI NG

W I TH COLOUR

In t h is c h ap t e r I u s e c o l o u re d fa b r i cs a n d sp a c e - dy e d

t h re a ds t o e n h a n c e o u r w o rk . I t h i n k y o u w i l l

ag ree t h a t t h e y rea lly l ift t h e d e s ig n s .

I a m i n sp i re d b y t h e m y t h i c cre a tu res a n d s y m b o ls

fo u n d i n C e l t i c fo l k l o re a n d t h es e p rojects offe r t h e

p e rfec t opp o r t u n i t y t o e xp e r i m e n t w i t h b o t h c o l o u r

a n d p a t t e rn i n a c o n temp o ra ry w a y.
B l a c k w o r k

CELTI C K NOT LAV END ER B AG S

•
••
•••

Th e c e l t i c k n o t m o t if u s e d i n t h i s d e s ig n is a t r u e c l a s s i c . I h a v e w o r k e d t h e d e s ig n i n fo u r

d iffe r e n t , b u t c o mp le m e n t a ry, n a t u ra l c o l o u rs a n d h a v e a ls o u s e d d iffe r e n t t o n e s of t h e s a m e

c o l o u r t o g i v e t h e d e s ig n a s t ro ng s e n s e of fo rm . T h i s d e s ig n w o u l d a d ap t w e l l t o o th e r i t e m s

i n y o u r h o m e - p e r h a p s o n a c u s h i o n c o v e r, o r as a m o t if o n a p la i n s h i r t o r b l o u s e .

SKILL LEVEL I
WORKING THE DESIGN 4 Check fo r any mistakes and loose

DESIGN SIZE
1 Fold one o f the two pieces of ends. If necessary, clean your work

identical fabric in half along its length. then gently press (see Finishing
3 X 31N (76 X 76MM)

Measure a point 2Yiin (64mm) from Techniques, page 83).

STITCH C O U N T 42 X 4 2

one end and mark with a pin. This 5 Now make up the lavender bag.

gives you the position for the centre Place the two pieces of fabric together

of the knot symbol. Following the with your embroidery facing in and
M A T E R I A L S
chart, count outwards until you reach stitch a Yiin (6mm) seam along one
Light blue, forget-me-not blue, wood
the outline of the design where you long side of the bag. Open out and
violet and blue wing,
can begin to stitch. turn a small hem along the top edge
28 count Jobclan,

two pieces of each, 5 x 7in 2 Backstitch along the outline of the of the bag and stitch in place.
(126 x 1751111)11
knot symbol. 6 With right sides facing again, stitch
Size 26 tapestry needle
3 Fill in the light and dark pattern the remaining long side and bottom.

Blue mist, jade, light orchid and aqua sections. You may need to work 7 Turn out once more and fill ·with
3m111 double-face satin ribbon,
compensation or partial stitches (see dried lavender. Tie the neck with co­
1yd (1m)
Basic Techniques, page 1 9) . ordinating ribbon.
Dried lavender

Threads as listed in the key

62
 E x p e r i 111 e 11 t i 11 g 111 i t Ii C o I o u r

COLO UR KEY

DMC Strands for Strands Strands for

Stranded backstitch (outline) for shadow b ackstitch (pattern) Amount

796 2 1 skein

798 1 skein

799 1 1 skein

550 2 1 skein

208 1 1 skein

3812 2 1 skein

958 1 skein

959 1 1 skein

924 2 1 skein

3768 1 1 skein

747 1 1 skein

::-n3: one square on the chart represents 2 x 2 threads of the fabric.

63
B l a c k w o r k

CELTIC HOUND CURTAIN TIE- BACK

•
••
•••

Th e desig n o n t h is s t r i k ing t i e - b a c k fea t u res two h o u n ds w h o s e b o d ies a re i n t e r t w i n e d . Th e

h o u n d is a co m m o n fe a t u re of C e l t ic m y t h , repres e n t i ng h u n ting, h e a l i ng a n d p ro te c t i o n a n d c a n

b e s e e n in 111 a 1 1 y e x a mp les of s u r v i v i ng C e l t ic 111 a 11 11scripts. Th e c e n t r a l s e c t i o n of e a c h h o u n d i s

w o rk e d i n a sp ace- dyed t h re a d u s i ng a s i mple b l a ck work p a t t e rn a n d t i n y a reas of g o l d t h re a d to

h ig h l ig /1 t t h e i r eyes. These c u r i o u s cre a t u res UJ 0 1 1 / d l o o k s t 1 1 1 1 n ing w o r k e d o l ! t o t h e l i d of a

w o o d e n b o x o r a w s h i o n cover, p e rh ap s UJ i t h a b o rder of g o l d 111 e t a l l ic t h re a d .

SKILL LEVEL 2
WORKING THE DESIGN and paying attention to the
Mount the fabric onto th e frame alteration in direction of stitches in
DESIGN SIZE

4 X 2 9 1 N ( 1 02 X 7 3 5 M M )
(see Basic Techniques, page 1 4) . the middle section of the hounds
2 Beginning 3in (76mm) from one (see detail, over), work the bodies.
COMPLETE TIE-BACK

end, work the hounds in cross-stitch, 3 Work three repeats in total,

5 X 331N ( 1 27 X 6 3 7 M M J

ensur ing that they are centred on leavmg four complete rows of blocks
STITCH COUNT ( O N E U N IT)

the fabric. Following the stitch key, between repeats.

131 x 56

M A T E R I A L S

Oatmeal 1 4 count Zweigart Yorkshire

Aida (54), 6 x 35in (152 x 8901111)11

Co-ordinating cotton furnishing fabric,

6 x 35in ( 152 x 890mm)

Pdform stiffening, 4X x 33in

(117 x 837mm)

Size 24 tapestry needle

Hand-held rectangular frame,

6 x 12in ( 1 50 x 300nm1)

Two small brass rings

Threads as listed in the key

64
E x p e r i 111 e 11 t i 11 g w i t h c 0 l 0 11 ,.

{Enlaige this template by 1 60%)

65
B l a c k 111 o r k

4 Use rhe metallic thread to work you reach the ocher end. Press into
S T I T C H K E Y
the eyes of the hounds. place. Trim the surplus fabric to �in

5 C he c k for any mistakes and loose ( 1 2mm) around each of the poims.

ends, then remove from the frame. 10 Remove the backing from the

6 If necessary, clean any marks and top side of the Pelform and turn the

then press your work (see Finishing surplus fabric onto the adhesiYe

Techniques, page 83). surface, mitring the corners where it 1

7 Mitre the ends o f rhe Pelform 1s necessary.

stiffening and check its length against 1 1 Place the lining fabric face

that of the tie-back. It should project down and centre the stiffened tie­

a good 2in (5 1 mm) beyond each end back on top o f it. Press into place.

of the embroidery. Trim the surplus fabric to !/iin

8 Lay the embroidery face down on (12mm). Turn under this small hem

a clean surface and, ensuring that it is and slip stitch the two pieces of

centred, place the Pelform stiffening fabric together.

on top. Peel off a sec tion of backing 12 Sew a small brass ring onto each

paper, position the poinr and align end of the reverse side of the tie­

the strip with the fabric weave. back so that you can hang it neatly

9 Conrinue to peel off the backing around your curtain - you can nmY

and position it a little at a time until mounr ir into position.

COLOUR KEY

DMC DMC Caron Amount Strands Strands Strands

Stranded Metallic Wildflowers for blackwork for cross stitch for the eyes
Floss

701 3 skeins 2

996 3 skeins 2

699 2 skeins 2

824 2 skeins 2

Gold/ Or 1 skein 2

Royal Jewels 1 skein

NB: one square on the chart represents one block of the fabric and one cross stitch.

66
 E x p e r i 111 e 11 r i 11 1. 111 i r lr C o l o u r

CELTI C K NOT TRAY

•
••
•••

Insp ired b y t h e s y m m e t r i c a l p la n t i ng of t r a d i t i o n a l Tu d o r k 1 1 o t g a r d eu s, I h a ve w o r k e d t h is
d e s ig n s o t h a t a b a n d of b l a c k w o r k fo rms a p a t h b e tw e e n two rows of i n t e r l a c i ng k n o ts . I
h a ve b o r r o w e d fro m t h e c o l o u rs of t h e h e rb g a rd e n - s ag e ,� r e e 11 , l a v en d e r b l u e a n d allium

p i n k - t o fi l l i11 b e tw e e n t h e k n o t s y m b o ls a 11 d s ti t c h e d b e a ds t o a dd sp a rk l e . I t w o 1 1 l d b e
e q u a l ly s a t isfy ing t o rep ro d u c e t h is d e s ig n a s a fo o t res t, o r, b y s e l ec t i ng o n e k n o t o n ly, to
w o rk a p re t t y top to y o 1 1 r p i n rn s h i o n .

SKILi I !o:VEL 3
WORKING THE DESIGN Basic Techniques, page 13).

D E S I G N SIZE
Using th e templa te (Fig 37), trace 3 Following the stitch key, first work
the design onto the tissue paper. the central pathway, aligning the

2 Ensuring that the design is straight edge of the chart with the two
centred, transfer it onto the fabric (see end knot units and working the

M A T E R I A L S

Twilight blue, 28 c�unt Fabric

Flair Minster linen, 20 x 16in
(510 x 400nun)

Size 20 and 26 tapestry needles

Size I 0 crewel or beading needle

l packet mauve beads

Hand-held rectangular frame,

12 x 18in (300 x 459mm)

Tacking cotton in
contrasting colours

Good quality white tissue paper

Tray blank

Threads as listed in the key

67
B I a c k 11• o r k

r - - - - -,

1
I
L _ _ _ .J

(Enlm;ge this re111plate by 1 60%)

68
 E x p e r i 111 e 11 1 i 11 g w i t h C o / 0 11 r

pattern centrally over the centre 7 Using a co-ordinating thread, add

S T I T C H K E Y
tacked row. Continue \\"ith the pattern
until you reach a row level with the
last two knot motifs. Finish the pattern
on this line to match
2
the beginning of the pathway.
4 Following the tacked lines
carefully, couch the knot shapes, using
the darker thread for the inner line of
3 4
each band and the lighter for the
the mauve beads to the small motifS.
8 Once completed, check for any
mistakes and loose ends and remove
any tacking which may still be visible
on the work. (The tacking used to
outline the knot motifs will now be
disguised by the couching, so you
needn't remo,·e it.)
9 Remove the embroidery from the

g
outer line. frame and press gently (see Finishing
5 Use the size 20 tapestry needle to Techniques, page 83).
5 6 take the couching thread through to 1 0 You may wish to stretch the
•••••• the back of the fabric, and stitch in embroidery yourself (see Finishing
• •• • • •
. . ,. . . . place with one strand of 1natching Techniques, page 83), using the board
. .,. . ..... .
....
··�···
. stranded cotton. Secure in place on supplied with the tray.
7 8 the back \\·ith one or t\YO small 1 1 To insert the stretched embroidery

••
stitches, ensuring that they are not into the tray, follow the instructions
visible on the front of the work. supplied by the manufacturer, but
6 Fill in between the outlines with omit the oval cut-out. If you arc using
9 10 the patterns, using compensation or a different tray, perhaps one you have

• rn
partial stitches where necessary. Check
the chart, stitch and colour key to
guide which pattern and colour thread
11 12
and how many strands of each ro use.
picked up or already own, follow the
instructions given for mounting a
piece of work (sec Finishing
Techniques, page 83).

COLOUR KEY

DMC DMC Soft Strands for Stitch key Strands for Strands for
Stranded Embroidery Amount blackwork references couching stitching down
3768 1 skein

2926 1 skein 1 thickness

2924 1 skein 1 thickness

553 1 skein 2/1 1

3350 1 skein 3/10

924 1 skein 1 1

327 1 skein 2/8/ 1 1

315 1 skein 1 3171 1 0

469 1 skein 2 12

333 l skein 4/9

3740 1 skein 2 5

791 1 skein 4/6/9

NB: one square on the chart represents 2 x 2 threads of the fabric.

69
 C H A P T E R S I X

•
• •
• • •

US ING ACCES S ORIES

In t h is fi n a l p r oj e c t c h ap t e r I u s e a cc es s o r i es

c h a r m s ) b e a ds a n d m e t a l t h re a ds - t o r e a l ly l ift t h e

des ig n s . D o n 't b e afra i d t o b e b o l d w i t h t h e m ;

t h e r e a re m a n y d iffe r e n t k i n ds of acces s o ry t o c h o o s e

fro m a n d n o t o n ly d o t h e y a d d i n t e res t t o y o u r w o rk ,

t h e y a re a n i m m e n s e a m o u n t of fu n .
B l a c k w o r k

H ONEY B EES LID D ED J ARS

•
••
•••

Th is design is inspired by the m o s t i n d u s t r i o u s of wo rkers, the b e e . In deed, the bee a n d t h e

em b r o i d e re r h a ve m u c h i n co m m o n - b o t h p ro d u ce s t r i k i ng designs to create s o m e t h i ng fu n c t i o n a l

y e t b e a 1 1 t 1j11 l . To h o n o u r t h is c o n 11ecti o 1 1 , I h a ve a d d e d m e t a l t h r e a d to a fo rm a l p a ttern of

h o n eyco m b a n d c l o ve r t o decorate t h e larger of t h e t w o p o rc e l a i n b o wls a n d a dd e d a p re t t y g i l t

b e e t o complete t h e effe c t . Yo u m a y w i s h to e x t e n d t h e t h e m e a n d w o rk t h e spray of c l o v e r o n to a

h a n dk e rc h i ef o r as a greetings card, perhaps rn bs t i t 1 1 ti11g t h e bee w i t h a l i t t l e g i l t b u tterfly.

SKILL LEVEL 1

DESIGN S I Z E ( S MALL BOWL)

' '
1 h X 1 /, IN (30 X 3 0 M M )

S T I T C H COUNT

34 x 33

M A T E R I A L S

White, 28 coum Zwcigart Jubilee,

6 x 6in (153 x 133mm)

Lightweight iron-on Vilene,

'
4 x 4in (102 x 102mm)

Embroidery hoop,
4in (l OOmm) in diameter

Size 26 tapestry needle

Pack of charms

Soft green porcelain lidded jar

Threads as listed in the key

72
 U s i n g A c c e s s o r e s

I
I
I I
I I I
I I
/ ""'- / ""'-
I I / """'- ""'-I-' /""'" ""'- I
I ,........,,,,.- ....... �....,,,,.- ....... I I
I I I I I I I I
I I I I I I
I I I I I I I
I I ..'fl" ,...... / "' ....... � "'... I
I A' ,,""'- ""'-/ /'""'" ""'" ,, """'" ""'- I I
..-...-- ....... ---·� "' ..-:.-- ""' I I I
I I I I I
I I I I I I
I I I I I I
..,...I I I'� jl ""'" .... .. / ,...... " "X I I I
" )r""'" ""'",, ,,""'" ""'",,, ,, ""'" ""'",, ,, ""'" ""'1 I
... ...,,, """ ,..-r-
� ....... ---·� ' ... :.-- ....... I I
I I I I I I
I
�
r'
'
I I I I I I I I I
I I I I I I I I I I I I
""""'"
"""' " .... ...... � ,...... "' :"'lo.. jl j I I
....... ""'"" ,, ""'" """'ro..:,, /'""""' """'ro./.: """'- ""'"" /
""'- ---·� """' ,.... :.-- "' ,..-·� """ ...-!"' I
I I I I I I I
I I I I I I I I
I I I I I I
L I "':"'Ill... / '� � ""'"""" " I
i""'ro.. ....... ,, ,,""'" ""'",,, ,,""'" ""'"" / I
I """" �:..tf""' ....... �� .....,... ,......
. I
I I I I I I I I I I I
I I I I I I I I I
I I I I I I I
I ,...... / ""'"
...... j I
I ""'" """'ri.-' .: I ,,IX. ""'-" / I I I
I I ,..,.,.._ I ""'I"' ""'- ,, I
I I I I
-·

I I I I I
I I I .. I

WORKI NG THE DESIGN hoop, ensuring that the weave is Finishing Techniques, page 83) .
1 To find the centre of the fabric, fold straight in both directions and that the 5 Centre the iron-on Vilene over the
. : into four and mark it with a pin. To fabric is completely taut . back of the embroidered area of the
:ind the centre of the charted area, 3 Working from the centre of the fabric and gently press with the iron.
:::ount the squares on the design. Pencil chart, begin to work the design using 6 Sew the bee charm onto your
:he centre of the chart with a cross. backstitch or double running stitch. embroidery.
2 For this design it is best to use an 4 Once you have completed the 7 Following the instructions supplied
embroidery hoop to work the embroidery, check for mistakes and with the jar, discard the acetate and
embroidery. Insert the fabric into the loose threads then gently press (see trim the embroidery to fit the lid.

COLO UR KEY

DMC Stranded Amount Strands for backstitch

310 1 skein

317 1 skein 1

NB: each square on the chart represents 2 x 2 threads of the fabric.

73
B l a c k 111 o r k

S K I LL LEVEL 2

D E S I G N S I Z E ( LA R G E B O W L )

STITCH COUNT

86 x 8 7

MATERIALS

Wrute, 28 count Zweigart Jubilee,

8 x Sin (204 x 204mm)

Light-weight iron-on Vilene,

6 x 6in ( 1 53 x 1 53mm)

Embroidery hoop,
6in (150mm) i n diameter

Size 26 tapestry needle

Pack of charms

Soft green porcelain lidded jar

WORKI NG THE DESIGN backstitch o r double running stitch.
Threads as listed in the key
1 To find the centre of the fabric, fold 4 Once you have completed the

it into four and mark it with a pin. To embroidery, check for mistakes and

find the centre of the charted area, loose threads then gently press (see

count the squares on the design. Pencil Finishing Techniques, page 83) .
the centre of the chart with a cross. 5 C entre the iron-on Vilene over the

2 Insert the fabric into the back of the embroidersd area and

embroidery hoop, ensuring that the gently iron.

weave is straight in both directions. 6 Sew o n the bee charm.

3 Count outwards from the centre of 7 Following the instructions supplied

the chart to the nearest stitch and with the bowl, discard the acetate and

begin to work the design, using trim the embroidery to fit the lid.

COLO U R KEY

DMC Stranded Amount Strands for Strands for Strands for Strands for
backsritch backstitch backstitch markings
(honeycomb) (clover outline) (clover flowers) on leaves

310 skein 1 2

317 1 skein 1

Or/Gold 1 skein 1

NB : each square on the chart represents 2 x 2 threads of the fabric.

74
 U s i n g A c c e s s o r i e s

-------t -

-----+-----+--

!-----+---- --

'
I
-�-+------1'- "
_._
-,... _ ,,, l- Hll!�Yi1 I 11·\1 I ;
.· .
__ •
1
• 1 -�� I '1
: :
-------n-;- - '-..- l/'1- • 1
1 1 \I I I :I I I I\I � ��. � --
- 7'1-
-' - 1-\
•
�, -
I
- --- � ,
--+---��
, --+-'�1-�- /•-
J - -
,, - --r-----+-----�-�
-t--- �i.::--' -:1'1- - -
-- -- ----"- --t-------+--1�� -
� --11----

-=rr- --- -- ----+-----+-

- -------+---+-
--o-1------
... ------+----+---�- � -

75
B l a c k w o r k

B OX LID
•
••
•••

T h i s d e s ig n is b a s e d up o n a fl o o r t i l e . It u s e s a va r i e t y of a t t ra c t i v e e l e m rn ts - m e t a l li c

t h re a ds a n d e y e - c a t c h i 1tg b e a ds - w h i c h w i l l i n s p i r e y o u t o i n. c o rp o ra te a c c e s s o r i e s i n t o y o u r

o w n d e s ig n s . If y o u w i s h , s u b s t i t u te t h e r i c h Vic t o r i a n r e d c o l o u r s c h e m e fo r y o u r o w n

s u m m e r y p a s te l s h a des w i t h p a t t e rn s w o r k e d i n a c o n t ra s t i ng t o / l e w o u ld g i v e

y o u r w o r k a co n t e mp o ra ry l o o k .

SKILL LEVEL 2

D E S I G N SIZE

4 1/z X 4 1/zl N ( 1 1 5 X I 1 5 M M )

STITCH COUNT

66 x 66

M A T E R I A L S

Victorian Red, 28 count Zweigart

Brittney, 8 x Sin (204 x 204mm)

Hand-held rectangular frame,

6 x l2in ( 1 5 0 x 300mm)

Size 26 tapestry needle

Beading needle

Wooden box blank with a 5 x Sin

(128 x 1281111)11 cut-Out n
i the lid

Piece of stiff card, 4Ji x -IMin

( 1 25 x l25nm1)

Black, grey and

antique silver beads

Threads as listed in the key COLOUR KEY

DMC Scranded DMC Mecallic Amoum

5200 1 skein

Siln:r/Argent 1 skein

3799 1 skein

318 1 skein

310 I skein

NB: each square on the chart represents 2 x 2 threads of the fabric.

76
 U s i 11 g A c c e s s o r i e s

WORKING THE DESIGN
1 To find the centre of the fabric, fold
it into four and mark it with a pin. To
find the centre of the charted area,
count the squares on the design. Pencil
che centre of the chart with a cross.
2 Mount the fabric in the frame,
ensuring that it has an even tension.
3 Working outwards from the centre
of the chart, stitch the central motif
(but do not add the beads) .
4 Using the appropriate stitches and
threads (see charts) , work the outlines
of the oblong shapes.
5 Once you have completed this, use
the outlines to guide your stitches for
the borders and motifs .
6 Consulting the chart and using the
co-ordinating dark grey, pale grey and
black threads, attach the beads.
7 Check your vvork for loose ends
and remove from the frame. Press
gently (see Finishing Techniques,
page 83) .
8 You can now mount your work
into the top of the wooden box (see
Finishing Techniques, page 83) .

THREAD KEY

Central square and Cross-stitch in Motifs and Inner edge of All other lines
four projecting arms outer border pattern borders larger rectangle

1 strand mecallic thread, 1 strand metallic thread 1 strand stranded 2 strands stranded 2 strands stranded
chain stitch cotton, 5200, cotton, 5200, whipped cotton, 5200,
backstitch backstitch backstitch

77
B l a c k 111 o r k

CH ES S B OAR D
•
••
•••

Fo r t h is d e s ig n , rep e a t i ng p a t t e r n s h a v e a fu 1u t i o 1 1 a l a s w e l l a s d e c o r a t i v e u s e . I h a v e

w o r k e d a va r i e t y of p a t t e rn s i 1 1 h e r r i ng b o n e s t i t c h i n a n u n u s u a l a n d , I h op e , s t r i k ing

i n t e rp re t a t i o n of t h e c h e ss b o a rd d e s iJ;11 . O n c e c o 111p l e t e d , I am c e r t a i n it w i l l p ro v i d e y o u r

fri e n ds a n d fa m i ly w i t h h o 11 rs of p l e a rn r e ! If, h o w e ve r, y o u d o n o t h a v e a c h e s s -p l a y e r

a m o ng y o u r a cq u a i n ta n ces, t h is d e s ig n w o u l d w o r k e q u a l l y w e l l as a

c u s h i o n co v e r, p e r h ap s w i t h g o l d a n d s i l v e r t a s s e l s .

SKILL LEVEL 3
WORKING THE DESIGN 6 Now work the lines of herringbone

D E S I G N SIZE
1 Fold the fabric i n half and tack a stitch. Metallic thread has a tendency
line of stitches along this fold. At right to slip out of the eye of the needle

STITCH COUNT
angles to this first row, fold and tack a while you work. To help prevenc chis,
row of stitches in the ocher direction. rather than work with two strands of
220 x 220

2 Consulting the chessboard charc, metallic thread, use a longer single

continue co tack further rows on each
side of the cencre fold, leaving 28
M A T E R I A L S
blocks between each until you have
19!h. x 19!h.in (495 x 495mm) Zweigan
ninelines in each direction.
14 count Aida (323)
3 Mount the fabric onto che frame
Hand-held rectangular frame,
(see Basic Techniques, page 1 4). Roll
1 2 x 24in (300 x 600111111)
the fabric on so that the first row of
Size 26 tapestry needle
squares is visible and begin to stitch at
Tacking cotton
chis point.
Threads as listed in the key
4 Working in backstitch with two
strands of black stranded thread, stitch
a square twenty-four blocks in size in
the centre of each tacked square.
5 Consulting the chart, fill in the first
row of squares \Yith the appropriate
blackwork patterns and borders. Work
each row until the design is complete.
strand of metallic thread, doubled.
7 Once you have completed the
embroidery, remove all tacking
stitches, check your work for loose
ends and remove from the frame then
press gently (see Finishing Techniques,
page 83).
8 You may wish to stretch the
embroidery and mount it onto the
board yourself (see Fin ishing
Techniques, page 83). Alternatively,
take it to a professional framer and ask
to have it screeched, mounted and
framed under glass. Please note,
however, that the framer should allow
clearance so chat che glass is noc in
contact with the embroidery.

78
l" s i 11 ,� A c c e s s o r i e s

79
 B l a c k w o r k

(For a co111plete chessboard, repeat this tell1plate as a mirror ill1age. If necessary; please refer to the photograph, page 79.)

80
 U s i 11 g A c c e s s o r i e s

----

JT�

� � '7"\. � - ..--) I " ...,.) - � �.,,�� � 1f., )

t iE��
Et>�
:'V:� -�1-H-�
---)Oi('-�
- ',..,. ,. I
rT"1" ::Ky
t-- x]II[
.&. DJ t I I1"'-
U 1 �� _i:-::..
-�,_ �i=tt:��:: - '��w.�
:P::lll
�
,._ I ....
If�
'' '

::'.::(:_ .._.,- - -......i) 1'--'"-� "-L" - )()

:>< tIO :_ )OC
'"""'4- -M
O
I O:-�_,,..,.;.
-�- --+�:"x�,XX,----....
"":.. ��J:±:l :x
-�
•.�--l ) __

-----;----..r--,,- � · ------
_
_
'-----;-
- � A --------"' • '

(-- ....
-�}-- -

-� ---

I-

81
B l a c k w o r k

COLOUR KEY

DMC DMC Strands for Strands for Strands for

Stranded Metallic Amount outline of squares blackwork herringbone

310 -1- skeins 2

Gold/Or 1 skein 2

Silver/ Argent 1 skein 2

NB: each square on the chart represents one block of the fabric.

82
 F I NI S H I NG TECH NI QUES
•
••
•••

By t h e t i m e y o u reach t h is stage y o u w i l l h a v e sp e n t 111 a n y h o u rs of p a i 1 1 s t a k i11g w o rk o n a

p roject a 1 1 d , hopefu l ly, h a v e g a i 1 1 e d a 1 1 e n o r111 0 11s a m o 11 1 1 t of s a t isfa c t i o 11 fro m comp le t i ng a

b e a u t�ful piece of work . Yo u m u s t n o w fi l l i s h of

f yo u r i t e m p rope rly, clean it 1J n ecessary a n d

decide h o w y o u wish t o display i t . I t is worth sp e 1 1 di11g a l i ttle t i m e 011 t h is fin a l s t age s o t h a t

y o u e n d u p w i t h s o 11 1 e t h i 11g of wh ich y o u c a n b e t rn ly p ro u d .

CLEANING M O U N TING AND FRAMING

I f you have worked your embroidery in a frame it Unless you are an adept framer, it is advisable to have

should only require a light press. Ho\\'ever, if your your work framed by a repurnble, professional

woi:k has been soiled, immerse it in a solution of framer. However, there is no reason why you should

lukewarm water and either a mild detergent o r not mount and stretch your work yourself. Indeed, it

traditional soap flakes and swirl it gently in the is a useful and satisfying skill to learn for future

suds. Never scrub your embroidery, it will damage projects.

the stitches and distort the material. Yo ur threads

should be colomfast, but if you experience some

running (red is sometimes unstable), rinse in cold MATERIALS

water until it stops. Rinse thoroughly several times Acid-free mount board (the density should

to remove all traces of soap. Remove your relate to the size of your embroidery: larger

embroidery from the water and squeeze (not pieces will require thicker board. Alternatively,

wring) excess water out very gently before rolling use Cormount, a dense polystyrene foam

the embroidery in a towel and squeezing agam. sandwiched between two paper skins)

Press your embroidery while still damp. Craft knife

Metal ruler

PRESSING Cutting mat

To press, place the embroidery face down o n a Strong thread for lacing

soft, folded towel and place a fine, dry cloth over Round-headed pins

it. Apply the iron gently, lifting and pressing small

areas and gradually working over the whole piece.

Do not press too hard o r drag the iron across the

work as this will flatten and distort your stitches. First, decide whether you want to use wadding

Repeat as often as necessary until it is smooth and underneath your fabric to raise it slightly from the

completely dry. To press dry embroidery, use a surface of the mount board. Then decide how much

damp cloth instead of a dry one. A steam iron will of your finished work you would like to display and

not be necessary for this task. tack a provisional 'frame' onto the fabric. Mark out

83
B I a r k 11• ,, r k

Fig 38 on the board an area slightly smaller than this

T measurement. Cuc the board c are fully making

,

seYeral shallo\Y cuts rather than a single deep one.

Position the embroidery fac e down on a clean
surface and, keep in g within the racked line, place the
board on top. Beginning at the mid-point of the top
edge, inserr pins through the fabric into the edge of
the board to hold it in place. Ensuring that the fab ric
is taut, gently pull the fabric over the bottom edge
and continue to pin. Repeat on the left- and right­
hand sides. Use th e racked line to ensu re that the
grain of the fabric lies true on the board (Fig 38).
Using a long length of strong thread and \\"Orking
from the centre, lace from side to side across the
back. \Yorking stitches every inch (25111111) or so (Fig

F(� 39 39). Lea\-e a length free at the end. Complete the

T second half. then remove the pins on these two sides.

Starting from the centre, pull each thread in turn to
tighten the lacing and fasten off securely at both
ends (Fig 40). Lace th e two remaining sides together
in the same way (Fig 4 1 ) . It is not necessary to
remove the ori gi n al tacked line as it should be
disgu ise d by the frame . Your work is ready to frame.

F(� .J t

8.J
 F i 11 i Ii i 11 .� ·r e c Ii 11 i q 11 e s

MOUNTING I N TO C A R D S ro trim the edges of the fabric if they p rojec t

Card mounts are the ideal way to display smaller beyond the central area of the card. Remm·e the
pieces of blackwork and to send as gree tings to card mount, turn i t oYer and run a line of glue or
friends and family. The cards for mounting double-sided tape ab out !;.in (6111111) around the
embroi de ry are readi ly available and easy to use, with window, on the wrong side (Fig -+2). Turn the card
a fold-over section to hold the fabric neatly in over and, with the front facing you, lower it onto

position. The following instructions for mounting the embroidery. Press into place. Place the card face
blackwork onto a card applies to all sizes. down again and run a line of glue or double-sided

tape around the four edge s of the left-hand section.

Fold this over onto the back of the embro id e ry ,
M A T E R I A LS

covering i t completely and p ress firmly (Fig -+3).

Card mount

Glue or double-sided adhesive tape

Iron-on non-woven interfacing

(for larger pieces)

Small embroidered motifs need only p ressmg

before mounting, but for larger pi e ces it is advi sable
to s upp or t the back of your work with iron-on
non-woven interfacing. Place the embroidery face
up on a clean surface . . Check that th e emb ro id er y
fits comfortably withi n the frame of the card mount

by placing i t opened out on top of it.You may need

85
B l a c k w o r k

MAKING UP A C U S H I O N Tack a squ are the same size as your finishe'­

The cushion projects i n this book can b e made using cushion, ensuring that the centre of the squar,

the following tried-and-tested method. matches exactly the centre of the embroiderec

design. With right sides facing, pin the front an'­

back together. Machine or backstitch along thre.

MATERIALS sides of the cushion, plus an extra 3in (76111111) <>

Cotton fabric cut to the same size as either end of the final side. Mitre the corners �

your embroidered piece shown and trim the seam allowance to lt:.1-
Machine thread (1 2mm) (Fig 44). Turn the cushion cover right sic

Dressmaker's pins out and insert the pad. Fold under and crease th
Cushion pad very slightly larger than your seam allowance along the edges of the opening :

projected cover (for a nice, plump cushion) give a stitching guide. Using ladder stitch, sew t..

the opening. Ensure that the small stitches are

right angles to the seam. Pull gently on the thre

as you work to bring the two edges together.

Fig 4-1

86
 F i 11 i s /1 11 g Te r Ii 11 i q 11 e s

MAKING A BASIC TASSEL

Cut a piece o f cardboard the same lengch as the

desired length of the skirt of your tassel. Decide how

;iill you would like the skirt to be and \Vind as many

::hreads of stranded cotton (or other suitable thread)

as you desire around it. Loop a matching thread

i::ietween the wound threads and the edge of your

piece of cardboard, pull up tightly and tie with a

secure knot (Fig 45) . At the bottom of the

skirt, carefully cut the wound threads and remove

::he cardboard. Using marching thread, make a loop

Fig 46). Bind the threads as rightly as possible

iround the waist of the skirt and knot the ends

Fig 47). Trim the bottom of the tassel so rhat the

;:hreads are all the same length - and you ha\·e a

beautiful tassel to complement your embroidery.

Fig -16

Fig 47

87
B / ,1 c k w o r k

G E TTI NG S TARTED W I TH
Y OUR OW N D E S I G NS
•
••
•••

If y o u h a v e fo l l o w e d t h e p roj ects i 11 t h is b o o k c h ap t e r b y c h ap t e r y o u w i l l , b y l! O W, b e m o re
t h a n profi c i e n t i n a n u m b e r of tech n i q u es a n d h a ve exp e r i 111 e 1 1 t e d w i t h colo u r a n d accesso r ies
to e n h a nce y o u r work . Fo l l o w i 11g an exp e r i e n c e d e m b ro i d e re r 's desiglls is a g o o d way to
l e a r n te c h n i q u e, b u t I h o p e t h a t y o u h a ve, l i k e m e , d e ve l oped an e n t h u s i a s m fo r b l a c k w o rk
a n d b e k e e n to t r y o u t y o u r 0 11111 d e s ig11s.

ho\\' qu ickly your confidence grows.

M A T E R I A L. S Before you begin, decide what medium you
Sheets of black paper would like to work in.You do not have to use a hard
Sheets of pale-coloured p aper pencil - I like to use crayon, charc oal or chalk which
(cream, pale grey or white) enable you to pro du c e a looser, more textured m ark .
Black and white crayon or Using first a b la c k crayon on its side on a

charcoal and white chalk contrasting background colour, build up a series of

An old newspaper geometric motifa. Now use the white crayon on a
Small pieces of card, 6 x 4in dark background and repeat. Overlap some of your
(150 x 1 00nm1) marks to experiment with density of tone (Figs
Pair of scissors .+8a & b). Now arrange the marks in a forma:
Paste or glue repeating pattern. There arc many combinatiom
Graph paper which you can later develop, but o nly make
Tissue paper additional marks if you feel it improves the overall
design, not sim pl y for its own sake.
MAKING M A RKS ON PAPER There are other, equally helpful, methods for
Getting started with your own designs can seem getting started on your design. Instead of using
more than a little daunting at first. I have seen many crayon, charcoal or cha lk, cut regular shapes or
students with a blank sheet of paper in front of them different pri n t densities out of the newspaper
and an equally blank expression! There is nothing E xpe rime nt with different combinations of pattern'
quite so discouraging as a virgin page, as any writer until you produce one that you like, then paste then
will testif)r. 13ut do not despair. The best way to down (Figs 49a & b). Or, why not use a stencil to
approach embroiderer's block is to force yourself to build up a pattern? Take a piece of thin card , 4 x 6iT'
make some marks on paper - however pro,·isional (100 x 150mm), and fold it in half. Cut a simp le !eat
and dreadful they may be! Simply by p uttin g pencil shap e out of the fold and then open the card out
or charcoal to paper helps to break down your Using a crayon or piece of chalk, colour in the cut­
\\'Orries about gettin g started ,,·ith a design. It is out shape. Continue to do this until you form
really a very liberating experience and it is amazing simple repeating pattern which might be develope...

88
 G e r I i 11 .f!. S r a r I e d 111 i r h y o 11 r o w n D e s i g 11 s

:nto a pattern for a project (Fig 50).You can use the
<ame technique in reverse. Take the cut-out leaf
shape and, using your crayon, colour the background
around it. Continue to do this until you have a
simple repeating pattern. If you feel they improve
and produces a more open pattern (Figs 5.+a & b).
You have now experirnented with various media
to take practical steps towards understanding how to
develop your ideas into designs using blackwork
patterns. You must now translate these patterns into

rhe design, add veins to the leaves, too an accurate template for your design. Return to the

Fig 5 1 ) . You now have two versions of the same first geometric motifs you produced. Using a soft
motif: one black on white, the other white on black pencil, transfer them onto graph paper, ensuring that
- an arrangement known as counterchange. Use the proportions ren1ain consistent rhroughour (Figs
both versions of the motif to make an alternating
repeating pattern or border (Figs 52a & b).
Think about how to interpret the light and

dense areas into stitched blackwork patterns. There

are at least two techniques you rnight employ to

achieve this. You can either work a light blackwork
pattern and then work additional stitches into it to
create the dense areas or you can work a blackwork
pattern in a fine thread, substituting it for a thicker
<hread for the dense areas (Figs 53a & b). You might

also use different shades of the same colour or lighter

and darker colours to represent tonal qualities, for
exampl e white, grey and black. The thread count of
your fabric will also influence the density of the
patterns (see Materials and Equipment, page 8). A
pattern worked on a 32 count evenweave linen, a

rightly-woven fabric, will look very different if

\\·orked on an 1 1 count Aida, which has a larger scale

n�s 48a & b

89
B l a c k w o r k

tJreeches, actor G;
Wise �as set man:
emale heart racini
iost notably that 0..
)ense And Sensibi
co-star Emma

1 '1nq 'JVlfJ Jnoqv

rv1 01 £ddvlf s, ay
.i<JS AL M.<JU v 1/1!'1'
!V.lp UV.IOdULtJJUOJ

Figs 49a & b 55a, b & c). As you plan your design onto the graph
paper, it is essential to keep in mind that it will
appear larger on the graph paper than on your
chosen fabric, for example if the size of your motif is
going to be 2 x 2in (50 x 50mm) and you plan to
work it on 14 count Aida, it will translate as 28 x 28
squares on your chart.
Once you have finalized your design and
mapped it onto graph paper, you must decide on the
nature of your project - perhaps you would like to
work it for a cushion cover or the lid of a box. This
decision is crucial as you must consider the scale of
your design in relation tO the project. Equally, you
must consider the fabric count and the thickness of
threads. To help you decide on these interrelated
factors, you might find it helpful to work small
samples of stitches on off-cuts of different count folds in a bold colour. If necessary, mount your fabric
fabrics to ensure the threads pass comfortably onto your frame. If your design has a centre motif,
through the weave, before setting out your design. It begin to stitch outwards from the centre. If not, you
is better to make adjustments to the thread count at must carefully count to find your correct position.
this stage than on the finished piece. Once you have worked all areas of blackwork, you
You are now ready to set out the design onto the can sew any beads or charms you wish to use to
fabric - a procedure with which you will be very decorate it, using co-ordinating threads. Ensure that
familiar by now! Fold your fabric in half and half any loose threads are neatly secured. Finish off your
again and tack a row of stitches along these centre work by giving it a gentle press. This method works

90
G e 1 1 11 .� S r a r r e d 111 i t h }' o tl r l) w ,, D e s i g 1t s

F(� 51

91
 R l t1 r k 111 1> r k

Fi�s 53a Ii- b

 G e r r i 11 g S r a r t e d w i I Ii }' o 11 r o l/J H D e s i 5� 11 s

· ry well for geometric motifs, but you will need to

e
-?proach your design differently if it is based on an
.rregular motif like the leaf you stencilled. You may

.. ish to reduce or enlarge the motif. The simplest

.,·ay to do this is to use a photocopier. However, if
·ou do not have access to one, follow these

<rraightforward instructions:
1 Draw a rectangle around the design. The rectangle
.;hould measure to the nearest inch or centimetre in
both directions to aid planning the next stage (Fig 56).
2 Cut out the rectangle. Position it on top of a

larger sheet of paper and line it up with the bottom

left-hand corner.
the same number of squares, which will be larger. F��s 55a, b & c
3 Draw a diagonal line from the bottom left-hand

corner of the sheet of paper containing your design 7 Plot the position of your design onto the larger

through its top right-hand corner and across the rectangle with a series of dots, matching each square

larger sheet of paper. on the small rectangle with its counterpart on the

4 Decide by how much you wish to enlarge the large one (Fig 59). Fin ally, join up the dots. This

design. Produce an enlarged rectangle with the same method can be used in reverse to reduce the size of

proportion as the original by drawing first a vertical your design.

and then a horizontal line from your chosen point 8 Once you have enlarged or reduced your motif,

on the diagonal (Fig 57). transfer your design onto your fabric. The best way

5 Take the smaller rectangle and, usmg a pencil, to transfer a non-geometric shape onto fabric is to

divide it into a grid (Fig 58). trace the design onto tissue paper and tack along

6 Now take the enlarged rectangle and divide into the traced lines. From here, proceed as before.

93
B I a c k II' o r k

Fig 56

Fix 57

SEEKING INSPI RATION Visual references are very important, but your

Once you have mastered the techniques described so own ideas and motivations are equally so. Perhaps you

far, the next important task is to seek out inspiration have a passion outside of embroidery which inspires

around you for your designs. You really need not go you, for example bird-watching or the theatre? If you

far - there are numerous designs waiting to happen have a hobby, draw on it for inspiration and utilize

in your own garden. Take note of the shapes and whatever it offers for your designs.

patterns formed by plants and flowers and make Words are another good source of inspiration -

sketches or take p hot ographs and keep them safe in do you have a favourite poem' Have you read a

an 'ideas' scrapbook. When you go out, look more piece in a newspaper which provokes you' Are you

closely at the architecture of interesting buildings; moved by a particular song lyric?

churches, for example. You may not live near to It is also useful to think about colour. Pay attention
somewhere quite as thrilling as the Alhambra, but to colours around you which work well together.

you will soon find all kinds of inspiring patterns and Namre provides us with beautiful combinations, for

textures for your work. Another good source of example the changes in the seasons - forest green and

inspiration is your local library or b ook sh op. Leaf holly berry red in winter or lemon yellow and lime

through books on art and design or. indeed, anything green in spring; or the contrasts of landscape - a steel�

else - you are just as likely to find something of grey sky against a blue-green sea. As the projec.:

interest in a book on travel or wildlife. Sometimes a chapters demonstrate, blackwork needn't mean simp>

good design source will fall into your lap - postcards working black on white (although, as a histon,

from friends and family, an item of clothing, a piece combination, it is a great favouri te) . Before long, yoi.:.

of fabric in a shop or a picmre in a magazine. will ha\'e a packed scrapbook of ideas from which �

9-1
 C e 1 1 11 ,� S 1 a r 1 e d w i 1 '1 y o u r 0 111 11 D e s i g 11 s

_
_,..,.

-
7 1
6 ) I
f' I I
5 i----....-"""-t----t---1--+---t 6 J ',
'
I \
\
I v ....'... I
\
\ I
4 1-"c,..-,.--'-t----;t--�-+--t---I I \

5 - -J.. � '
\
l
J
1
4- . .
I

z
....... ,
- ,_ .

(
�

Fig 58

develop your designs - enough to keep you going for also find two blank storyboards and a page for
a dozen proj ects! Once you have a couple of clear making notes to help you work out yo ur own ideas.

ideas, the next step is to think about how to translate As you can see, bringing all th e elements of your
them into a design. Take time to think about ideas together enables you to see how your design

examples of emb roidery you have seen which you might develop . In the knot garden storyb oard, the
admire and the purpose and function of the project layout of the formal garde ns are suggestive of a

upon which you are embarking. You may wish to myriad abstract patterns for yo u to elaborate in to a
develop your ideas into abstract motifs like the design. In the sheep panel sto1yboard, the shapes and

lslamj c cushion cover proj ect, or work them into a textures of th e sheep arc also ve1y suggestive . Their

more Iiteral representation like the sheep wall panel three-dimensional nature also forces you to think

project. You may wish to combine b oth, perhaps about how to represent tonal qualities in yo ur work.

working a landscape as the focus of your piece and The world is now your oyster, as the saying goes! I
pickin g out a motif as a border. have only two further pieces of advice for you before

A good way ta thi nk through these things is ta you go and c reate beautiful piec es of work. The first

create a s t oryboard which combines your is: whatever you attempt, keep it small and simpl e -

photographs, sketches, notes and pattern designs. 1 don't run before you can walk. The second is: if you

include rwo examples of storyboard layouts to do make mjsrakes, always put it down to experience.

demonstrate what I mean (Figs 60 & 6 1 ) . You will Good luck and happy designing!

95
 B I a c k 11• o r k

!L,�4t�;:�2:�
Fig

:�
- �:�, , �
60. Sheep storyboard

.d �
.
�
-

;--
.� ..
¥ ,·; ·
�· - .:;t ...�.�:��

96
� ,wdl, � ,w�
� �-0,W,, � � ct

-;{c,,,.d � ,wa/..c� -0�·

HtN4 � t..c/?M ,w-0� �
OUJ#"� � �.

97
 B l a c J,, 11, ,, , J,,

Fig 61. Knot garden storyboard

A � � -wt-4 �
� � � �-1"-

�1 � aJd.J. & �
(to-w'), � {c 0 � �,,,.,.
()!), ()� � (to!), � ,,,
�

�- AJUA � �
Mic� � �c� �
- 1UeJ. � � �
t.eM� � � "ldl,
{c fve. ()1/�·

98
o@o@o
@o@)o@
o@o@o
D� 0c#>. -iwc
�{ � �
(P� � �
C1"- �

99
H I a c k II' o r k

S OURCES OF I NF ORMATI ON
AND SUPPLI ERS
•
••
•••

M U SEU MS, H I STORIC HOUSES United Kingdom Parham Park

A N D SOCIETIES Pulborough
Many museums hold collections o f The Burrell Collection West Sussex RH20 4HS
blackwork embroidery in the United Pollok Country Park Tel: 0190374202 1
Kingdom and in North America.The 2060 PoJJokshaws Road
items held in these collections are not Glasgow G43 1 AT Royal Museum
simply beautiful examples of Tel: 0 1 4 1 649 7 1 5 1 Chambers Street
embroidery, but interesting records of Edinburgh EH1 lJF
our social history. Such things provide The Embroiderer's Guild Scotland
valuable general information and may Apartment 41 Tel: 0 1 3 1 225 7534
inspire your own blackwork designs Hampton Court Palace
and further research - it can become Surrey KT8 9AU The Royal School of Needlework
addictive! If you want specific Tel: 0 1 8 1 943 1229 Apartment 2 1 a
information about a piece it is best to Hampton Court Palace
write to the curator, stating exactly The Gallery of Costume Surrey KT8 9AU
what you wish to know. If you want to Platt Hall Tel: 0 1 8 1 943 1432
view something it is advisable to Rusholme (The School organizes day courses
telephone in advance for an Manchester M 14 5LL specializing in hand embroidery,
appointment in case the item you Tel: 0 1 6 1 224 5 2 1 7 including blackwork.)
want to see is not on public view.
Maidstone Museum and Art Gallery Victoria and Albert Museum
St Faith's Street Cromwell Road
Maidstone South Kensington
Kent ME14 1 LH London SW7 2RL
Tel: 0 1 622 75 H
- 97 Tel: 0 1 7 1 -938 8500

The Middleton Collection Whitworth Art Gallery

Castlegate Museum University of Manchester
5 1 Castlegate Oxford Road
Nottingham Manchester Ml 5 6ER
Nottinghamshire G 1 6AF Tel: 0 1 6 1 275 7450
Tel: 01 1 5 9 1 5 350015555

Museum of London
London Wall
London EC2Y 5HN
Tel: 0 1 7 1 600 3699

1 0 0
 T h e "f" r a d i r i o n a l B l a c k 111 o r k S r y l e

United States of America and National Museum of History and Gostelow, Mary, Black111ork,
Canada Technology Dover Publications, UK, 1998,
Smithsonian Instirute ISBN 0 486 40178 2
The Art Institute of Chicago 1 +th Street and Constitution Avenue
1 1 1 South Michigan Avenue Washington DC 20560 Gray, Nicolette, The History of Letteril1;;,

Chicago Tel: 202 357 2700 Phaidon, London, UK, 1 986, ISBN 0
Illinois 60603-61 1 0 7 1 +8 2334 1
Tel: 3 1 2 4.+3 3600 Royal Ontario Museum
l 00 Queens Park Hughes, Therle, E11g!islt Domestic

The Brooklyn Mllseum Toronto .'\.eedle111ork, Lutterworth Press, London,

.:: Q Eastern Parkway Onrario MSS 2C6 1 96 1 *
�:ooklyn Tel: +16 586 55+9
,.
. t:• York City Jones, Owen, Gra111111ar 1?[ Or11a111e11t,

<::,,.York 1 1 238 Dover Publications, UK, 1988,

Tel: 7 1 8 638 5000 BOOKS ISBN 0 +86 25+63 1

Indianapolis Museum of Art The brief list which foJIO\\·s includes Liley, Alison, The Craft of E111broidery,
1 200 West 38th Street some titles which are currently out of Mills and Boon Ltd, London, 1961 *
Indianapolis prim and these are marked * .
Indiana 46208 However. they may b e found a t your MacAlpine,Joan, The Shado111 1!f the

Tel: 3 1 7 923 1331 local library or purchased from To111e1; BBC I3ooks, London, UK,
second-hand book shops. 1971*
The Metropolitan Museum of Art
1000 Fifth Avenue Arthur, Liz. E111broidery l 600- 1 700 Nevinson,John L., Catalogue c?f E11glish

5th Avenue at 82nd Street
New York City
New York 1 0028
Tel: 2 1 2 879 5500
The Museum of Fine Arts
465 Huntington Avenue
Boston
Massuchusetts 021 1 5
at the Burrell Collffrio11, Do111estic £111/Jroider)� H. M.S.O., London,
Jo hn Murray/Glasgow Museums, 1938 (reprinted 1950)*
Glasgow, 1995*
Thomas, Mary, Dictio11ary �f Embroidery
Barnett, Lesley, Black111ork, Search Press, Stirches, Hodder and Stoughton Ltd,
UK, 1996, ISBN 0 855 32806 1 London, 1934 (reprinted 1 956)*
Geddes, Elizabeth &: McNeill, Moyra,
Black111ork E111broider1�

Tel: 6 1 7 267 9300 Dm·er Publications. UK, 1976,

ISBN 0 +86 232+5 X

1 0 1
H l a c k 11, o r k

S U PPLIERS Macleod Craft Marketing United States of America

West Yonderton
United Kingdom Warlock Road The Caron Collection
Bridge ofWeir 67 Poland Street
DMC Creative World Ltd Renfrewshire PA1 1 3SR Bridgeport CT 06605
Pullman Road (Caron threads) (Caron threads)
Wigston
Leicestershire LE1 8 2DY Marker Square C.M. Offray & Son Inc.
(DMC threads, Zweigart fabrics) 28 Partway Route 24
Warminster Box 601
Fabric Flair Ltd Wiltshire BA 1 2 8QD Chester NJ 07930-0601
Northlands Industrial Estate (herb cupboard blank) (satin ribbons)
Copheap Lane
Warminster Offray Ribbon DMC Corp.
Wiltshire BA 1 2 OB9 Ashbury Port Kearny
(Jobelan fabric, Minster linen, hand Co. Tipperary Building 1 0
towel, place mat and napkin, beads) Eire South Kearny NJ 07032
(satin ribbon) (DMC threads)
Framecraft
372/376 Summer Lane Willow Fabrics Joan Toggit Ltd
Hockley 95 Town Lane 2 Riverside Drive
Birmingham B 1 9 3Q Mobberley Somerset NJ 07032
(bell pull ends, charms, tray and Cheshire WA 1 6 7HH (Zweigart fabrics)
lidded jars) (Zweigarr fabrics)
Sudbery House
Glyn Owen Colron Road
Afallon Box 895
Church Hill Old Lyme CT 0637
Glyn Ceiriog (tray, lidded jars, charms,
Llangollen LL20 7DN bell pull ends)
(wooden b ox blank)
Wichelt Impons Inc.
Route 1
Highway 35
Stoddart WI 54658
(Jobelan fabrics)

1 0 2
 A b o 11 t 1 /r e A 11 t lr o r

AB OU T TH E AU TH OR
•
••
•••

Brenda Day was born in Wa ningto1 1 Cheshire. She train ed as an embroideress at

,

Bromley College ofArt and the11 at J\ila11chester College ofArt.

After gainin,g her A rt Teachers ' Certificate in 19 59 she spent several years

teaching children and adults alike until leaving to raise a family. This coincided with

a move to VVales where sire conti1111es to live.

In the intervening period she has won a number ef awards for her design work while working

as co-partner in her husband's business. In 1988 she set 11p a s11ccesifi tl embroidery kit

business aimed at the Welsh tourist market which prod11ces designs inspired by art, wildWe,

and Celtic and Welsh themes. Brenda also works as a reelance designerfor a 11ariety of
f

companies, i11cludi11g sorne national magazines.

1 0 3
 .A'
•
• •
• ••

This book o.ffers the beginner and experienced embroiderer alike a co111prehe11sive introduction to this

historic craft. There are eighteen i11spiratio11al projects to complete, ra ng i n g from simple j7oral bookmarks

worked in the traditional blackwork style to the bold, con temporary desig11 of the sheep 111al/ panel.

Presented in a clear; easy-to-follow format, each p roject i11c/11des co/011r photog,raphs and charts, g,11idelines for

selectin,<,t threads, fabrics, eq11ip111rn t a n d accessories a11d a detailed stitch g,lossary. In addition, the book oj]ers
a fascinating overview of the history of blackwork, helpf11! hints on ho11' to finish and display your 11;ork

and p racrical advice on getting siarted with yo 11r own desig11s.

P R OJ E CTS INCLU DE:

! Rose and tulip bookmarks

•• ·:· Isla mic cush i o n

!
•• Grapev i n e m irror fram e •!• Mackintosh table linen

! Herb cupboard
•• •
!• Tudor rn a 1 1 or wall panel

••
! Chris tmas cards •!• Celtic knot lavender b ags

•!• Winter tree cushion •

!• Celtic h o u nd tie- back

•!• Japanese wall panel •!• Celtic knot tray

•!• A u t u m n leaves h a nd towel •!• Honey bees lidded jars

•!• Hedgerow bell pull •!• Box lid

•!• S h e ep wall panel •!• Chess b o ard

I S B N 1 -8 6 1 08-1 48-0

�\ "' \ \(\Il<J \

�- �
9 78 1 86 1 0 8 1 483
G UILD OF M A S T E R C R A F T S M A N P U B L I CATIONS