O IVE

INSPIRING IDEAS WITH NEEDLE AND THREAD

ER
FF
S
LU

YOUR
C
EX

NO.1
EMBROIDERY
MAGAZINE

OCTOBER/NOVEMBER 2020 | £5.50 ISSUE 127

INSIDE!
ALL THE STEPS,
TIPS & TEMPLATES
YOU NEED

CELEBRATE THE SEASON

WRAP YOURSELF UP! A GLITTERING SNOWMAN DINE IN STYLE!

ENJOY AN AUTUMN PICNIC TO MELT YOUR HEART A SUBLIME TABLE RUNNER

PLUS!
27
FUN TREE DECORATIONS • A GOLDWORK MASTERCLASS
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Falling into place
Days are shortening. Leaves are on the turn. Soon trees and woods will be that annual glorious
riot of fiery autumnal colour. It all signals the end of summer. Thoughts, plans and how days are
spent subtly change. More time indoors leads to quiet introspection. As an antidote, attention
shifts towards the end of the year and organising occasions to look forward to. The good news:
it’s all conducive to undertaking a new embroidery project or two – for yourself or as gifts!
Shared times with friends and family is fundamentally precious; when you’re all together
and making happy memories. Maggie Gee’s sumptuous velvet table runner will set the scene
to celebrate the good times. Under candlelight the couched gold threads positively shimmer.
It makes a truly magical centre piece.
Projects that make something out of nothing are ingenious. Paula Perrins takes all those
precious little scraps you can’t bear to part with and fuses them together with a combination
of traditional mending techniques. Not only do you get to make a fun tree decoration, she also
reckons the simple stitching involved is good for you; it slows you down and soothes the soul.
Former Embroiderers’ Guild Graduate, Tabitha Buckley brings us bang up-to-date with a
clever project featuring smart textiles. Conductive thread, LED lights, switches and batteries
may be unusual materials, but you’ll be enlightened when you combine them with more
familiar techniques. Definitely worth an experiment!
Our interviews centre on artists working with texture and embellishment. Sarah Gwyer
puts celebrity culture under the spotlight with buttons and charms. While pretty little sequins
and beads tackle the big issues for Kate Tume. A background in ballroom costume design is
evident in the fabulous bird statue by Linda Fjeldsted Blust. And Adele Deloris Riley rips up old
bed sheets to make sustainable art. Eclectic, exceptional and exciting!
Then there’s the fascinating embroidery above. It’s stitched directly on to a magnolia leaf!
Heather O’Donnell grew up in Wisconsin where there aren’t many magnolia trees. On moving to
Georgia their thick, waxy leaves stood out. Originally, she picked them
off the ground where they had just fallen and stitched straight on to the
yellow leaf. These days she dries them in a leaf press first. The French
knot is her favourite stitch even though it takes ages to fill larger areas.
And it’s her dream to create statement pieces involving multiple leaves.
So much to get you thinking and stitching!
What are you waiting for?
Discover more about Heather O’Donnell at www.magnoliaheatherart.com
FEELING LUCKY? Like us:
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Inside your issue...
36

21 18
39 31

24

Projects 48 FINE DINING

7 ROBIN RED BREAST COVER
Often spied in your garden and featured STAR!
on Christmas cards, now settle down to
capture this seasonal superstar in thread.
13 AN AUTUMN PICNIC
Woolly jumpers, falling leaves, ripe pumpkins…a beautifully
evocative project from Sila Gur to wrap yourself up in.
Set the scene for memorable feasting, toasting and general
merrymaking throughout the festive season with a
sumptuous velvet table runner. Cheers!
54 WANDERLUST
Look forward to your next adventure with a mixed media
passport cover that captures happy memories from
previous travels.

21 A PROUD PLUME
Take pride in showing off your machine embroidery skills
with a magnificent peacock feather in all its glorious
colours.
25 FOREVER FROSTY
No need to get your hands cold or even leave the house to
build this charming snowman. Just immerse yourself in his
fantastic goldwork.
32 ALL THE TRIMMINGS!
Take time out for these fun tree decorations. Dabble with
Boro, Sashiko and Kantha techniques to make the most of
special bits of nothing from your stash.
Inspiration
18 TURN ON THE CHARM
Find out how Sarah Gwyer creates her sensational celebrity
portraits packed with buttons, beads and charms.
31 FRAYED AT THE EDGES
Old bed sheets transformed into wonderfully tactile pieces
of textile art? That’s what happens in the hands of Adele
Deloris Riley.
36 NOW YOU SEE ME
Have a look through the eyes of Kate Tume. Discover how
she uses small embellishments to highlight bigger issues.

39 MERRY & BRIGHT 44 THE MIDAS TOUCH

Head back to school for a physics lesson: learn about smart Ilke Cochrane will put the bling back in your goldwork.
textiles and embroider lights into this brilliant bauble. Get in the know with her detailed guide.

4 www.stitchmag.co.uk
 ISSUE 127 OCTOBER/NOVEMBER 2020

13

32

53 7 VE R
SI E INSPIRING IDEAS WITH
U FF NEEDLE AND THREAD
CL O
EX
YOUR
NO.1
EMBROIDERY
MAGAZINE

51 THE VELVET TOUCH

OCTOBER/NOVEMBER
2020 | £5.50

ISSUE 127

It might be wonderfully rich and plush, but velvet doesn’t DON’T MISS OUT! INSIDE!
ALL THE STEPS,
TIPS & TEMPLAT
YOU NEED
ES

always behave. Find out how to get it back in line. Let the stitching continue: take
advantage of our fantastic subscription
CELEBRATE THE SEAS
53 WINGS OF DESIRE offers. It’s the easiest and cheapest way ON

Is it a bird? Is it a quilt? Linda Fjeldsted Blust tells the story to get your next issue. Guaranteed.
behind her winning entry at this year’s Virtual Festival of Quilts. WRAP YOURSELF UP!
ENJOY AN AUTUMN
PICNIC
A GLITTERING SNOWMAN
TO MELT YOUR HEART DINE IN STYLE!
A SUBLIME TABLE RUNNER

PLUS! FUN TREE DECORATIO

NS • A GOLDWORK MASTERCL
GET SMART WITH E-TEXTILES
• ARTISTS & EMBELLISH ASS

17 DELIVERED TO YOUR DEVICE

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6 FOR YOUR BOOKSHELF
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30 NEXT ISSUE letterbox.
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There’s so much more to Stitch than a magazine.
52 IN THE LOOP Discover our virtual world of needle and thread.
Stay in touch with fellow readers. What have they been
stitching? What’s on their minds? Be part of the community:
we love hearing from you!
56 AURIFL OFFER
57 TEMPLATES Enjoy working with these fabulous
All the full-size templates and guides you’ll need to threads? The Embroiderer’s Guild
complete this issue’s projects. has a special offer exclusively for
the readers of Stitch, so you can
62 STITCH GUIDE get your hands on a beautiful kit
A handy guide to the stitches used in this issue. Use it to at a discounted price.
refresh your memory or get to grips with new ones.

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 Latest

For Your Bookshelf

BARGELLO STITCH: A TEXTILES
PATTERN DIRECTORY TRANSFORMED
FOR DRAMATIC By: Mandy Pattullo 1
NEEDLEPOINT Publisher: Batsford
COPY TO
GIVEAWAY
By: Laura Angell & Lynsey Angell ISBN: 978-1-84994-580-6
Publisher: Search Press RRP: £22.95
ISBN: 978-1-78221-867-8 Textiles that are old, unloved, worn
RRP: £12.99 or even dirty are transformed in the
The appeal of bargello as a technique hands of Mandy Pattullo. She wants
lies in simplicity and repetition. It’s a you to continue their story by piecing
single stitch that is only ever worked and patching them together in a
horizontally or vertically in a repeated pattern. When stitch length new and different way. The principles of make-do-and-mend are
and colour are added into the mix, a dramatic kaleidoscope of core to Mandy’s practice, but she employs them with an aesthetic
possibilities opens up. And that’s what this book is all about! outcome in mind.
Laura and Lynsey Angell, known as The Bargello Sisters on social The book is a visual treat, packed with images showing how
media, have pulled together a satisfying collection of designs and tired textiles can be reworked into beautiful collages. The pages are
patterns. After a whistle-stop tour of tools, materials and stitches peppered with examples from inspirational textile artists, as well as
that’s what they focus on. They introduce a series of designs that guided projects from Mandy. Discover through her eyes where to
increase in complexity as you work through the pages. source textiles and what to look out for. She finds beauty and value
There are clear colour charts and stitching diagrams throughout. in surprising things and places!
Each pattern is worked in several palette variations. It’s this up-to- Throughout she encourages you to respect the original
date collection of colour stories that is core. Brights and clashes, workmanship of these precious fragments from vintage quilts,
muted fades, contrasts, complimentary colours, zesty neons discarded garments and antique linen and lace. She shares how to
and metallic rainbows will offer endless inspiration for your own pick apart what is worth saving and relax into the creative process
bargello projects. of transforming them.

PUNCHED 3 FIGURE WORK IN

COPIES TO
By: Stacie Schaat GIVEAWAY
Publisher: Interweave
ISBN: 978-1-63250-683-2
RRP: £21.99
Punch needle art filled a void in
Stacie Schaat after creative burnout.
It restored her and gave her an
outlet. She returns the favour with a
beautifully designed book. Chapter
by chapter she shares her passion
and skills, as well as exploring what’s possible with this simple
yet versatile technique.
If you’ve never tried needle punching before, the book gives
a great introduction to all the technical aspects. Starting with
the needle itself: parts, types and sizes. You’ll be guided through
foundation cloths, framing up and how to use the needle.
There’s also a host of ideas on the different types of yarn to use.
The section on design and experimentation explodes what
can be done with colour, texture and stitching direction. There’s
clear explanation on stitch formation and detailed photography
showing the effects created. Stacie supplements with tips and
tricks throughout. This leads on to a dozen must-make projects
that can be displayed, loved and used for generations – from
lampshades and house plant baskets to cushion covers and rugs.
EMBROIDERY
By: Angela Bishop
Publisher: The Crowood Press Ltd
ISBN: 978-1-78500-727-9
RRP: £19.95
Angela Bishop pours her artistic skills
and Royal School of Needlework
training into a book with one aim: to
build your confidence and ability in
stitching figures. It’s a challenging area
to master and rightly starts with an anatomy lesson: getting the
proportions right is key!
There’s a section exploring the different embroidery
techniques and how they can be used in figure work. You’ll gain
an understanding of dimension: how to add it and what to use it
for. How stitch size, tone and shade in counted techniques can
convey features. As well as pointers on achieving realism with
needle painting.
There are useful thoughts not just on how to master stitches but
on where to use them for best effect. An abundance of instruction
and insight into creating facial features, hair, hands and feet, and
clothing will breathe life into your embroidery. The book closes
with a range of projects - from simple to advanced - to allow you
to put your new-found skills into practice.

WIN! WIN! WIN!

ENTER For your chance to win any of the copies being given away, simply enter your details at: craftmag.co/stitch-win
ONLINE Competition closes on Wednesday 1 December 2020. For more information see Page 3.

6 www.stitchmag.co.uk
 Project

Robin Red Breast

This fiercely territorial little bird is synonymous with Christmas.

His bright red breast makes him easy to identify and his song
can be heard throughout the long winter months. Let him
bring cheer with a detailed needle-painting tutorial to keep
you occupied as the nights draw in.

BY JESSICA DEVIN

FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 60

www.stitchmag.co.uk 7
Project

1 2 3

8 9 10

13 14 15 16

YOU WILL NEED
MATERIALS
• White or off-white medium+ weight linen: • Stainless steel tacks, if using stretcher bars
28 x 28cm (11 x 11in) • Embroidery hoop: 20cm (8in) diameter
• Backing fabric: muslin is ideal, 28 x 28cm • Embroidery scissors
• Threads: full listing and conversions on • Thread conditioner: Thread Magic
Page 60
STITCHES & TECHNIQUES
EQUIPMENT Bullion Knot, French Knot, Irregular Long
• Needles: SEE & Short Stitch, Long & Short Stitch, Satin
- Embroidery: No10 THREAD Stitch, Split Stitch, Straight Stitch
CHART ON
- Milliner: No8
PAGE 60
• Stretcher bars: See Stitch Guide for details on stitch formation.
20cm (8in) long
PREPARATION of the broken branch, add 5 straight stitches
1 Transfer the design to your fabric by your - taper to form a triangle. At the bottom
preferred method. Tack your front and of the main branch next to the base of the
backing fabrics together using small basting broken branch, work 1 line to the berries.
stitches, add tacking around the design lines C312: by the edge of berries, work 1 row of
and the inside of the pattern. Mount in your long & short stitch. Continue along the top
hoop or stretcher bars. of the branch, work 3 rows increasing the
depth towards the foot. Repeat in the space
GET STITCHING! between the feet. Work 4 straight stitches to
Main & Broken Branches the right of the right foot; work downwards
Work in split stitch lines, unless said otherwise. with stitches getting shorter. Continue 1 row
to the edge of the tail. 1
2 C2310: go up the edge on the right of the
main branch, work 1 row long & short stitch. 3 C3311: to the left of the left foot work 1
C4311: start on the right, along the bottom line (under C312). Extend this to the top of
edge to the broken branch, work 1 line. On the branch for 2.5cm. Along the edge of left
the left side of the broken branch, work 1 line foot on right side, work 1 row of long & short
along the edge. On the left side, of the base stitch under previous split stitch lines. On
the bottom right side of branch, work a line,
above previous split stitch to the right foot.
C2310: on upper right side of branch, work 1
line. When you reach the previous split stitch
at the tail go under and continue a line. By the
right foot on the right, work another row of
long & short stitch next to previous row. 2
4 C4311: on the upper right side of the
branch, work 1 line, connecting to C3311
under belly. On the top of the branch, work 1
line connecting to C4311 under belly. C310:
on the upper right side of branch, work 1 line
under previous stitches. Continue the line
under stitches of the tail. By the right foot, on
the right, work another row of long & short
stitch, connecting them to previous stitches.
On lower right part of the branch, work a line,
above previous stitches. On the upper part of
the broken branch, work a line. 3
5 C309, C310, C2311 then C312: work lines
on right side of main branch, under previous
stitches moving down. C312: work a few
straight stitches on right of right foot over
previous stitches to add shadow. 4
6 C4311 (2 lines), C2311, C4311, C309 then
C2311: fill in the broken branch with split
stitch lines, start at tip and working right to
left, between the previous lines. 5
7 C2310, C310, C2310 then C310: fill in the
middle section between feet working split

8 www.stitchmag.co.uk

4 5
11 12
17 18
stitch lines, start at the top, under previous
stitches and connect to long & short stitches.
C2310, C310 then C309: by left foot on left
side, continue 2 split stitch line to berries.
C309: on top left side of branch, scatter
straight stitches in between previous stitches
to lighten area. 6
8 C2311, C3311 then C4311: on left side of
branch, continue split stitch lines down.
C2311 then C3311: fill the very end of the
branch, on the far-left, with 2 rows of long &
short stitch next to each other. 7
9 C312: work the open space between the
toes for the top and bottom of the branch.
C4311: work the middle section in between
C312. 8
Leaves
Look at colour chart for guidance on thread
placement for each leaf. Start at the tips and
work down to base and stems.
10 Leaf 1 - D701: split stitch outline; then
work rows of long & short stitch over the
outline. Left - Row 1: D704, D703, D702
then D910. 9 Row 2: D703, D702, D701,
D910 then D909. Row 3: 701, D910, D909
then D3818. Row 4: D909, D3818 then
D890. 10 Right - Row 1: D703, D702, D701,
D910 then D909. Row 2: D704, D701, D910,
D909, D3818 then D890. 10 Row 3: D703,
D704, D701, then D910. 11
6 7
19
11 Leaf 2 - D701: split stitch outline; then
work rows of long & short stitch over the
outline. Top Half - Row 1: D704, D703, then
D702. Row 2: D703, D702, D701 then D910.
Row 3: D701, D910 then D909. 12
Bottom half - Row 1: D701, D910, D909
then D3818. Row 2: D702, D701, D910, then
D909. Row 3: D702, D701 then D910. 13
12 Leaf 3 - Turnover - D701: split stitch the
outline then work rows of long & short stitch
over the outline. Left - Row 1: D472, D3894
then D469. Row 2: D470 then D469. Right -
Row 1: D472, D3894 then D469.
Row 2: D3894, D470 then D469. 14
13 Leaf 3 - Right - Row 1: D701, D910, D909,
D3818 then D890. Row 2: D703, D702,
alternate D701 & D702; then alternate D701
& D909. Row 3 : D703, D702, D909 then
D890. 15 Left - Row 1: D704, D702, D701,
D910, D909 then D3818. Row 2: D704,
D703, D702, D701, D910 then D890. Row 3:
D704, D703 then D890. 16
14 Leaf Stems - Are all worked from left to right,
in split stitch lines: D703, D910 then D3818.
Berries
Fan your stitches out to create the illusion
of roundness. Pay particular attention to
the stitch direction for each berry. Check
the chart for the thread number and stitch
placement regularly.
Project
15 C246: split stitch the outline of each
berry – unless it is part covered by another
one. Keep your stitches short and bring your
thread up through the centre of your previous
stitch to help create a circular line. 17
16 Berry 1 - 3 rows of long & short stitch; keep
inside the split stitch outline. Row 1: 2 stitches
in C100 on the left side for highlight; then the
rest in C246. Row 2: C800. Row 3: C246. 18
17 Berry 2 -2 rows of long & short stitch. Fan
stitches out from dot. Row 1: 1 long stitch in
C246; 2 stitches in C110; 2 stitches in C800.
Row 2: 2 stitches in C242; 4 stitches in
C800; 2 stitches in C242. 19
18 Berry 3 & 4 - 3 rows of long & short stitch
in a radial pattern around central dot. Row 1:
2 stitches C110; complete in C800. Row 2:
C800 fill in. Row 3: C242. 19
19 Berry 5 - Work straight stitches in a
radial pattern around central dot. Top half:
2 stitches C110; rest in C800. Both sides:
C242. Bottom half: C246. 19
20 Berry 6 - Work split stitch lines, keep
them horizontal; closer together at the sides
and fanning out in the middle. Top: 2 rows
of split stitch; for each row the first stitch
is C110 then complete the line in C800.
Middle: 2 lines in C800. Bottom: 2 lines
in C242. 19 ➜
www.stitchmag.co.uk 9
Project
20
33 34
21 Berry 7 - Long & short stitch, in a radial
pattern, at an angle, fanning stitches from
central dot. Row 1: 2 straight stitches on top
left corner in C110, then the rest in C800.
Row 2: long & short stitch on both sides in
C242, with 1 stitch in C100 in the middle.
Row 3: 2 stitches on bottom left side in
C242, then the rest in C246. 20
22 Berry 8 - Long & short stitch. Row 1:
C800, on top. Row 2: 2 stitches to the left in
C110; C242 in the middle; C800 to the right.
Row 3: C246. 20
23 Berry Dots - G8680: Use a milliner
needle to form French knots with 2 twists for
the dots on berries 2, 3, 4, 5, 7 & 8. 20
Leaf Veins
24 C324: 1 row of split stitch down the
main vein of each leaf; with straight stitches
leading off. 20
Bird’s Legs
25 Loosen fabric if in a hoop. If embroidery
is on stretcher bars, take the tacks off one
side. C383: form bullion knots for the toes
on each foot. Wrap the thread around the
needle 13 times for the left and right toes
and 19 times for the middle one. 21
26 Tighten fabric again. Left leg: work 1
straight stitch in C383, C384, C386 then C895,
work right to left. Right leg: work split stitch
10 www.stitchmag.co.uk
21
27
35
lines in C383, C384, C386 then C895, work left
to right. C895: work straight stitches over leg
at base of foot and 3 lines down each toe.
27 Claws - G1001: work 1 straight stitch at
the base of the bullion knot on left and right.
For the middle: 2 split stitches to curve the
claw around the branch. 22
Tail
28 Right Feather - A1041: split stitch outline
of bottom curve. Now work left to right
long & short stitch, bringing stitches over
this line. Row 1: 4 stitches A1041, 3 stitches
D3021, 2 stitches C713. Row 2 & 3: 2 stitches
A1041, 3 stitches D3021, 2 stitches C713.
Row 4: 1 stitch A1041, 2 stitches D3021, 2
stitches C713, 1 stitch C369, 1 stitch C713.
Row 5: 1 stitch A1041, 1 stitch D3021, 1 stitch
C713, 3 stitches C369, 1 stitch C713. Row
6: 2 stitches A1041, 1 stitch C369, 3 stitches
D3021, 2 stitches C369. 23
29 Left Feather - C369: split stitch bottom
curve. Now work rows of long & short stitch
over split stitch line. Row 1, 2 & 3: 2 stitches
each A1041, C369, D3021 & C713. Row 4: 2
stitches A1041, D3021 & C369; then 1 stitch
in D3021 & C713. Row 5: 3 stitches A1041; 2
stitches D3021 & A1041; 1 stitch C713. 24
Wing Tips
30 Bottom feather - C365: split stitch the
bottom curve. C365 then C369: starting
22
28
36
at the bottom, work 2 rows of long &
short stitch. 25
31 Top feather - C365: split stitch bottom
curve over previous stitches. Run rows of
split stitch following the pattern lines, start
with 3 stitches in C367 and complete in
C365. Add shadows with split stitch lines of
D3021 in between these rows. 26
Long thin feathers on wing
32 C367: work 3 stitches up each side on
the design line. C365: finish line going
up, connecting to C367. D3021: add
shadow with split stitch lines between
lines of C367. 27
Small feathers on wing
33 C312: work 1 long stitch and 2 short
stitches; the long stitch will go all the way up
the feather line. Do this five times, ending with
1 long stitch. These are your shadows. D611:
work a row of straight stitches, to connect the
short stitches and fill each feather. 28
Belly
34 Irregular long & short stitch; start at
bottom of belly and work left to right and
stop stitching just before the upside of the
wing. Row 1: D645, D3884 and D02, alternate
colours sporadically. Row 2: D646, D648 and
D762 (alternate colours). Row 3: C713. Row 4:
D3866 and D762 (alternate colours).
Row 5: D04. 29

23 24
29 30
37
35 These 3 rows will connect the upside of
the wing and fill the gap. Row 1: D3782. Row
2: C369. Row 3: C364. 30
36 Continue up the belly in long & short
stitch. Row 1: C100, work the whole belly
from left to right. Row 2: alternate D04 and
C100 but stop before you get to the grey
area. 31 Switch to D02 and continue up
the side. Row 3 & 4: alternate C500 & C153
across entire belly. In G1006, add fine white,
wispy feathers for the whole of the belly,
especially along the wing. 31 32
TOP TIP Keep the direction and
angle of your stitches correct to achieve
organic blending and a natural shine to
the thread. Draw in directional lines for
each element as you come to stitch it.
Row of wing feathers
37 Large Front feather - Long & short stitch.
Left side: 1 row in C312 going up then 2 rows
in A906. Right side: work rows in D3021.
25
31
38
38 Six Small feathers - Work split stitch lines:
alternate D610 & D3021, repeat 6 times to
create 12 lines.
39 Feathers on the back of the wing - Work
split stitch lines for feathers connecting to
previous stitches. C366: work split stitch
lines on pattern line. D610: work lines in
between C366 lines. 33
Top of wing
40 Making sure to follow the curve of the
shoulder; long & short stitch for 3 rows in
C369, alternate C368 & D646, then D646. 34
Chest
Irregular long & short stitch; 13 rows.
41 Row 1: D19 & C187 (sparingly). Stop
before the area of grey feathers. Row 2:
A1003. Row 3: alternate C187 & D977
sporadically. Then continue in D977 all the
way up the right side. 35
Project
26
32
42 Row 4: C187 across entire chest. Row 5:
D19 on the left side for highlight; then work
in D3854. On top blend C186 over entire
row; add in C187 going up the far-right side.
Row 6: D19 & D3854; blend in D721 on left
side, then add D3853 from the right side all
the way up the neck. 36
43 Row 7: C186 across the chest, but not up
the neck. Row 8: D3853 all the way up to the
neckline. Row 9: C187 for neckline shadow,
then add D3854 on right side for highlight; D19
on far-left side all the way up to the beak. 37
44 There is a drastic angle change at the
neckline. To get around this curve, shorten
your stitches and fan them out. Row 10:
D3854, continue stitches next to D19 from
Row 9 to middle; blend D3853 starting on
the left over to the right. Row 11: C186. Row
12: D3853. Row 13: D3854; blend C187
under the beak and eyes. 38 ➜
www.stitchmag.co.uk 11
Project
39
41 42
43 44
TOP TIP Always park your thread at
the front of your embroidery. When not
actively using a thread, bring it to the front
of your piece within the design to “park” it.
When you’re ready to use that thread again,
bring the needle back down the same
hole it came up through. This is especially
helpful when switching between multiple
colours. Don’t park your threads on the
reverse of your embroidery. It will cause
knots and other issues. A needle minder or
magnets are really effective to hold needles
for parked threads.
Grey area next to wing up to eye
45 Irregular long & short stitch; stitch direction
will change as you come to area around the
eye. Row 1: alternate D03 & D04 from shoulder
all the way to around the eye. Row 2: D645. 39
Back
46 Irregular long & short stitch. Row 1:
C369, start at shoulder. Bring some of
these stitches into the grey feathers. Rows
2-13: D610, D611, A903, C369, D610, D611,
C369, D646, C369, D646, C369 then D646,
continue up the back to the head. 40 41
Beak
Work from tip to base and top to bottom in
split stitch lines.
47 Top of beak - G3310, G9280, G5201
then G4403.
12 www.stitchmag.co.uk
40
45
48 Bottom of beak - Tuck starting stitches
under the previous stitch above to create a
sharp point. Work 2 lines in G9280, G4403
then G5201. 41
49 Eye - C600: vertical satin stitches for
pupil. A1050: a split stitch line around the
pupil. C600: another split stitch line in a
circle. D3866: small straight stitches at top of
pupil worked over satin stitch and split stitch
lines. D19: another split stitch line around
entire eye, work 2 extra stitches to form the
eye corner on the right. 42
50 Feathers from beak to eye feathers -
Irregular long & short stitch. As stitches
move up around the eye, change the angles
to reflect how the feathers would lie from
pointing towards the beak to towards the
eye. Row 1: D3854 right under eye. Row 2:
D19 work 3 small straight stitches to extend
the bottom base of the beak and create a
point. Row 3: D3853 under the beak. Row 4:
D3853 at the base of beak to the eye. 43
51 Row 5: C187. Blend a few final stitches
on top of previous ones in D3853 above the
beak towards eye. 44
FINISHING
Mount your finished embroidery to display
your cheery chirpy chap to best effect! 45 ❤
ABOUT ME
I have been stitching
professionally now for a
year and a half. I taught
myself the technique
of needle painting by watching Chinese
embroidery artists on YouTube. I also
credit a lot of my knowledge from
reading books, like those written by
Trish Burr. She has been by far the most
influential person in my stitching career.
I also took an online needle painting
class offered by The Royal School of
Needlework.
I have never been able to follow
a pattern and believe it’s more of a
guideline than a set of rules. This is meant
to be fun, so enjoy what you create!
www.jdevinembroidery.com
@jdevinembroidery
To find out more about how Jessica
achieves such stunning results,
visit our stitching blog at:
www.stitchmag.co.uk
 Project

An Autumn Picnic

FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 57

Autumn is when magic happens. The shorter days and cooler temperatures
cause the leaves to turn colour and fall in a spectacular rich and earthy display.
Snuggle up in your favourite jumper and paint the best of the season in thread.
BY SILA GUR

www.stitchmag.co.uk 13
Project
1 2
9 10
17 18
YOU WILL NEED
MATERIALS
• Fabric: 30 x 30cm (12 x 12in)
• Felt, 1mm thick: 19cm diameter, optional
for backing
• Threads: DMC stranded cotton
- Background: 535 (pier), 04 (lake edge line),
898 (trees), 3023 (lake water),
779 (tree reflections on the water)
- Jumper: 3821, 3820, 3852, 782, 780, 898
- Hair: 869, 898, 838, 420
- Hat: 3032, 838, 779, Blanc, 3821, 3023
- Pumpkins: 921, 922, 918, 946, Blanc, 3032
- Pillows: 01, 03, 535
- Leaves: 3821 ,3820, 422, 921
- Bouquets: 922, 921, 920, 918, 733,
- Blanc, 422, 898
- Basket: 780, 898, 3023
“Autumn is my favourite season. I just love watching the trees
turn into multi-coloured works of art. Then the leaves falling
away to reveal the bare and vulnerable branches, exposing
all the beautiful scenery underneath. It really is
the perfect time of year. Enjoy!”
TOP TIP I use a reference picture for
the girl’s pose, but the details of her hair,
clothing and the rest of the scene come
from me. So I like to add shadows into my
line drawing. It helps me imagine how the
embroidery will turn out as I’m stitching.
14 www.stitchmag.co.uk
3 4
11 12
19 20
Use a slotted screwdriver to obtain the
- Hands & Trousers: 310 correct tightness.
- Blanket: 732, 733, 920
TOP TIP Use a Pilot Frixion Erasable
EQUIPMENT Pen for transferring the pattern. Once
• Embroidery hoop: 20cm (8in) diameter you finish all the stitching, bring a hair
• Transfer pen/pencil dryer or a low heat iron close to your
• Slotted screwdriver work. The pen marks just disappear!
• Embroidery needle
• Embroidery scissors GET STITCHING!
• Hairdryer The jumper
1 Start with the highlights on the jumper.
STITCHES Use one strand of 3821. Pull your needle up
Blanket Stitch, Free Split Stitch, French Knot, through the fabric and create one straight
Long & Short Stitch, Needle Weaving, Satin stitch. Now bring the needle up through the
Stitch, Straight Stitch, Turkey Rug Stitch centre of the stitch just created. I call this my
free split stitch technique; it takes elements
See Stitch Guide for details on stitch formation. of long & short and split stitch, but forms
stitches that are much freer and longer. 1
TOP TIP I recommend using a hoop
stand. You’ll achieve better results when
both your hands are free.
2 Complete the rest of the jumper using this
free split stitch technique and a single strand
of thread. Use 3820 to fill sections around
the highlighted areas. Lengthen and shorten
your stitches depending on the type of area
PREPARATION you are filling: you want to create the natural
1 Trace the template onto your fabric using shape of a jumper. 2
a transfer pen/pencil and your preferred
method. Insert your fabric into the 3 Take the darker shade of 3852 to build
embroidery hoop, making sure it is as tight texture and add detail like the shoulder seams,
as possible: it should feel like a drum skin. still using the free split stitch in one strand. 3

5 6
13 14
21 22
4 Add shadows to the jumper with 782;
this will indicate the folds as it hangs on
the girl. 4
5 Use 780 to add detail and depth. Pay
attention to the ribbing on the cuffs, the
armpits and around the bottom edge. 5
6 Take 898 to pop a few stitches where the
shadows would be darkest. 6
7 Finish the jumper by taking a single strand
of each thread and stitching a few lines
between each shade. This gives smoother
colour blending. 7
The Hair
8 The hair is created using the same free split
stitch technique used for the jumper; again
stitched with a single strand. Start by forming
the middle shade of the hair in 869. 8
9 Now use 898 to form stitches as long hair
would naturally fall. 9
10 Take 838; this is the darkest shade used
for the hair. Concentrate your stitches under
the brim of the hat at the back. Then within
the mane to create body and bounce. 10
11 For a touch of natural shine, add stitches
here and there in 420. 11
7 8
15
23
The Hat
12 The hat is also worked in free split stitch,
using a single strand. Start with the highlights
around the brim and to the front of the hat
where the sun catches using 3032. 12
13 Continue using 838, to create the dark
brown areas at the back of the hat. Make sure
you blend with the stitches formed in Step 12,
and add a few stitches of 779 in between. 13
14 Stitch an outline across the front of
the brim and the top of the hat in Blanc.
Complete the band in the same colour. 14
15 Finally add some shading at the edge of
this band with a little bit of 3821 & 3023. 15
The Pumpkins
16 Create their round shapes using a
combination of free split stitch and straight
stitch; all worked in a single strand. The base
colour of the pumpkins is 921. 16
17 Build their spherical shape by filling
with 922. 17
18 Add shadow detailing at the bottom
with 918. 18
19 Finish with some clusters in the vibrant
orange of 946 and a scattering of straight
Project
16
24
stitches for highlights in Blanc. Then
complete the stalks in 3032. 19
TOP TIP Use the mustard threads
from the jumper (782, 3820 & 3852) to
make one or two in a yellow colourway.
It will help distinguish one pumpkin from
another in the basket. 20
The Pillows
20 Create the main area of the pillows in
long & short stitch with one strand of 01.
21 Add shading where it would fall naturally
using one strand of 03; and then 535 for the
pillow outlines along the edge and end. 21
The Leaves
22 Fill the scattered autumn leaves using satin
stitch, spreading the direction of your stitches
outwards from the leaf vein. Use 3821 for the
leaves on the blanket; 3820 for the leaves on
the left and 422 for the leaves on the right.
Fill the leaf veins in a single strand of 921. 22
The Bouquet
23 Complete the initial spray with clusters
of radiating satin stitch built up using one
strand of 922, 921 and finally 920. 23
24 Scatter a few French knots made with 2
strands of Blanc. 24 ➜
www.stitchmag.co.uk 15
Project

25 26 27 28

29 30 31 32

34 35

33 36

25 Fill the empty spaces with 2 strands
of 918. And add highlights with 2 strands
of 922. 25
26 Make another batch of French knots in 2
strands of 733; add a few straight stitches in
the same colour. 26
27 For an Autumn harvest feel, form a few
Turkey rug stitches using 2 strands of 422 in
the centre of the bouquet. Trim the loops to
size. 27 28
32 Finally take one strand of 898 to outline
the top edges of the basket and work in
shadowing on the right hand side in the
basket weave. Add some shadows to the
stalks of the corn and pumpkin stalk in
the same shade. 32 34
The Final Touches
33 Use back stitch with one single
strand of black 310 for the hands. And
finally fill the trousers in satin stitch with
the same thread. 35 36

The Basket 34 The final elements are suggested

28 Make the basket by needle weaving in 2
strands of 780. Form parallel vertical lines
first, then carefully weave the horizontal
threads. You may find it easier to use a blunt
tapestry needle to do this. 29
29 Run satin stitch using 3 strands of 780 to
form the basket handle. Sit your stitches at
an angle. 30
30 The basket liner is also formed using
satin stitch, but this time with one strand
in 3023. 31
31 Add sheaves of corn, using free split stitch
with 2 strands of 3032 to create the stalks
and then some Turkey rug stitches for the
ears. Trim the loops. 32 33
using a series of long straight stitches:
the blanket, the pier, the lake edge, the
lake water, the tree reflections on the
water and the trees. 35 36
FINISHING
35 Trim around the excess fabric leaving at
least 2 cm of fabric. Sew around the edge
of your fabric with large running stitches.
When you reach the beginning of the
stitches, pull the thread to gather the edges.
Then tie a knot.
36 Place the felt circle on the back of the
embroidery and stitch around the edges
using blanket stitch. Hang on your wall and
soak up those autumn colours. ❤
ABOUT ME
I’m a 36-year-old
embroidery artist; I’m
also a wife and mum
to my three year old.
I have always loved to be productive
and creative. I have studied Fine Arts,
Fashion Design and Fashion Styling in
the past. Hand embroidery gives me the
opportunity to use all my skills in one. It is
like turning thread into art.
@jolly_hoops
www.etsy.com/shop/JollyHoopsShop

16 www.stitchmag.co.uk
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Interview

Michael Bublé, finished version and work in progress

Turn on the Charm
Cotswold based textile artist, Sarah Gwyer puts celebrities under the spotlight
using buttons, beads, and charms. She hopes her bright and colourful
embroideries of their famous faces will help a wider audience appreciate the
skill and time needlework takes. And even better pick up a needle themselves!

Please tell us about your work?
Following a Fine Art degree in Cardiff, I
completed a Masters in Printmaking at the
University of the Arts in London. By the time
of my graduation I was already working on
and exhibiting bead embroidered portraits.
My work is contemporary, pop art. It roughly
splits into two sections: thread paintings
and cross-stitch with a little embellishment
on one side, while the other is fully beaded
portraits and sculptures.
Colour is central to all my pieces; I love
to work in bright colours and squeeze in the
full rainbow whenever possible. My work
is fun and a little ‘Where’s Wally’. There are
always a few charms or beads to add little
stories into the portrait. What combines
all my 2D works are the matt black lines
reminiscent of stained glass. I find the dense
black really helps the colours pop and gives
structure in a beaded work.
Who and what inspires you?
Mostly popular culture and particularly
musicians. I’m fascinated by the celebrities
with very devoted fans, who know these
strangers as good friends.
How do you choose your portrait subjects?
What draws you to them?
I generally choose subjects that have a wide
interest; well-known faces most teenagers and
their parents would recognise. It’s usually a
person I admire; it may be a talent or skill they
have, or they are passionate about a cause
I feel strongly for. I was particularly drawn
to the Duchess of Cambridge as a fellow
working mum, albeit in extremely different
circumstances. When she spoke about her
home life it all felt familiar and genuine. Behind
the pomp and ceremony is a mum trying to
balance the needs of her family with her work.
Yet she has the added pressures of an intrusive
media and centuries of tradition.
What happens once you’ve settled
on a celebrity?
I use Photoshop to create a composite from
several different images of the star. The outfit,
hair and facial expression will be taken from
different images to create a portrait I think
best captures them. Michael Bublé is part of
a Christmas themed collection with each
image predominantly featuring gold or silver.
So, the other colours in the background and
his outfit have been chosen to enhance the
gold embellishments in the piece.

18 www.stitchmag.co.uk

I lightly paint the canvas in the basic colours
in acrylic. This not only provides a background
colour, but also tests if the piece is at the
right scale. I always bead the eyes first. They
are central and must be perfect to ensure
recognition of the subject. Next, I scour my
collection for apt charms and beads. For Bublé
I hunted down lots of Christmassy and musical
charms. All the Christmas charms are stitched
with a metallic thread so I can easily remove
them once photographed and fill the gaps for
a less seasonal version.
Then I gradually embellish outwards,
completing the beaded black lines early on.
These along with areas of flat colour can be
done under artificial light. However, faces
require natural light so are stitched in the
day. Once the work appears finished, any
gaps are filled with delicas. I give it a good
shake to check no element has loosened.
Charms are particularly prone to this so now
I try to source those with two anchor points.
What’s your working space like?
There is a big set of shelves stuffed with
bead jars. I then work on a large table, but
with two young sons this space is often
shared with Play-doh, Lego, and colouring
books! The house is open plan which
enables me to switch my attention easily
from stitching to the boys. However, now
they are both at school I am planning an
extension which will contain my studio and
give me a little Lego free space!
Why buttons and beads? What appeals
about dimension and embellishment?
I’ve always been a Magpie for anything
sparkly. I love a lustred finish and translucent
embellishments. It gives me a much wider
colour range because you can really play
with the light and bounce it around the
portrait. When a beaded piece is hung it’s
hard not to notice it as it captures glints of
light at almost any angle. Beads also let me
play with abstraction and realism: the beauty
of stitch work close up can be as appreciated
as the whole portrait.
With paint you can mix any shade and
draw any shape. How do you manage
this with buttons and beads?
Having a vast collection helps a lot.
With early portraits I had to create works with
a much higher contrast and relied on many
transparent beads allowing the paint behind to
show through. Sometimes I need to balance
the colours, so they work from a distance. If
an area is too pink, for example, adding a bead
with a hint of green will balance it out when
looked at from afar. There are also some really
useful bead shapes: hearts and bugles are
great gap fillers and for everything else there’s
delicas. I’ve also found its better not to be too
much of a perfectionist: a bead in the right
Interview
shade takes priority over an embellishment
Amy Remixed, exhibited at the Royal Academy 2017
that’s the right size.
Where do you find the buttons?
My collection comes from all over the world. I
no longer buy any new plastics, so any plastic
elements come from broken and preloved
jewellery. Wherever possible I try to buy from
online bead shops that still have a physical
store. Although many of my favourites have
closed over the last decade. It’s such a shame
when there isn’t the opportunity to see the
beads in person - particularly as exacting
colour is so crucial to my work.
How do you organise them?
My seed beads and delicas are kept in
small tubes. All my other embellishments
are separated by colour. If I have a lot of
one bead, it gets stored separately to avoid
wasting time searching amongst them.
As my collection expands, it gets sub-divided.
Currently yellow is split into light yellow,
bright yellow beads, bright yellow charms,
amber yellow and muted yellows.
Any top tips for the readers?
Seed beads come in a vast variety of sizes and
colours and don’t pull on lightweight fabrics.
There’s also a huge range of twin-holed beads
that can be anchored more precisely. As for
thread painting, I prefer to stitch on to canvas.
It removes the worry about puckering which
can be detrimental when every millimetre
needs to be accurate. It’s also good to keep a
record. It’s far too easy to see what area you’re
least happy with when a work is complete
but it’s so important to look back and see how
Catherine
much you’ve improved and learnt.
What is your favourite part?
And the most challenging?
I love starting a new piece. Once it’s drafted producing prints and cards I’m able to
in my head or on my computer it’s so keep my practice accessible. I’m a proud
exciting to start. I find stitching hands my supporter of the ‘Just a Card’ campaign and
biggest challenge. Due to their dimensions these sales ensure a steadier flow of income.
they don’t lend well to bead embroidery. In My work is sold through my social media
my thread painting of a juggling Duchess of channels and Etsy store.
Cambridge I waited until I had a few hours of
uninterrupted stitching time in natural light. What does the future hold?
Covid-19 means the Art world is very up in the
What’s been your proudest achievement air, I’m seeing it as an opportunity to create
to date? more time intensive
I had a beaded sculpture picked for the Royal pieces. I’m working
Academy’s Summer Exhibition in 2017. It was towards a set of
a literal dream come true. I got to exhibit thread paintings
amongst some of the best British artists in the that will take over
same building that has shown Turner, Hirst 12 months by which
and nearly everyone in between. time hopefully
everything will
Where can we find your work? have settled. ❤
This year my beading work has been a
series of portraits of musicians who are www.sarahgwyer.com
synonymous with Christmas. I can spend @sarahgwyer
months on just one embroidery so by sarahgwyerartist
www.stitchmag.co.uk 19
 EMBROIDERERS’ GUILD
Are you just starting out and looking for help,
advice and information or are you already
stitching and eager do more?
Do you want to meet people and
share your passion with others?
Are you a busy parent who wants to
stitch with your child or a grandparent
wishing to share your skills and enjoyment
with a grandchild?
Are you keen to enter local, regional or
national competitions and seek new
opportunities, perhaps taking part in local,
regional and national exhibitions?
Are you a teacher, tutor, lecturer or
workshop leader, a student or recent
post-graduate, a textile artist or
a stitch professional?

JOIN US TODAY
www.embroiderersguild.com

Images clockwise from top: Flower Pelargonium (detail) by Jennie Riley, joint winner of EG Members’ Challenge 2019/20. Zardozi (detail) by Elnaz Yazdani, EG 18-30 Scholar 2020/21.
Mile 25 Ambleside (detail) by David Morrish, EG Education Scholar 2020/21. Linen Buttons (detail) by Liz Smith, joint winner of EG Members’ Challenge 2019/20
 Project

FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 58

Draw attention to your machine embroidery skills with this splendid

peacock feather. The opulent velvet base compliments its decadent
stitched beauty. Results you’ll definitely want to show off!

BY ALISON CARPENTER-HUGHES

www.stitchmag.co.uk 21
Project
1 2
9 10
“Adapted from my artwork ‘Flight of Fancy’, this machine embroidery
takes inspiration from my photographic research of peacock feathers.
The simple design on the shimmery crushed velvet is
perfect for improving free motion embroidery skills to
capture the beautiful iridescence of a peacock’s plumage.”
YOU WILL NEED
MATERIALS
• Medium to heavy-weight Solvy water-
soluble stabiliser, Ultra Solvy is ideal:
2 pieces, each 32 x 32cm (12.5 x 12.5in)
• Light to mid-weight velvet:
32 x 32cm (12.5 x 12.5in)
• All-purpose polyester machine threads
and metallic effect thread; the Gutermann
colour name is below with number
reference shown in brackets:
- Sapphire (311)
- Olympian Blue (959)
- Planetarium Blue (11)
- Black (000)
- Lemon Grass (616)
- Sea Green (235)
- Smoke (308)
- Cerulean Blue (761)
- Greens (334)
- Light Orange (285)
- Pumpkin (934)
PREPARATION
1 Lay one piece of Solvy on top of the peacock
feather template. Pin together and trace the
lines of the feather, using the Sharpie. Hold the
Solvy steady in place as you trace, moving the
template and Solvy round each time you draw
over a new area. It makes the lines easier to
follow and gives a neater drawn line. Remove
the pins and template from the Solvy. 1
22 www.stitchmag.co.uk
3 4
11
- Violet (571)
- Daffodil (177)
- Persian Pink (716)
- Sulky Metallic Gold (7007)
• Glue sticks
• PVA glue/Glue pot
EQUIPMENT
• Ultra-fine Sharpie permanent marker pen
• Embroidery hoop: 20cm (8in) diameter
• Sewing machine: feed dogs dropped or
darning plate fitted, with a quilting or
darning foot
• Universal machine needles: size 80
• Scissors: pinking shears, thread snips
• Glue gun
• Small or medium brush for glue
Finished stitched area: approx. 16 x 18cm
(6.25 x 7in)
TOP TIP This project is perfect for
recycling fabrics from unwanted clothes.
I used some crushed velvet shot through
with red from an old skirt that was no
longer wearable.
2 Place one piece of Solvy on top and the
other below the velvet. Position this fabric
sandwich centrally in your embroidery hoop.
12
17
However, for machine embroidery the fabric
sits inside your hoop. So place your outer
hoop on a flat surface, then cover so the
top layer is uppermost. The inner hoop is
then pressed down to create the flat surface
for machining. 2
TOP TIP Tighten the screw at the
top of the hoop with your sewing
machine screwdriver. Ensure as you
tighten all layers are smooth and taut.
It is essential to have your fabric firmly
fixed in place as you work.
GET STITCHING!
3 Set your machine up for free motion
embroidery: drop or cover your feed dogs
and make sure the correct foot is fitted.
All sewing is in straight stitch. It’s a good
idea to test your tension on a sample
piece and adjust accordingly. Re-hoop as
necessary as you work through the project.
Follow the images as a guide throughout
for each step of stitching your feather.
The Feather Eye
4 Top thread: Sapphire. Place your hoop
below the needle and position over the
feather ‘eye’ centre. Lower your needle
ready to start. Direct stitches towards the
top of the feather and fan out slightly;
lightly filling in the very centre of the blue
of the eye. 3

5 6
13 14
18 19
TOP TIP Use an open toe foot;
this allows you to see the area you are
working on more clearly. 3
5 Thread: Olympian Blue. Work over the
Sapphire thread, lightly blending the two. 4
6 Thread: Planetarium Blue. Fill in the outer
edges of the blue section, sewing lightly
over some of the lighter blues so they
show through. 5
TOP TIP Free motion embroidery
needs a fairly consistent fast foot
pressure, but with calm hoop and needle
movement on top. Essentially be Zen
with your mind and hands as you sew!
7 Thread: Black. Sew a little black along the
top to finish the blue area. 6
8 Thread: Lemon Grass. Next sew lightly over
the green part of the eye, continuing with
fanning the stitches up and outwards. Avoid
stitching over the central shaft of the feather. 7
9 Thread: Sea Green. Lightly stitch over the
same area so the two greens are variegated,
leaving more of the Lemon Grass showing in
the lower part. 8
10 Thread: Smoke. Add a few lines to shade
both sides of the green area. 9
7 8
15
20
11 Thread: Cerulean Blue. Stitch a few
highlights just under the blue centre to
complete the second area. 10
12 Thread: Greens. Moving on to the next
section of the eye, fill in lightly over the
lower part and then more densely at the
top. Once again, fan the stitch direction
upward and outward. Remember to avoid
the shaft line. 11
TOP TIP Some of the thread colours
are similar in tone, this allows you
to build a subtle colour range to add
nuance and complexity to your work.
13 Thread: Light Orange. Sew lightly
over the lower part, sides and edges of
the top section, allowing some green to
show through. 12
14 Thread: Pumpkin. Lightly sew round the
outer edges of the area, with more coverage
of the lower section. 13
15 Thread: Violet. Add a little colour round
the upper outer edges. 14
16 Thread: Smoke. Shade the base lightly
and then more densely round the outer
edges and around the lower edge of the
green second area. Add a few lines over the
Greens area at the top. 15
Project
16
21
17 Thread: Lemon Grass. To complete
this section, sew a little shading over the
Greens area. 16
18 Thread: Daffodil. Starting on the final part
of the eye, sew lightly all the way round, still
fanning out and then upwards. Sew more
densely on the lower half. Do not sew over
the shaft area. 17
19 Thread: Lemon Grass. Sew over the top
half, leaving some of the Daffodil showing
through. 18
20 Thread: Violet. Stitch upwards on the very
top end of the eye. 19
21 Thread: Smoke. Working from the bottom
more densely and then lightly towards the
top, add lines of shade. The feather eye is
now complete. 20 21 ➜
TOP TIP Regularly trim any loose
threads on the underside of your work
so they do not get caught up as you sew.
And check the tension of the fabric in
your hoop; tighten when needed.
SEE PAGE 49 FOR TIPS ON WORK-
SEE PAGE 51 FOR
ING WITH VELVET!
TECHNIQUE
TIPS ON WORKING
WITH VELVET! FOCUS
www.stitchmag.co.uk 23
Project
22 23
26 27
28
The Shaft
22 Thread: Black. Sew from just under the
blue centre of the eye and work your way to
the end of the shaft line. 22
23 Thread: Violet. Sew a line from the very
base of the eye to the end of the shaft on the
inner right side. 23
The Barbs
24 Thread: Persian Pink. Starting from the
lower barbs, work up one side of the feather
and then from bottom to top on the other
side. Sew over the lines, filling with denser
stitch on some of the lower barbs and with
thinner lines around the eye. 24 25
TOP TIP Don’t worry about following
the lines of the barb feathers exactly;
rather follow the shape. This gives a
more natural and organic look, making
your piece individual. Capturing the
essence of the peacock feather is more
important than creating an exact copy.
25 Thread: Black. Add shade lines to the
underside of the barb feathers. 26
26 Thread: Gold. Change bobbin thread to a
metallic thread as well. Add highlight lines to
the upper side of the barb feathers to finish
the embroidery. 27 28
24 www.stitchmag.co.uk
24
29
TOP TIP When using metallic effect
threads, loosen the tension dial on your
machine. This reduces the possibility of
the thread fraying and snapping. Work
patiently and steadily while using this
type of thread as it can break easily if
forced at too quick a pace.
FINISHING
27 Remove from the hoop and very carefully
cut or tear away the excess Solvy as close to
the stitch lines as possible.
28 Wash out any remaining Solvy with cold
water. Be as gentle and quick as you can.
Lay flat to dry, shaping or flattening any
parts as needed. 29
29 Once dry, position and set in the
embroidery hoop, ensuring the fabric is
smooth and taut as you tighten it.
30 Turning to the back of the work, trim
evenly round the fabric edges to fit the inner
rim of the hoop. Using a glue gun, carefully
glue round the inner rim of the hoop a little
at a time, flattening and fixing firmly in place
the edges of the fabric. 30
31 Now carefully glue over the fabric on the
inner rim only with PVA glue, using a small to
medium brush. Smooth out any rough ends
or loose fabric. Leave to dry.
25
30
32 Proudly display your finished embroidery
in a hoop or frame.
ALTERNATIVE FINISHES
33 The design would also make a fabulous
update to a preloved piece of velvet clothing.
Or use it as a striking centre piece for a
bag, cushion or display quilt. For an extra
shimmery dose of iridescence, why not try
sewing the feather with silky rayon threads? ❤
ABOUT ME
I am an award winning
mixed-media artist and
workshop facilitator.
I focus on free-motion
embroidery, using the sewing machine as
a tool for ‘drawing’ or ‘painting.’ Reflecting
on everyday experience and elements of
symbolism, I explore moments of intimacy
and vulnerability, and in turn, detachment
and inner strength. I am currently working
on small surrealistic inspired artworks and
towards a commission on the Freedom of
Expression for the Magistrates’ Association
‘2020 Vision: 100 Years of Justice.’
@pootlesmoon
www.ajcgallery.com
 Project

Forever Frosty

FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 58

No need to dream of a white Christmas! Build yourself a sparkling

snowman with a range of goldwork metals and techniques. A stunning
addition to your own festive decorations or perfect to make as a gift.

BY ILKE COCHRANE

www.stitchmag.co.uk 25
Project

“When I started seriously getting into goldwork, I treated 1

myself to a selection of the standard threads and metals -

not only in gold, but also in silver and copper. Of course,
I needed a project to use all three colours. I’d been playing
with snowman designs for some time and suddenly it
struck me: the copper would be ideal for his
carrot nose. And Forever Frosty was born!”

YOU WILL NEED

MATERIALS
• Light blue quilting cotton, linen or silk
fabric: 25 x 25cm
• Backing fabric, eg lightweight calico:
25 x 25cm
• Yellow felt: 5 x 5cm
• Gutermann Sew-All thread:
- 415 (gold)
- 8 (silver)
- 895 (copper)
• Goldwork supplies:
- Medium rococo, silver: 25cm
- Twist No1½, silver: 25cm
- Smooth passing No7, copper: 50cm
- Pearl purl No3, silver: 15cm
- Pearl purl No2, silver: 20cm
- Milliary wire, gold: 15cm
- Twist No1½, gold: 40cm
- Smooth passing No5, copper: 50cm
- Wire check No6, silver: 35cm
- Check thread 8x2, gold: 40cm
- Smooth purl No6, gold: 35cm
- Wire check No6, gold: 35cm
- Rough purl No8, gold: 10cm
- Wire check No6, black: 5cm
• Gold kid leather: 4 x 4cm
• Mill Hill petite beads (size 15), 42011
Victorian Gold: x8
• Spangles, silver: 2x 2mm, 2x 3mm &
2x 4½mm
• Buttonhole or extra strong sewing thread,
for plunging: 20cm
CHECK OUT THE MIDAS TOUCH
ON PAGE 44 FOR LOTS OF
• Wood-grain effect flexi-hoop: 6in diameter GUIDANCE ON IMPROVING YOUR
• Felt, for backing: 18 x 18cm GOLDWORK TECHNIQUE!
EQUIPMENT
• Needles: FOREVER FROSTY COLOUR CHART
- Embroidery: No7 (for couching)
& No10 (for going through wires)
- Chenille: No20 (for plunging)
• Scissors:
- Embroidery
- Goldwork
• Velvet board/beading mat (optional)
• Embroidery hoop: 7 or 8in
diameter
• Beeswax
STITCHES & TECHNIQUES
Attaching a Sequin, Couching, Plunging,
Running Stitch, Whip Stitch
See Stitch Guide for details on
stitch formation.
Stitched area: 9¾ x 10cm
Suggested suppliers for
goldwork materials:
• Sarah Homfray
- www.sarahhomfray.com
• Laurelin Embroidery
- www.laurelin.co.uk

26 www.stitchmag.co.uk

2 3
5 6
PREPARATION
1 To prevent fraying, oversew the raw edges
of the fabric either by hand or machine.
2 If there are any creases in the fabric, iron
them out now. Once the metal threads are
on the fabric, you won’t be able to!
3 Transfer the design to your main fabric by
tracing on a lightbox or a well-lit window.
If your fabric is too dense for this, use the
prick & pounce method.
4 Place the main fabric on top of the backing
fabric, design side up. Put them in your hoop
together, making sure both fabrics are stretched
taut and the design is more or less centred.
5 Make templates for the hat band and scarf
by tracing the outlines (without the scarf’s fold
lines) onto tracing paper and cutting them out.
Mark the right side of the hat band template.
GET STITCHING!
6 Place the paper scarf template on the
yellow felt and draw around it. Then cut the
felt just inside the lines. Attach to the fabric
with tiny stitches, making sure you stay
inside the design lines of the scarf. 1
7 Unless the instructions tell you otherwise,
use yellow sewing thread to attach gold
threads and wires, grey to attach silver, and
orange to attach copper.
8 Work the snowy ground. Start by couching
the silver rococo, working one stitch in every
valley. Use the orange arrows as a guide. 2
TOP TIP! Wax your thread before
use. Pull it across the beeswax a few
times, then pull between your fingers to
remove any excess wax. Make sure you
do this away from your work, to prevent
bits of wax from staining the fabric.
9 Now couch a row of the silver twist
directly underneath. Place your couching
stitches in between the ones on the row of
rococo. Use the green arrows as a guide.
Plunge and secure the ends for both the
rococo and the twist. 2
TOP TIP! To minimise the amount of
plunging, you can start paired couching
with a loop. Cut the passing twice as
long as is needed for the arm plus some
extra for the tails. Fold the thread in
two, pinching the fold tightly. Secure
the doubled thread at the start of the
outline by working a small stitch over
the fold, followed by a stitch over both
threads very close to the fold. From then
on, couch as usual and plunge the tails
when you have completed the arm. 3
10 To form the arms, couch pairs of
copper passing No7 along the outlines
on the design. 3 4
Project
4
11 Outline the lower body in couched pearl
purl No3. The upper body and head are
couched in pearl purl No2. Remember to
leave a gap for the nose! 5
12 Place the hat band paper template on
the back of the kid leather, right side down.
Draw around it. Cut the kid on the lines.
Attach to the fabric. Start with four small
stitches at the top, bottom, right and left. Fill
in the gaps, securely stitching any corners
or points. Always come up on the outside of
the shape and go down into the kid. 6
13 Now take the milliary wire and couch
down along the top and bottom of the hat
band with the triangles pointing outwards.
Trim the wire part and plunge the base
thread. Complete the hat by couching in
gold twist. Do the outline of the brim first,
followed by the crown. 6
14 Fill the carrot nose by couching paired
copper passing No5 with the copper thread.
Start at the base of the carrot and work a
sharp bend around the tip (blue arrow). Keep
going round to fill the shape. When you
come to the tip a second time see whether
there is room to do another sharp turn. If
not, plunge the two threads staggered to fill
the tip smoothly (green arrows). Start a new
pair to fill the rest of the nose. You may need
to couch a single thread of passing right in
the centre (yellow arrow). 7 ➜
www.stitchmag.co.uk 27
Project
8 9
11
14
15 Work the shading in the body with randomly
placed silver wire check chips; use the main
image and the colour chart as a guide. 8
16 Work the outlines of the scarf in couched gold
check thread. Start with the parts around Frosty’s
neck, and finish with the part of the scarf that
is hanging down, including the bottom edge.
Follow the direction of the yellow arrows. 9
17 Fill in the scarf with cutwork in alternating
lines of gold smooth purl and gold wire check.
Work from the outside of the neck inwards,
and from the bottom of the scarf upwards.
Use the direction of the yellow arrows as a
guide and shorten the chips as necessary. 10
18 Now work the fringe at the bottom of the
scarf. Cut eight 4mm chips of gold rough purl.
Attach these along the bottom of the scarf
as follows: bring the needle up just inside the
bottom edge of the scarf. You may have to
gently push the bottom chip out of the way
a bit. Thread on a chip, followed by a petite
bead. Take the needle back through the chip
and go down just outside the outline. 11 12
19 Using the grey sewing thread, attach six
chips of black wire check to make the lump-
of-coal mouth. 13
20 Still using the grey sewing thread attach
the spangles with chips of black wire check.
Use the two 2mm spangles for the eyes,
28 www.stitchmag.co.uk
12
the 3mm spangles for the buttons on the
upper body, and the 4½mm spangles for the
buttons on the lower body. 13
21 If you have any spare spangles, you
could attach them – this time using silver
chips - scattered in the sky around Frosty to
represent snowflakes.
FINISHING
22 Take the embroidery out of the hoop used
for stitching. Don’t worry about the circular
mark made by the hoop, as the hoop used for
framing is smaller, so this mark will not be visible.
23 Using the outside of the inner ring of your
framing hoop, trace a circle onto the felt
and cut it out. Stretch the embroidery in the
hoop, making sure the outer hoop frames
the picture to your liking.
24 Trim the fabric to about 3cm all around
and place the hoop upside down on the
table. Thread a needle with sewing thread
and, leaving a tail at the beginning, work a
circle of running stitch around the outside of
the hoop, about 1cm from where the fabric
emerges from the hoop.
TOP TIP! Cushion the surface your
placing your embroidery on with
scrunched-up tissue paper or a very
soft towel so that the goldwork doesn’t
get damaged.
10
13
25 When you have completed the circle, pull
the two ends of the sewing thread to gather
the fabric at the back of the hoop; you may
have to manipulate the fabric along the
running stitch line to distribute the gathers
evenly. Tie the ends of the sewing thread
tightly, and if you initially cut the fabric a little
too generously, trim the excess to about
2cm from the line of running stitch.
26 Attach the felt circle to the fabric at the
back of the hoop, using tiny whip stitches
as close to the edge as possible in a thread
matching the felt. ❤
ABOUT ME
I’m a Dutch ex-pat with a
passion for needlework.
Like so many people I
started with cross stitch,
but soon other techniques and materials
beckoned. I keep experimenting with my
designs, which now include Hardanger,
Shisha, freestyle and goldwork. Currently
I’m giving myself a more solid technical
grounding in the various techniques
by doing the RSN Certificate; I’ve just
completed the stitching on my Jacobean
module and hope to start Goldwork soon.
www.mabelfigworthy.co.uk
mabelsfancies
www.mabelfigworthy.co.uk/fof/
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Your next issue...
STITCH: MAKING BEAUTIFUL EMBROIDERY EASY
WINTER IS
COMING!

A Winter Mandala
Rich blues and icy hues bring sparkle and shine to the darker days!
A sublime fusion of goldwork and stumpwork.

Let It Snow!
Be entranced by these magical,
everlasting snowflakes. Simple
stitching, stunning results.

PLUS!
✶ Emma Wilkinson looks forward to a
better year with a bead encrusted
vision of the world.
✶ Settle down to a classic fairy tale
with Elaine Mork’s rendition of
The Little Mermaid.
✶ Take flight with a tutorial from Linda
Check Mate! You Need Hands Call Of The Wild Fjeldsted Blust. Learn how to make
Become a blackwork Raid your stash to make Alex Law’s striking cushion one of her flamboyant birds.
grandmaster with these cheerful hand cover gives crewelwork a ✶ Dr Jen Ballie from the V&A Dundee
Jen Goodwin’s brilliantly warmers. Perfect for contemporary take. talks to us about her role, her research
detailed chess pieces. chilly days! and reviving embroidery skills.

ON SALE THURSDAY 26 NOVEMBER 2020

FOR DIGITAL EDITIONS AND SUBSCRIPTION COPIES VISIT WWW.STITCHMAG.CO.UK
STITCHING KNOW-HOW • NEW TECHNIQUES • ALL THE STEPS • EVERY ISSUE
Contents may be subject to change.

30 www.stitchmag.co.uk
 Spotlight

Deciding to focus on creating fibre and textile

artworks full-time felt like a natural progression.

What matters to you within your art?

I have always been captivated with textiles
and fabric manipulation processes. Changing
the aesthetic of an everyday material into
tactile luxurious fibres and transforming
them into original artworks is my true
passion. The lengthy deconstruction
and reconstruction of fabrics provides a
therapeutic and joyous outcome.

What appeals about second-hand fabrics?

Having a sustainable approach, I often visit
local charity shops on the hunt for bed linens
and curtains that I can use to apply my array
of fraying techniques; breathing new life into
fabrics that would otherwise be discarded
brings more fulfilment to the practice.
Anemone by Adele Deloris Riley

Frayed At The Edges The deconstructed fibres used to create Anemone

Meet Adele Deloris Riley. She subjects old Do you have a favourite fabric?
I am constantly being surprised by the
bedsheets, pillowcases and curtains to an intense materials I use so it would be hard to choose
fraying technique. The deconstructed fabrics are one. The transformation is probably the part
I enjoy the most as I’m never quite sure
transformed into wonderfully calming pieces of what the outcome will be. I am enthralled by
wall art you want to reach out and touch. how the materials take on a life of their own
in the reconstruction process. The way they
represent splashes of colour to indicate sea
Where did it all begin? What about formal training? anemones and corals of the Caribbean Sea.
My interest in textiles was ignited by the I discovered fashion design and applied to
women who raised me. I remember my study womenswear at Central Saint Martins And looking ahead?
Grandmother spending hours knitting or in London. The course allowed me to realise My hope for the future is to continue to
crocheting placemats. But seeing her work my aesthetic and artistic sensibilities. My provide joy through my work. I often receive
wonders on the sewing machine - creating final degree show exemplified my ongoing feedback of how uplifting and calming the
anything from clothes to curtains - always experimentation with manipulating materials pieces are to look at. It would be a dream to
fascinated me. If I was not learning the and creating tactile textures. The techniques exhibit a solo show that educates the viewer
art of sewing from her, I would be found invented then are still used in my work today. on sustainability and
watching my Mum doing embroidery or the impact we have
touring the Manchester Art Museum and So how did you get to where you are now? on our planet to
galleries with my Aunt. I was immersed I’ve got over ten years of experience in the encourage positive
in needlepoint tapestries of florals and fashion industry, working with brands on change. ❤
affirmative statements adorning the walls of couture and ready-to-wear collections in
our Caribbean household. These were my Paris, New York, London and Hong Kong. @adele.d.riley
early years of growing up in Manchester and This has informed my meticulous attention to
they formed my love for arts and craft. detail, use of colour and my love for slow art.

www.stitchmag.co.uk 31
Project

All The Trimmings!

Raid your stash for precious scraps of fabric, odd buttons and stray
strands of thread. Then take things easy with some slow, mindful
patching and stitching to make these fun tree decorations.

BY PAULA PERRINS

YOU WILL NEED

MATERIALS EQUIPMENT • Pins
• Fabric scraps: a variety to make 2-3cm • Plate or embroidery hoop: 20cm diameter • Sewing machine (optional)
wide strips • Paper, pencil & ruler for design transfer • Turning tool
• Base fabric: 10 x 10cm • Scissors:
• Threads: a variety of type and thickness - Paper STITCHES & TECHNIQUES
• Sew through buttons: 6, matching or varied - Fabric Back Stitch, Cross Stitch, Double Cross
• Stuffing: polyester wadding is ideal - Embroidery Stitch, Running Stitch
• Thread or thin ribbon for the hanging loop • Needles: to suit threads used, longer ones
• Jute string with larger eyes will work best See Stitch Guide for details on stitch formation.

32 www.stitchmag.co.uk
 Project

1 2 3 4

“The simple, repetitive act of stitching through layers of soft-edged, tactile cloths can bring
calm and comfort in anxious modern times. These festive little trees offer plenty
of opportunity to go your own way: to transform tiny treasures of fabric from the
scrap bag into a gift for a loved one or create a memory for you and your family.”

PREPARATION
1 This project is all about slowing down and
being in the moment. So make choices that
bring enjoyment; starting with what you already
have in your stash and going for favourites.
Pick out tactile fabrics and put together happy
colour families that really appeal. Mix up
weights, add in layers of sheer fabric or lace:
the only limit is your creativity. 1
2 Select a range of coordinating threads,
particularly smooth ones that will pass easily
through your work. I like to include Perle for its
sheen and variety of weight. Use your favourite
needles. Rummage through your button box.
Consider using hanging loops from clothes as
the finishing ribbon. There are no rules! 1
3 Create a template by drawing round your
plate or embroidery hoop on to paper. Cut and
fold into a quarter. The trees on my garland
measure 10cm on the straight side. Use your
paper template to cut out your base fabric. 2
TOP TIP Don’t be limited by the
template size. You can go larger or
smaller by drawing different plates. 3
4 Tear or cut your chosen patchwork fabrics
into 2-3cm strips. I like the frayed edge
tearing produces -although sometimes this
can distort printed fabrics. However, pulling
out threads from a cut edge can achieve the
same look. Or machine wash the cut strips in
a mesh bag for a really lovely soft edge.
TOP TIP Pairing unfussy fabrics in a
set colour palette with vibrant, contrasting
threads will really show off your stitching.
5 Now create a quiet spot so you can focus:
Arrange your fabric strips on top of your base
fabric starting at the bottom. Work up to the top
so the rough edges overlap as the branches on
a Christmas tree would. Secure with pins. 4 ➜

www.stitchmag.co.uk 33
Project
5 6
13 14
TOP TIP Creating a balanced layout
that seems random can be harder than
you think. Start by positioning three
pieces of your most eye-catching fabrics
on your base. Arrange the other fabrics
around them, making sure no two similar
fabrics are touching. Softening your gaze
by screwing your eyes up is an easy way to
check if the balance of the design works.
6 Turn the fabric sandwich over and trim back
the edges of your strips so they are 5mm
bigger than your base fabric. You’ll need this
allowance as the type of stitching used can
cause a little shrinkage. 5
GET STITCHING!
7 The first layer of stitches will hold your
fabric strips in place. Start with a fairly fine
thread in a long needle. The joy of the
running stitch is how versatile it can be. Use
it to work rows over the whole piece or in
sections. I’ve used running stitches in parallel
lines in groups of three rows, loading several
stitches on to my needle at a time. 6
TOP TIP Sashiko needles are ideal:
they are long, have a larger eye and
don’t bend like embroidery needles.
Plus you can load lots of stitches before
pulling your thread through!
8 Remove each pin once the fabric it’s holding
is secured with a stitch. Thread catching
around pins does not make for happy sewing.
34 www.stitchmag.co.uk
7 8
15
Every Scrap TECHNIQU
E
FOCUS
Matters
Stitching practices, like Boro
and Sashiko from Japanese as
well as Kantha from India, originated out of
necessity during times of hardship: every
scrap of cloth was repaired and reused.
Boro and Kantha both involve layering
fabric and the humble running stitch. It
doesn’t just hold the layers together, it plays
a decorative role too.
Here I am drawing on the soft, frayed
edges often seen on worn Kantha quilts and
combining with the stitched parallel lines,
crosses and pluses seen in Boro mending.
There will be four or five layers of
stitching, using progressively thicker threads
and bolder stitches with each layer. If you
aren’t usually one for freeform stitching
then follow my suggestions to start you off.
Otherwise be happy to thread your needle
and go in whichever direction it takes you.
9 For the second layer, I’ve used more blocks of
running stitches. This time offset so the three
rows form a brick pattern; the stitches run on
the bias and at 45 degrees to my first layer. You
will feel your work becoming more stable. 7
10 At this point, fold your piece in half and
review how your stitching is going to bring
your tree together. Because we have used
a quarter circle as our base, stitching sits on
16
the grain or the bias. This means the stitches
will always be either at 45 or 90 degrees and
your design will only come together towards
the end. So notice how your stitches look on
your tree – often these simple stitches are
just as good on both sides.
11 Be bolder with your third layer of stitching:
step up the thickness of your thread again
and try introducing crosses or pluses. 8
12 Your last layer is your embellishment
and brings the whole design together.
Choose a showstopper thread and make
large, bold stitches; a double cross stitch
works well. 9
TOP TIP Look for an eye catching
detail in your design and compliment
it in your final stitches. I used a gold,
rayon thread to echo the gold stars in
one of my fabrics and mimic twinkling
fairy lights. 9
13 Go ahead and add a fifth or sixth layer of
stitching if the mood takes you!
FINISHING
14 Fold your tree in half, wrong sides
together and pin. Sew a seam along the
edge in back stitch by hand or with your
sewing machine. 10
15 Turn your tree right side out. Use a
turning tool – a knitting needle or blunt
 Project

9 10 11 12

17 18 19 20

pencil will work - to push out the tip.
You can add more stitching over the seam
for reinforcement; it also makes your design
look more continuous. Flatten your tree so
the seam sits at the side. 11
16 Lightly stuff with wadding, using your
turning tool to reach into the point. 12
17 Create a tree trunk by rolling a spare strip
of fabric around a pencil or pen. Press flat
with your fingers. 12
18 Pin the rough edges at the bottom of
your tree together. Remember to include
the trunk and position it centrally. Use more
Boro style stitches to close the bottom,
attach the trunk and finish off your design
all in one go. Take a moment to see how the
stitching looks on the front and back. 13
19 Add three buttons to each side of your
tree by sewing straight through your work to
attach both opposite buttons at once. Finish
off by ‘losing’ the end of the thread inside the
stuffing of the tree. 14
20 Stitch straight through the point at the
top of the tree with a large needle to add a
hanging loop. Use one of your thicker threads
or fine ribbon and knot when done. 15
21 Once you’ve made one, you’ll want to
make a forest! To create a garland to hang
on a fireplace, shelf or wall, simply take a
length of jute string and attach the trees with
little rag bows. 16
ALTERNATIVE FINISHES
22 Match your trees to your Christmas
colour scheme. 17
23 It’s so easy to make up as a brooch to
adorn your winter coat. Simply go a little
smaller, concentrate your stitching to the
front and attach a pin to the back when the
buttons are sewn on. 18 19
24 Use a pre-made wreath or improvise by
winding fabric strips around an old embroidery
hoop. Then there’s the option to stitch a
circle of trees on to the hoop or arrange a few
dangling into the centre. You decide! 20 ❤
ABOUT ME
I’m a textile artist and
designer maker from
Bingley, West Yorkshire.
I am fascinated by
historical domesticity,
when we threw much less away and our
skills with needle and thread sustained
comfort and beauty in the home. The
principle of “use what you have” is at
the heart of what I do. I often work in
miniature, using the tiniest of scraps to
create my brooches and artwork. I am
passionate about sustainable textiles
and embracing traditional mending
techniques not just to extend their life but
to enhance their beauty as well. Currently
I am developing workshops to teach my
favourite techniques and can’t wait to
start sharing!
www.wychburydesigns.co.uk
wychburydesigns
@paula_wychburydesigns

www.stitchmag.co.uk 35
Interview
We Will Suppress You, 2020
Now You See Me
In the hands of Kate Tume embellishments take on a new dimension.
The sequins and beads packed into her large hand embroidered portraits sparkle
with layers of meaning designed to show her subjects in a different light.
F
rom her home studio in West Sussex,
Kate Tume intertwines bright,
uplifting colours with the innocent
twinkle of sequins to tell the deeper,
darker stories of the animals depicted. This
is Kate’s response to the world around her
and the times we are living in. It’s done in
a way that has meaning to her and, in turn,
the viewer. This effective juxtaposition of
what’s obviously attractive, offset against
uncomfortable considerations is bold, brilliant
and uncompromising. Kate talks to us about
her work and development as an artist.
When did you first feel comfortable calling
yourself an artist? What caused the shift?
Calling myself an artist used to make me
cringe. It felt like a false claim and I’d be found
out. I think this has a lot to do with how school
systems work around art education. Art was
my favourite thing to do. I couldn’t wait to get
36 www.stitchmag.co.uk
to secondary school and stretch my legs. But
the experience of being marked on a scale of
good and bad really affected my confidence.
Previously my experience was purely positive:
you express yourself, what you see and your
response. How can that be wrong?
My creativity shrank and became
something I couldn’t take pride in or enjoy
anymore. Then in my mid-twenties I met my
first real-life artist, Hazel Pybis Potter. She got
to know me and my creative interest. One
day she challenged me by saying: “But you
are an artist!’ This positive affirmation was
the start of moving back towards what had
always been there.
How would you describe your work today?
I make textile portraits of animals that
explore how a decline in cultural, social,
or spiritual reverence for the natural world
has resulted in vulnerability, endangerment,
Eye detail from We Will Suppress You
Neck detail from We Will Suppress You
or extinction. It seeks to subvert popular
narratives around what extinction and
ecological threat looks like and asks questions
around who is responsible and who should
be held accountable. I often use religious
iconography and mythology in my work to
engage the viewer in a dialogue about what
we hold sacred, and how that has changed.
What impact do you want your art to have?
What response do you want to evoke?
I feel strongly that art lives in the world
and I am not always present to control the
interpretation or the narrative. I’m interested
in leaning into that and often ask my
followers what they think a piece means.
I know what it means to me and what my
intention is for it to communicate, but I don’t
have all the answers. I’m more interested
in asking the questions and engaging the
viewer to think about what it means to be a

part of this vast connected web of life. That’s
my highest goal for my work, the same as
many artists I imagine: to engage the viewer,
make them think and ask questions.
What is your take on conservation? How
does this inform your art?
I think conservation in 2020 is very
complicated, and the messages that get
popularised are often not the whole picture.
My take on conservation is intersectional;
racism, feminism, LGBTQ+ rights and caring
for the planet are all connected. It’s about
caring for all life. I used to look at my subjects
through a fairly narrow lens of just the species
and make work that responded to that.
Now it’s broadening to encourage more
conversation and analysis. I feel very strongly
about Indigenous rights as those communities
are and have always been land defenders and
intimately connected with the environment
they live within, but are often the first to have
their rights and voices oppressed.
How do you choose your subjects?
And how do you incorporate their story?
This depends on what I’m interested in
at the time. In the past it has been extinct
species and their stories that I want to shed
light on. Now I’m interested in species with
a spiritual or otherwise ‘Godly’ connection
to humanity, either through mythology or
ancestral traditions. Often it is both, like in
my piece ‘I Am The Trees And I Am You’.
As I am not interested in making work
that doesn’t have a story, researching
the subjects and spending a lot of time
exploring their narratives is essential. I hope
the connection this creates is ultimately
transmitted to the audience. However, as I
said, once a piece is made, I am no longer
in control of how it is perceived, and I enjoy
the conversation that arises.
2020 started with an art residency in
Costa Rica. How has this experience
influenced you?
My residency at The Mauser Foundation in
Costa Rica has transformed both myself as
a person and artist, and my vision for what
I want my work to represent! I wanted the
challenge of travelling solo to a new country
and knew that there would be rich rewards
as far as having a real-life experience with
the animal and plant species there. The
interaction with the wildlife, as opposed to
just peering at an image on a screen, was
deeply nourishing and had the hoped-for
effect of ‘filling me up’ with connection and
inspiration for new work. As well as living
with other artists, which was also magical!
How does a piece develop?
I always start with my own drawing.
This allows my brain to do some problem
I Am The Trees And I Am You, 2020
solving and decision making early on; it
helps prevent mistakes I might need to
undo. Next a blown-up photocopy of my
drawing is traced onto interfacing. Or if
I’m making an appliqué sketch, I cut out
the shapes as pattern pieces to cut the
fabric from. I’ll go through my fabric and
embellishment drawers to make a palette
up which I keep in tins around my slate
frame. It’s 1 metre across - I struggle to
work smaller these days!
Once I’ve framed up, the pieces are
pinned down. I really like using felt and
velvet to make a collage on which I
can embroider or embellish. After that
groundwork is done, I work in sections.
Sometimes I have a very clear vision for how
it’s all going to be, but almost always there
are changes as the piece develops.
Sequins, beading and goldwork add
dimension and glitz. But what drew you to
embellishment?
Part of my development as an artist has
been to let go of rigid ideas about what I’m
‘allowed’ to do. This can be a bit of a problem
within the textile arts community to be
honest: a bit of slavishness to a particular
style or technique. I used to feel like it would
break the rules, or somehow be cheating if
I used appliqué instead of embroidering the
whole surface. I got fed up with restrictions
and as my creativity became stronger it was a
great joy to be able to give myself permission
to create my images exactly the way I chose,
with whatever I chose. Although when I used
glue to stick some elements down on my
iguana, ‘We Will Suppress You’, I still had a
small voice accusing me of cheating by not
using a needle and thread!
Interview
Sequin detail from I Am The Trees And I Am You
What’s your favourite embellishment to
work with?
I couldn’t pick one! I have a massive
collection of beads and sequins now;
many are hand-me-downs from my mum.
Sometimes when I’m designing a piece,
I’ll be fixated on incorporating a particular
type of embellishment. Other times I
know exactly what I want and will shop
for it specially. Such as the beautiful Czech
hexagram pyramid beads which made the
perfect spikes on the iguana’s neck.
Where can we find your work?
The best way to keep up with my work in
progress and hear about classes and kits is to
follow me on Instagram. I’ve started sharing
virtual studio visits where I film myself talking
about my work, which seems to be popular.
My website contains
nice big pictures
of all my work; an
accompanying blog
post has my step-
by-step images as
well as discussion
around meaning and
symbolism. ❤
www.madebymothereagle.com
@mother_eagle_arts
www.stitchmag.co.uk 37
 Project

Merry & Bright

Head back to the classroom for a physics lesson! Where embroidery

takes on electrical circuits to shine the light on smart textiles.
You’ll learn something new and make a brilliant decoration.
BY TABITHA BUCKLEY

www.stitchmag.co.uk 39
Project

1 2 3 4

9 10 11 12

“Enjoy a contemporary twist to traditional festive colours with this e-textiles bauble.
The design takes inspiration from the vibrant colours of Kynance Cove in Cornwall,
which directly influenced my graduate collection. So add sparkle to your Christmas
with this introduction to smart textiles alongside more familiar techniques
of silk shading, goldwork and beading! Go with my colour scheme or
switch things up to coordinate with the rest of your decorations.”

YOU WILL NEED PREPARATION

MATERIALS
• Silk organza (or similar base fabric):
22.5 x 22.5cm
• Threads:
- Anchor stranded cotton:
magenta (63), blue (00410)
- Silk Gutermann thread:
smoke (36), grey (38)
- Hemline nylon invisible thread
• E-textiles (www.kitronik.co.uk):
- Electro-fashion, switched coin cell holder
- Electro-fashion, coin cell battery:
CR2032 3V
- Electro-fashion, conductive embroidery
thread: 2m
- Electro-fashion, LED Board: Sakura
(Lilac) x3
• Goldwork wires:
- Pearl purl, No3: silver, 45cm
- Bright check, No4: gold, 45cm
• Beads:
- Miyuki seed beads, size 8:
magenta duracoat galvanised, 22g
- Matsuno glass seed beads, size 8:
lime rainbow, 22g
- Miyuki seed beads, size 8:
silver lined blue zircon, 22g
- Miyuki cube glass beads, 3mm: 1 Place your fabric in your 5½in hoop.
silver lined crystal, 20g Gently pull around the fabric edge and use
- Miyuki seed beads, size 8: silver lined a small screwdriver to tighten. It’s important
iced blue, 22g your fabric is taut. Take the inner part of your
• Felt: 22.5 x 22.5cm 3in hoop. Place it in the centre and trace
• Ribbon, 1.5cm: 44cm the inside circle on to your fabric with an air
• Sticky tape: erasable pen. 1
- Low tack
- Double sided TOP TIP You’ll find it much easier to
work the detail of this design in a larger
EQUIPMENT hoop. Then transfer it to the 3in hoop
• Embroidery hoops: 5½in, 3in diameter for display.
• Small screwdriver
• Air erasable pen: Madeira magic pen 2 The top half of your bauble will be filled
• Ruler with silk shading. To create the desired
• Needles: effect, mark a vertical line 1.5cm down
- Embroidery, James John size 5/10 from the centre top of the circle. Draw a
- Beading, James John size 10/12 horizontal line to cut across the circle at
• Scissors that level. Measure 1cm increments from
• Beeswax the central point across this line. Then draw
vertical lines at each of these points. These
STITCHES & TECHNIQUES will be your stitching guide. 2
Attaching a Bead, Back Stitch, Couching,
Long & Short Stitch, Running Stitch, GET STITCHING!
Waste Knot, Whip Stitch Silk shading
3 Cut a length of blue embroidery thread
See Stitch Guide for details on stitch formation. and separate into 4 strands. Thread your
embroidery needle and back stitch along the

40 www.stitchmag.co.uk

5 6
13 14
15 16
top edge of the circle – just inside the outer
perimeter of the 1.5cm line. This half moon
shape will give a solid edge for your silk
shading and create a better finish. 3
TOP TIP To measure a comfortable
length of thread to sew with, simply hold
one end between your index finger and
thumb. Measure up to just below your
armpit with your other hand and cut.
4 Using a waste knot, start from the centre and
work over your row of back stitch outwards
alternating long and short stitches between
medium length ones in the following pattern:
L-M-S-M-L-M-S-M, etc. The longest stitch
length should come down to the 1.5cm line.
The medium and short stitches should sit
above; the length of each being adjusted to fit
the outside of the circle. 4 5 6
5 Once the first row of silk shading is
complete, measure another vertical line in
the centre of the circle. This time 1cm down
from the first horizontal line. Use the same
long, medium, short, medium, long stitch
pattern to elongate the previous stitches.
Either work by approaching from above and
going into each thread around ¾ from the
7 8
FRONT
BATTERY
PACK
THIS WAY UP
bottom and splitting it in the middle. Or by
coming up from underneath and down to
the marked line. Whatever approach you
take, it’s important to keep the thread as
straight as possible. 7 8
6 Repeat Step 5 to measure another row.
Now take 4 strands of your pink embroidery
thread and continue matching long stitch to
long stitch, medium stitch to medium stitch.
Carefully split each blue stitch, ensuring not
to miss any. 9 10
7 Repeat Step 5 again and complete a
second row of pink silk shading. 11
The E-textiles circuit
8 Transfer the E-textiles circuit diagram for the
front to a piece of paper. Cut out and place
behind your design, matching the circle edges.
Use small pieces of tape to secure temporarily.
Hold up to a good light source and trace the
black lines of the circuit diagram with an air
erasable pen onto the front of the design.
Do not trace the outline of the battery pack
(switched coin cell holder). 12 13
9 Referring to the circuit diagram, lay out
the components on a flat surface so their
Project
E-TEXTILES
CIRCUIT
DIAGRAM
BACK
ON
OFF
positioning matches. IMPORTANT: You must
ensure all positives and negatives are facing
the same direction. You will begin with the
LED board at the bottom of the design.
TOP TIP Conductive thread knots
easily so measure using the method
described previously. This will give the
right length to work with. Also hold
it with your thumb as it passes back
through the fabric. 14
10 The positive (+) and negative (-) sides of
the circuit must be kept separate. You will
complete the negative side first. To start run a
few tiny stab stitches along the circuit line to
secure your thread. Then fasten the negative
end of the LED board by stitching 4-5
couching stitches through the relevant hole.
Now follow the solid stitch line to the middle
LED board using an even regular running
stitch. This will give a better connection. 15
11 Secure the middle LED board again using
4-5 couching stitches at the negative end.
Continue with the running stitch up to the
final LED board. However, make sure your
rows of running stitch are separate so there
is no interruption in your circuit. 16 ➜
www.stitchmag.co.uk 41
Project
17 18
25 26
12 Repeat to secure the
final LED board and the FOR MORE
negative side of the GOLDWORK
circuit board. Don’t TIPS SEE THE
worry if this stitching MIDAS TOUCH
goes over your silk ON PAGE 44
shading as it will be
covered later with beadwork.
Push needle and thread through
to the back of the fabric. 16
TOP TIP Secure the remainder of
the conductive thread for the negative
side by wrapping round a pin on the
front of the fabric. 17
13 IMPORTANT: Do NOT cut this loose
thread as it will be used to connect to the
battery pack!
14 Cut a new piece of conductive
embroidery thread. Follow Steps 10-13 to
complete the positive side of the circuit.
15 Now turn your hoop over and position
the battery pack as shown on the E-textiles
circuit diagram. It is vital to marry the
positive and negative sides correctly for your
lights to work. 18
16 Take the conductive thread used to stitch
the positive side of the LED boards and
secure the positive side of the battery pack.
Then unpin the thread used for the negative
side of the circuit board and secure the
other side of the battery pack. Knot off and
cut loose ends. 18
17 Secure the top holes of the battery pack
with invisible thread, taking care not to mark
the front of your bauble. 19
42 www.stitchmag.co.uk
19
27
Goldwork
17 Cut a length of pearl purl No3
longer than the circumference of
the design. Gently pull the wire to
separate the coils slightly. Use your
beading needle and the grey silk
thread (38) to couch down the pearl
purl in between every other coil or so.
Pull the thread just enough so it sits between
the coils and isn’t visible to the eye. 20
TOP TIP Silk thread is preferred for
goldwork because of its strength. You
can condition your thread by passing it
through a solid beeswax bar to make it
even easier to work with.
18 When you get towards the end of the
circle, cut the pearl purl so the two ends
meet and lie flat. 21 22
19 Cut your bright check No4 wire into
5mm tubes and sew within goldwork area
indicated on the main image. 23 24
IMPORTANT!
Do NOT sew these goldwork chips near
the conductive thread. They are metal
and will interfere with the circuit.
Beading
20 The beading will cover the LED boards
and conductive thread. Roughly marking out
each area on your design may be helpful.
For ease use the smoke silk thread (36)
throughout and your beading needle.
21 Depending on the area to be filled either
sew each bead individually using a small,
condensed running stitch (Method 1). Or
thread a strand of 5 beads onto your beading
20
28
needle; take one big stitch then couch in
between the beads (Method 2).
TOP TIPS
• If you cut your thread at an angle and
smooth the fibres, you’ll find it easier to
thread your beading needle.
• Use a double strand of thread for the
larger beads so they are properly secured.
• To maintain a good circuit, avoid
sewing through the conductive thread!
22 The middle and bottom LED boards will
be covered with the lime rainbow green
beads. Build the beadwork around the LED
bulb and over the board using Method 2 in
the pattern shown. You will not be able to
couch any beads that sit over the board, only
those that lie directly on the fabric. 25 26 27
23 Fill the remainder of the lime rainbow
section. Be constantly aware of where the
conductive thread is take care not to sew
into it. 28
24 Now complete the section of magenta
duracoat beads next to the goldwork chips. 29
25 Stitch a cluster of crystal Miyuki cube glass
beads just above the magenta beads. 29
26 Bead over the top LED board light using
silver lined ice blue seed beads. Use the
same technique as Step 22. 30
27 Fill in any gaps on the left of the design
with singular beads (Method 1) or stringing
and couching smaller amounts of beads
(Method 2). 31

21 22
29
32 33
28 Complete the beading by filling in the
area to the right of the LED lights with
blue zircon seed beads, using Method 2.
The beadwork should discretely cover the
conductive thread and the edge of the
silk shading. 31
FINISHING
29 Take the outer ring of your 3in display
hoop. Trace the inside of it on to your felt
and cut out. Now cut out a 4cm inner circle
from the felt, position to give access to
switch the LED lights on and off. 33
30 Remove the fabric from your larger hoop.
Use the crease left as a guide and cut away
excess fabric. Place into a 3in hoop, keeping
the design central.
31 Place the coin battery in the battery pack.
32 Use a running stitch close to the edge of
the embroidery hoop. Gather and tie off your
thread so the embroidery snuggly hugs the
frame. For a neater finish, use 2cm strips of
double-sided tape to stick down any loose
gathered fabric to the inner rim. 32
Project
23 24
30 31
34
33 Hold the felt backing in place with a
couple of pins and secure to the fabric with
whip stitches using a matching thread. 33
34 Finally thread gold ribbon through the
small gap underneath the screw at the top
of the embroidery hoop. Your bauble is
now ready to hang and add sparkle to your
festivities! 34
ALTERNATIVE FINISHES
35 The LED light boards come in different
colours, so you can match to your other
decorations. You could also paint the hoop gold
or silver to compliment the embroidery. ❤
ABOUT ME
While studying Textile Design at Falmouth University, I was introduced to
smart textiles by Lucy Hernandez of www.touchcraft.org.uk. It inspired
me to combine traditional bead and thread work with innovative LED
lights into my graduate collection. Since then experience with high-end
couture companies such as Jenny King Embroidery and Hawthorne
and Heaney has given me an appreciation for detailed work. Now I am balancing exciting
freelance projects alongside developing a bespoke embroidered bridal veil service.
@tabithatextiles
www.etsy.com/uk/shop/TabithaTextile
www.stitchmag.co.uk 43
Focus

The Midas Touch

1
COUCHING COUCHING A
1 Metal threads can be couched singly or in pairs; the technique SHARP CORNER
is the same for both. Bring the needle up near the beginning 1 Double couching takes
of the line to be couched. Leave a length of wire so it can be curves quite well, but a
plunged and secured later. sharp corner or very
tight curve needs a
2 Take the couching thread over the metal thread at right angles different treatment.
and go down into the fabric as close as possible to the metal You need to bend
thread without visibly squeezing it. If couching a pair of metal the metal threads around to
threads, the couching thread should hold them down snugly but where they need to be; pinch 2
without bunching up, ie they should lie flat and side-by-side. the corner with goldwork
tweezers if necessary. 1
3 Take another stitch very close to the first. Then work
subsequent stitches around 3-5mm apart; make sure they are 2 Bring the needle
equally spaced. End with a pair of stitches close together a few up just inside the 1
millimetres from the end of the line to be covered. corner at 1, and 2

bend the outer

14 12 10 8 6 42
metal thread around it. Couch
it singly by going down at 2. 2
3
13 11 9 7 5 31 3 Now couch the second
metal thread by coming up at
BRICKING 3 and going down at 4.
If you are filling a shape, the next line of metal thread has the If the angle is very 3
4
couching stitches situated between the couching stitches of the sharp there will
previous line, just like brickwork. be a noticeable
gap; this cannot be
eliminated altogether. Try to
couch the turn of the second 4
6 4 2 thread as close to the turn of
the first as possible. Continue
couching the double
5 31
thread as usual. 3 4
3
4
TOP TIP As a rule, use a single sewing thread for couching,
and a double for chipping and cutwork.

CHIPPING
1 This is where an area is filled with randomly placed chips.
These are small pieces cut from one of the hollow purls, usually
bright or wire check. Cut a few chips, fasten on your thread
inside the shape to be covered, bring the
needle to the front and thread on a chip. 2 the chip should lie flat across the width of the padding completely
Take the needle down into the fabric the
length of the chip away. Pull through so
the chip lies snugly on the surface.
2 Work the next chip at an angle
to the first, and keep adding chips
in different directions until the
area is filled. The chips should lie
very close to each other so the
base fabric is covered.
CUTWORK
1 Cut a piece of purl or check to the length needed to cover your
felt shape. Bring the needle up just outside the padding on one side.
Thread on the chip and push it down so one end sits snugly on the
fabric. Go down into the fabric just on the other side of the padding;
and without buckling. If the chip turns out to be too long or too
short, remove it and cut one
1 the right length. Keep the old
piece to re-use later. 1 2 3
2
1 1 2 3

44 www.stitchmag.co.uk
 Focus

A large proportion of goldwork techniques involve either taking your

thread over the gold wires or through it. Read on to learn more and
soon you’ll be creating results fit for a king!
BY ILKE COCHRANE

COUCHING PEARL PURL COUCHING MILLIARY WIRE

1 Cut a piece of pearl purl a little longer than needed. Take
hold of both ends and pull very slightly. After stretching, the
wire should stop curling and stay straight. Only a little stretch
is needed. There should just be enough room between the
coils for the couching thread to slip in and become invisible.
1 Milliary consists of a metal thread base with a thin wire loosely
coiled around it forming a decorative edge. Leaving a tail at the start
of the line, couch at the base of every other triangle for straight
lines. 1
1

2 Place one end at the beginning of your line and bring the
needle up at the first coil, as close to the wire
as possible. Go down on the other side of
the wire, angling your stitch slightly so it slips 2 For curved lines, couch at the base of every triangle. 2
easily between the coils.
2

3 Take a second stitch over the first coil for security, then couch 3 Trim the wire part of the milliary to the required length, adding
between every coil for 2-3 pearls. Then couch every 3-4 coils. securing stitches right at the beginning and end of the cut wire if the
Straight lines require fewer stitches than curved. ends show signs of lifting. Plunge the ends of the base thread. 3

4 Finishing is simple: when you are a few coils away from the
end of couching, trim the end to the required length. Couch
each of the last few coils and finish with 2 stitches. Fasten off
your couching thread on the back.
PLUNGING
1 The ends of the metal threads are plunged to the reverse of your
TOP TIP When finishing a pair of work before being secured. Thread a large needle with a strong,
E
USE ALL THES couched threads, plunge each end doubled sewing
TECHNIQUES separately and take them through the thread to form
AND MORE IN
1 2
OSTY fabric slightly apart from each other, ie a loop. 1
FOREVER FR not through the same hole in the fabric.
PAGE 25 !
ON
2 Take the
needle down
into the fabric
where the end
2 Come up again on the starting side of the padding, just far of the metal thread needs to go down and pull through, but leave
enough away from the first chip to accommodate the thickness a bit of the loop at the front of the work. Feed the end of the metal
of the second. Thread on the next chip, push it down the sewing thread (trimmed to leave about 1in for securing) into the loop. 2
thread and take the needle down the fabric just on the other side
of the felt as before. The two chips should lie snugly side-by-side, 3 Pull the loop with the metal thread through the fabric with a
without gaps or crowding each other. Continue in this way until quick tug. If this proves difficult, wiggle the large needle to open
the whole shape is covered. 4 5 6 up a hole in the fabric first. Once the ends have been brought to
the back of the fabric, secure them by
oversewing, taking the needle through
the backing fabric only. 3 4 ❤

4
4 3

4 5 6
3

www.stitchmag.co.uk 45
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patc hing and stitching to mak
s of fabric, odd
buttons and stray
for precious scrap s easy with some slow, mind
d. Then take thinge these fun tree decorations.
ful
of opportunity
scrap bag into

PREPARATION
a gift for a loved

1 This project is
all about slowing
one or create

down and
that
Consider using
the finishing ribbon.
s -although sometim
hanging loops
There are no rules!

by drawing round
your
es this

from clothes as
1
tearing produce
can distort printed
out threads from
same look. Or
a mesh bag for
fabrics. Howeve
a cut edge can
machine wash
a really lovely
r, pulling
achieve the
the cut strips
soft edge.
in
we are always looking for new
t. So make choices 3 Create a template
being in the momen paper. Cut and
RINS

and talented designers

what you already ery hoop on to
BY PAULA PER bring enjoyme
nt; starting with
stash and going for
favourites.
plate or embroid
fold into a quarter.
The trees on my
garland
your TOP TIP Pairing unfussy
fabrics in a
contrasting
“This your
have versatile design means you can make your Use with vibrant,
on therunner
in happy straight side. 4 There are twopalette
templates: the trees and the.
together set colour
fabrics and put measure 10cm
2
off your stitching
Pick out tactile Mix up your base fabric. border. Copy the
will tree show
really template, place on a
ascolour
long or as
families thatshort as you
really appeal. wish. Or even
or lace:
maketoacut out
paper template
threads
soft mat and prick holes around the lines of
in layers of sheer fabric so you can focus:
• Pins
(optional) beautiful
weights, addset of place mats! 1 Likewise youTIP can Don’t be limited by the the5template
Now createwitha quiet
a pin. spot
To check all the lines
• Sewing machine your creativity. TOP on top of your
base
YOU WILL NEED EQUIPMENT diameter the only limit is You can go larger
or areArrange out, fabric
prickedyour turn thestrips
template over to to the
ery hoop: 20cm • Turning tool
change the fabric, couching thread, sequins template size. 3 Work up the top
• Plate or embroid different plates. back and starting
see if there bottom.
at theare any gaps.
MATERIALS 2-3cm & ruler for design
transfer coordinating threads, smaller by drawing fabric branches on
• Fabric scraps:
a variety to make • Paper, pencil IQUES and beads
2 Select toofmatch
a range your
that will Christmas
pass easily décor.” so the rough edges
overlap as the 4 ➜
STITCHES & TECHN ones rk fabrics with pins.
• Scissors: Stitch, Double
Cross particularly smooth Perle for its your chosen patchwo 5 Cut to would.
s tree
your fabric Securethe
size. Secure bottom
wide strips I like to include 4 Tear or cut a Christma
10 x 10cm Back Stitch, Cross through your work. edge
• Base fabric: s - Paper
of weight. Use
your favourite I like the frayed and sides with sticky tape to a long, flat
Stitch into 2-3cm strips.

• Save money every issue

of type and thicknes - Fabric Stitch, Running sheen and variety button box. surface: a kitchen counter is ideal. You want 33
• Threads: a variety g or varied ge through your
buttons: 6, matchin - Embroidery formation. needles. Rumma itchmag.co.uk
• Sew through suit threads used,
longer ones for details on stitch to ensure as little movement
www.st as possible.
r wadding is ideal • Needles: to See Stitch Guide YOU WILL NEED Use a low-tack sticky tape so no marks are
• Stuffing: polyeste hanging loop will work best
ribbon for the with larger eyes
• Thread or thin MATERIALS EQUIPMENT left on the surface of the velvet.
• Curtain weight cotton velvet, colour of • Iron 07/09/2020 11:59
• Jute string
FIND THE your choice: 2 pieces, 26 x 106cm • Sewing machine 6 Centralise your template at one end with
TEMPLATE • Vilene fusible interlining (firm or Decovil): • Pins the trees facing towards the centre of your
.co.uk FOR THIS 26 x 106cm • Fine paint/permanent ink pen: white runner. Take time to be precise. Run a strip
www.stitchmag PROJECT ON • Low-tack sticky tape • Needles: of sticky tape along all 4 sides. 1
32 07/09/2020 11:58
PAGE ?? • Threads: - Embroidery or sharp: No10

• Get copies quicker than the shops

- Sew-all thread: to match velvet
- 2mm gold braid: such as Kreinick
Medium Cord #16 in 002V Vintage Gold,
Lincatex ‘Gold Rush’ Decorative thread
or any decorative 1-2mm braid
- Machine thread: Madeira ‘Heavy Metal’
Col 6022 (No30 Art No9844 200m)
• Flat gold sequins: 8mm
• Mill Hill Petite Beads, or similar:
- Beading: No10 7 Adapt the ‘prick & pounce’ transfer method
- Chenille: large enough to hold braid by using a fine white paint/permanent ink
• Scissors pen to outline the design. It’s effective, just
remember to shake and prime your pen
STITCHES & TECHNIQUES frequently. Maintain an even weight on the pen
Attaching a Bead, Attaching a Sequin, through the holes and keep the template still.
Couching, Straight Stitch This will leave light pen marks on the velvet. 2
See Stitch Guide for details on stitch formation. TOP TIP A word of caution! Once

Fine Dining
Col 40557 your pen is primed, DO NOT press right
• 15mm ribbon or bias binding, gold: 3m Finished size: 26 x 106cm (10¼ x 41¾in) down on your velvet or you will end up

• Delivered free to your door

with great big splodges of ink. Keep a
scrap of fabric nearby for this. 2

TOP TIP Velvet comes in many
weights, ideally go for a soft furnishing
fabric as it is heavier and has no stretch.
Although it can be crushed, ironing on
interfacing to velvet is fine. This really is
the trick, otherwise it is often slippy to
work with. Plus the edges are stabilised.
Treat your Christmas celebrations to the five star treatment with this stunning
red velvet table runner. Stylised art nouveaux trees are couched in gold braid I used a plastic backed velour velvet
which is lovely for embroidery and didn’t
and finished with hand-sewn sequins. Opulence and sparkle all the way! need interlining. The added bonus is the
front and back can just be glued together
BY MAGGIE GEE before binding the edges.
PREPARATION
1 Decide how long you want your runner to
be. It’s easy to adjust the border pattern to your
table length. See Step 15 for more information.
2 Measure and cut the velvet and interlining;
make sure the pieces are straight and square.
Overlock the edges of your velvet with your
sewing machine to prevent fraying.
3 Use your iron on a low-heat, steam setting
to fuse the interlining to the reverse of your
front piece.
8 Carefully remove the template; fill in any
missed dots. 3
GET STITCHING!
The Trees
9 The design is sewn by couching down
the fine braid with the gold machine thread.
Couching is one of the simplest, most effective
and relaxing techniques in embroidery! Use
the large chenille needle to bring the braid up
at the start of a line of stitching and then take
the thread out, leaving it loose so it’s easy to
manipulate with your fingers. 4 ➜

48 www.stitchmag.co.uk www.stitchmag.co.uk 49
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Project

FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 59

Fine Dining
Treat your Christmas celebrations to the five star treatment with this stunning
red velvet table runner. Stylised art nouveaux trees are couched in gold braid
and finished with hand-sewn sequins. Opulence and sparkle all the way!

BY MAGGIE GEE

48 www.stitchmag.co.uk

1 2
“This versatile design means you can make your runner
as long or as short as you wish. Or even make a
beautiful set of place mats! Likewise you can
change the fabric, couching thread, sequins
and beads to match your Christmas décor.”
YOU WILL NEED
MATERIALS
• Curtain weight cotton velvet, colour of
your choice: 2 pieces, 26 x 106cm
• Vilene fusible interlining (firm or Decovil):
26 x 106cm
• Low-tack sticky tape
• Threads:
- Sew-all thread: to match velvet
- 2mm gold braid: such as Kreinick
Medium Cord #16 in 002V Vintage Gold,
Lincatex ‘Gold Rush’ Decorative thread
or any decorative 1-2mm braid
- Machine thread: Madeira ‘Heavy Metal’
Col 6022 (No30 Art No9844 200m)
• Flat gold sequins: 8mm
• Mill Hill Petite Beads, or similar:
Col 40557
• 15mm ribbon or bias binding, gold: 3m
TOP TIP Velvet comes in many
weights, ideally go for a soft furnishing
fabric as it is heavier and has no stretch.
Although it can be crushed, ironing on
interfacing to velvet is fine. This really is
the trick, otherwise it is often slippy to
work with. Plus the edges are stabilised.
I used a plastic backed velour velvet
which is lovely for embroidery and didn’t
need interlining. The added bonus is the
front and back can just be glued together
before binding the edges.
EQUIPMENT
• Iron
• Sewing machine
• Pins
• Fine paint/permanent ink pen: white
• Needles:
- Embroidery or sharp: No10
- Beading: No10
- Chenille: large enough to hold braid
• Scissors
STITCHES & TECHNIQUES
Attaching a Bead, Attaching a Sequin,
Couching, Straight Stitch
See Stitch Guide for details on stitch formation.
Finished size: 26 x 106cm (10¼ x 41¾in)
PREPARATION
1 Decide how long you want your runner to
be. It’s easy to adjust the border pattern to your
table length. See Step 15 for more information.
2 Measure and cut the velvet and interlining;
make sure the pieces are straight and square.
Overlock the edges of your velvet with your
sewing machine to prevent fraying.
3 Use your iron on a low-heat, steam setting
to fuse the interlining to the reverse of your
front piece.
Project
4
4 There are two templates: the trees and the
border. Copy the tree template, place on a
soft mat and prick holes around the lines of
the template with a pin. To check all the lines
are pricked out, turn the template over to the
back and see if there are any gaps.
5 Cut your fabric to size. Secure the bottom
and sides with sticky tape to a long, flat
surface: a kitchen counter is ideal. You want
to ensure as little movement as possible.
Use a low-tack sticky tape so no marks are
left on the surface of the velvet.
6 Centralise your template at one end with
the trees facing towards the centre of your
runner. Take time to be precise. Run a strip
of sticky tape along all 4 sides. 1
7 Adapt the ‘prick & pounce’ transfer method
by using a fine white paint/permanent ink
pen to outline the design. It’s effective, just
remember to shake and prime your pen
frequently. Maintain an even weight on the pen
through the holes and keep the template still.
This will leave light pen marks on the velvet. 2
TOP TIP A word of caution! Once
your pen is primed, DO NOT press right
down on your velvet or you will end up
with great big splodges of ink. Keep a
scrap of fabric nearby for this. 2
8 Carefully remove the template; fill in any
missed dots. 3
GET STITCHING!
The Trees
9 The design is sewn by couching down
the fine braid with the gold machine thread.
Couching is one of the simplest, most effective
and relaxing techniques in embroidery! Use
the large chenille needle to bring the braid up
at the start of a line of stitching and then take
the thread out, leaving it loose so it’s easy to
manipulate with your fingers. 4 ➜
www.stitchmag.co.uk 49
Project
5 6
8 9
10
10 Simply lay the braid over the dotted lines
and gradually sew down with tiny couching
stitches. Use the gold machine thread. Place
your embroidery/sharp needle as close to
the braid as possible and take it to the other
side to complete the stitch. 4
TOP TIP Don’t pull your thread
too tightly; lay it gently over the braid.
Work the stitches every couple of
millimetres guiding the braid with
your fingers as you go.
11 When you come towards the end of
a section, re-thread the braid into the
chenille needle and take to the reverse of
the velvet. Continue to the next section
or secure end.
12 Work in the following order:
- Outline the tree tops: work the left scroll
round to the top, then the right. 4
- The trunks & the base of each tree. 5
- The inside of the trees. 6
13 Sew on the sequins with 5-6 straight
stitches and use your beading needle to finish
with a tiny Petite bead in the centre. 7 8
50 www.stitchmag.co.uk
TOP TIP Where two threads share
one hole, pull a couching stitch across
both threads of braid to make the joins
or tree tops sharper.
14 Repeat Steps 9-13 for the trees at the
other end. 9
The Border
15 Copy the border templates for as many
lengths as needed for your runner. Cut and
adjust the templates so the design extends
along each side with the motifs matched,
level and evenly spaced. 10
TOP TIP Aim for an odd number of
hearts in the border, starting with one
facing into the runner. This will fit better
with the tree design at either end. 10
16 Repeat Steps 4-8 to transfer the
border design.
17 Lift the template carefully, fill in any missed
dots and repeat for the border on the other side.
18 Couch the braid in exactly the same way
as the trees. Work from the top left following
11
down to the centre; then top right down to
the centre. Add the beads and sequins. 10 11
The Beads
19 Finish the design with a final flourish of
Petite beads. I placed mine at the base of the
trees and at the end of each border, but you
can place where you wish. 12
FINISHING
20 With wrong sides together machine the
front and back of your runner with a 5mm
seam around all four edges. A walking foot will
help stop the velvet slipping if you have one.
21 Finish the edges by attaching a gold
border of bias binding or ribbon by hand.
ALTERNATIVE FINISH
22 You could make up your runner with a softer
fabric and back with satin. In which case, add
4cm to your cut dimensions to allow for sewing
the edges together and turning out. This gives
the option to add gold piping. However, to
make the velvet easier to work with still attach a
strip of Vilene fusible interlining to the reverse of
your front. Just cut it to the finished size of your
runner and position centrally. ❤
 Focus

7
1 2 3

4 5 6

The Velvet
12

Touch
Velvet is a gorgeous fabric and is so incredibly versatile
in embroidery. However, because it can be troublesome
to work with, you need different rules of engagement!
Hints and tips by Maggie Gee & Alison Carpenter-Hughes

ABOUT ME
A creative childhood,
love of vintage clothes
and need for concert
dresses always ensured
my love of sewing. An honours degree in
Humanities saw me meet my best friend
and, thanks to her, cross stitch! Although
I specialised in embroidered linen at my
antique shop, it wasn’t until I opened
my needlework shop I learnt how to
embroider myself. Chiefly self-taught, I find
embroidery instinctive but a work ethic
courtesy of ‘musical’ practice has never
left me! I quickly realised it can inspire a
sense of accomplishment and promote
self-esteem in anyone; they just need
encouraging instructions. Since 2013 I have
focused on designing and producing my
own kits. My style is fairly formal and rooted
in my appreciation of historical design.
www.etsy.com/shop/
MaggieGeeEmbroidery
@maggiegeeneedlework
MaggieGeeNeedlework
1 Velvet is produced like miniature rugs. Yarn
is woven and cut horizontally to create a
minute, soft pile. The yarns can be silk, cotton
or manmade. The raised surface means pieces
must be joined facing in the same direction.
2 You need to decide how you want the nap
to fall as this changes its appearance. When it
runs from top to bottom, it feels smooth to the
touch, but the colour is less intense. When the
pile hangs the other way, it is rough under your
hand but the colour is richer, more saturated. 1
3 Always cut your velvet in a single layer,
otherwise the layers slip making your cutting
inaccurate. And keep your cuts running in the
same direction.
4 A rotary cutter and a grippy quilting ruler
make easy work of cutting clean lines
through the thicker fabric. Then it’s best to
overlock the edges otherwise fibres will get
everywhere! 2 3
5 Alternatively use pinking shears to contain
the shedding. 4
6 The pile of velvet can be crushed in an
embroidery hoop, so bind the rings with long
strips of lightweight fabric. Also take your work
out whenever you stop stitching. Or you can
get away with placing velvet on a square frame,
such as a Siesta, and pinning right to the edges.
7 Minimise your use of pins and clips, they
leave marks and bruises. And don’t use them
on velvet that will be seen in the finished piece.
8 The same for needles: park them away
from the working areas. Otherwise you’ll be
left with unsightly holes.
9 For straight stitching on your sewing machine,
adjust the tension and lower the foot pressure
so your feed dogs don’t scar the velvet.
10 When joining pieces, the layers of velvet tend
to slip as you stitch them. To avoid this hand
baste the layers together and use a walking
foot. Otherwise you’ll end up unpicking! 5 6
11 Always steam press on
the wrong side so the pile
isn’t crushed. TECHNIQU
E
FOCUS
12 A lint roller makes quick
work of picking up any fluff
and stuff! 7 ❤

www.stitchmag.co.uk 51
Letters & Social
In the
Loop!
Just before lockdown began, while I was laid
up recovering from knee surgery, I managed to
get a second-hand copy of Stitch issue 30. One
of the articles was a delightful goldwork shell.
I have been embroidering since I was about
7 and I am mostly self taught. So I don’t have
much experience with goldwork embroidery. I
saw this article and thought: “I will try this.”
Then lockdown came into place and I
thought: “Why not, as the article suggested,
try other colour combinations?” Think I got
a little carried away. It was awesome fun.
Then, of course, I needed an appropriate
way to display them all! Please see the result.
I hope you like it and all stay safe.
Patty Wilson
I love embroidery but have to find
subjects that interest and motivate myself
to complete them. The Japanese lady
(Heavenly Hana, issue 125) was quite a
challenge, but I’m pleased with the outcome.
Take care,
Pauline Pritchard
52 www.stitchmag.co.uk
Join the conversation! Share what you’ve achieved with
needle and thread; tell us your stitching stories and successes.
Plus, the winner of the best contact receives a beautiful set
of metallic ‘smooth’ threads from Madeira. Perfect for adding
sparkle to machine embroidery projects!
STAR PRIZE
WORTH £34.99
Freedom of choice in lockdown
I have very recently completed a doodle which has given me a huge amount of pleasure
during these strange days in lockdown. The embroidery uses four simple stitches:
chain stitch, Peking knot, fly or open chain stitch and stem stitch. These have been
repeated throughout on a 10inch hoop using organic calico and cotton
Perle threads.
It gave me the complete freedom to do exactly what
I wanted and will no doubt be a memory trigger for
COVID19 in the future. I’m trying hard not to pick up
another piece of calico and try a different shape using
colour tones rather than the riot of colour in the
completed piece!
I hope all your readers have a piece of work that has
helped them through this difficult time and look forward
to reading the next edition of your stimulating magazine.
Stay safe and well,
Mel Winstanley
I enjoyed reading the article by Alicia Hall in the August/September edition
of Stitch (issue 126). So much so that I thought I would have a go as I had
a buddleia shrub full of blooms in the garden. I picked approximately 12
blooms and heated them slowly in an old saucepan on the Aga, left it to cool
overnight and continued the next day following the clear and concise instructions.
My husband at this point was a bit concerned as to what we were having for dinner!
After straining the dye I added a mixture of cloths and threads and heated it up again.
When cooled I poured it into a basin with heavy watercolour paper in the base. It is
incredible that a purple flower creates such lovely shades of yellow and different types
and weights of material give interesting
mixtures. I also have sunflowers out in the
garden so I think that a collage of yellow
petals is the next project.
I have subscribed to Stitch for some time
now; it has been a godsend in the lockdown
and is a continual source of inspiration.
Best wishes
Kathy Hopkins
Back issues of Stitch can be purchased at
www.stitchmag.co.uk or call 01778 392088
GET IN TOUCH
StitchEditor@warnersgroup.co.uk www.facebook.com/stitchwiththeeg
@stitch_magazine www.stitchmag.co.uk
 Spotlight
Desire by Linda Fjeldsted Blust

From my studio window, I can see the

snow-topped Sierra Nevada range to the
west and the rugged Virginia Range to
the east. These natural wonders are my
daily inspiration as I mould, stuff and twist
colourful bits of fabric and wire into bird
shapes and then embellish them with
sparkly rhinestones, buttons, feathers,
paint, silk flowers and colourful yarns.

Tell us more about your bird sculptures…

Most are modelled on real species, but I am
more interested in artistic interpretation
than in duplicating reality. As I begin each
project, I strive to ensure that the shape and
proportions are correct, and the piece is
sturdy and balanced. But once I’m satisfied
with the basic structure, I surrender control
and proceed on pure instinct.
As I test and reject various embellishments,
the bird’s gender and personality begin to
materialize. But it’s not something I plan. It’s
almost as if the bird is telling me who it is,
and I am simply the obedient conduit. The
final product is as much a surprise to me as it
is to the viewer.
Desire measures 61cm in height and is
the largest in a series I’ve been working on
this year. They are inspired by the ancient
legend of a majestic red bird that sleeps for
eons beneath its own ashes until it awakens
in a burst of flames. My phoenixes appear
to smile as they stretch their wings, lift their
beaks upwards and prepare to rise again!

So how did Desire become an award-

winning quilt?
For a long time, I wasn’t sure what to do with
my bird sculptures. I sold a few to friends,

Wings of Desire
but mostly they just accumulated around
the house. Did they qualify as art? If so, what
category? The answer came from Studio Art
Quilts Associates. They define an art quilt as
“a creative work that is layered and stitched
or references this form of stitched layered
This flamboyant phoenix is adorned with feathers, lace, structure.” Well, my birds certainly meet their
criteria. Since then,
metallic paints, glass beads, buttons and Swarovski I’ve exhibited them at
crystals. She’s called Desire. She’s also an award- quilt shows all over
the world, including
winning quilt. And she was made this year’s Festival
by Linda Fjeldsted Blust. of Quilts. Desire was
named the winner in
Please, introduce yourself… whirlwind scene, but my husband and I the Quilt Creations
I am a happily semi-retired textile artist, retired to the smaller quieter city of Reno. category. ❤
finally able to set my imagination free and
enjoy the sheer thrill of creativity for its How has the Reno lifestyle influenced you? www.wildthingsbylindab.com
own sake. For many years I ran a business Here in the high desert, I am surrounded WildThingsByLindaB
in Las Vegas, Nevada, making costumes for by natural beauty. Our house is located @lindablust1
ballroom dance competitors. Vegas was a near a wetlands wildlife sanctuary.
great place for a costume business thanks Coyotes and wild horses wander through You can see all the winners and
to the thriving entertainment industry and the neighbourhood. Pelicans and other shortlisted entries from this year’s Beyond
the availability of supplies like feathers, waterfowl nest nearby, and our backyard the Festival of Quilts Competition at:
beads, crystals, laces, trims and fine fabrics. feeders attract quail and colourful songbirds. www.thefestivalofquilts.co.uk/beyond-
The ballroom world is a wonderful, busy, Hawks, owls and eagles soar overhead. foq-quilt-competitions/

www.stitchmag.co.uk 53
Project

Wanderlust
Take a trip through your travel memorabilia and
pack them into a handy passport cover to hold
all those essentials for future adventures!
BY ANNE KELLY

“Travel features heavily in textile art; it helps us locate our place in the world. Here is a simple but
effective way to use up ephemera and fabric from your stash. Combine them to recall a place,
an occasion or person. My cover is in memory of my dad. He went to Oxford University; an old
map of the city is my base. He grew roses, so these are added as a feature.”

YOU WILL NEED PREPARATION

MATERIALS
• Strong paper for collage base: 35 x 15cm
• Travel ephemera: maps, postcards,
photos & ticket stubs
• Remnant of thin fabric or papers:
organza & tissue are ideal
• Thin tissue paper, white: 40 x 20cm
• Backing fabric: 35 x 15cm
• Glue stick
• Builder’s PVA glue
• Greaseproof paper
• Ribbons, buttons & rubber stamps
to embellish
• Newspaper to protect surfaces
EQUIPMENT
• Brush for glue
• Container for mixing glue
• Iron and ironing board
• Scissors: paper, fabric & embroidery
• Sewing machine
• All purpose threads
• Hand sewing kit
Finished size: 13 x 15cm
1 Before you begin, take time to think about a
journey or place that is meaningful to you.
It doesn’t matter whether it’s an exotic holiday,
a weekend break or the bottom of your garden.
It could even be your favourite travelling
companion who’s your inspiration. 1
2 Collect together associated materials in
paper and thin cloth to use for your collage.
Also decide on a colour theme, this can be
useful in helping your piece come together.
I’ve used paper scraps, book pages, fine Indian
printed fabric and some vintage cigarette
maps that were a present from a student. 1

54 www.stitchmag.co.uk

1 2
4 5
7 8
GET STICKING!
3 Assemble the base layer of your memorabilia
roughly on your heavier paper base; I used a
vintage map. Lay them onto the background
using scissors or tearing the edges to make the
shapes show up. Remember to leave some
of the background exposed as your collage
develops. Once satisfied, attach everything
with a glue stick. 2
TOP TIP Use just enough glue to
secure everything in place. Too much is
not good for your sewing machine!
4 Now you can add a layer of thin pieces of
colour tissue or organza. These act like filters
over your work. Again secure with a light
touch of the glue stick. 2
5 When you’re happy with the layout, make
up a solution of PVA for coating your piece. A
mixture of 50% PVA and 50% water is about
right. Brush your collage with a generous coat
of glue; it should sink into the layers nicely. 3
TOP TIP Use builder’s PVA which
is stronger than craft PVA. It’s always a
good idea to test on a sample first: if it’s
too diluted it won’t stick properly, too
thick and you’ll get a plastic coating.
6 While the first layer of PVA is still damp,
lay the thin tissue paper over and gently pat
down into place. You may get some creases.
Project
3
6
ABOUT ME
I am an award-winning
textile artist, author and
tutor. I love to honour
and repurpose old
textiles, using hand and
machine embroidery, vintage thread
and string to add texture and character.
My work has been described as ‘small
worlds’ trapping and preserving pieces
These will be less visible once it has dried of embroidery and objects within it. My
and been ironed. 4 fourth book for Batsford Press ‘Textile
Travels’ is published this October. It’s an
7 Now brush on a second coat of the evocative exploration of how travel can
glue mixture over your piece. Take care inform, inspire and enhance textile art.
not to tear the fragile tissue paper. Put it
somewhere warm to dry. 4 www.annekellytextiles.com
ENTER
https://annekellytextiles. ONLINE
8 Place your dried collage between layers of blogspot.com
greaseproof paper to protect your iron and
board. Now press using a dry setting on the WIN! WIN! WIN!
reverse so it’s flat. This should result in a nice For your chance to win
oilcloth feel. a copy of Anne’s latest
book, simply enter your
GET STITCHING! details at:
9 At this stage you can embellish your paper craftmag.co/stitch-win
base with free motion embroidery. Look Competition closes on
to use simple straight stitches to highlight Wednesday 1 December
a feature. Explore the decorative stitches 2020. For more information see Page 3.
on your machine to add detailing. Hand
embroidery would also work well. 5 6
FINISHING
TOP TIP Set your machine up as usual, 11 Fold in half to create a central line. Then
but treat the piece with care. Use a smaller fold the edges to make a slip-in case for your
needle as larger holes left by a bigger one passport. Complete with a row of zig zag
could cause tearing. For the same reason, stitching top and bottom to secure the folds
keep stitches long and not too dense. and prevent fraying. 7 8
10 Attach the completed paper collage to 12 Any final touches such as ribbons for tying,
your backing fabric. Use something you buttons or badges should be added last.
have already like an old piece of thin shirting
or sheeting in a neutral colour. Secure the ALTERNATIVE FINISH
layers with a slight bit of glue stick around This would work equally well as a cover for a
the edges. Machine together. 6 7 notebook or sketchbook. ❤
www.stitchmag.co.uk 55
Fantastic
Feature Reader Offer Fantastic Reader Offer Fantastic Reader Offer

HUGE SAVINGS WITH THIS EXCLUSIVE

AURIFIL THREAD COLLECTION OFFER
Be the first to get your hands on this stunning
EG Special Collection

Aurifil are delighted to

present the EG Special
Collection, an exclusive
selection of threads. This
collection is available
to readers and a special
discounted price of £25.00
plus £1.50 p&p.

This pack includes 10 spools

For more
of 18yds of the finest Egyptian information about
six strand cotton, which is the threads visit
suitable for hand embroidery. www.aurifil.com
To order, complete the order form on this page and send with payment details (cheques made payable to E G Enterprises Ltd)
to Aurifil Thread Offer, Embroiderers’ Guild, Bucks County Museum, Church Street, Aylesbury, Bucks, HP20 2QP.
Please allow 21 working days for delivery.

Or visit www.embroiderersguild.com
AURIFIL COLLECTION PRICE QUANTITY TOTAL
EG Special Collection £25.00
EG Sheena Norquay Collection £25.00
POST & PACKING £1.50
TOTAL TO PAY

Name ________________________________________________ OR Please debit my

Visa/Mastercard/Maestro to the value of £ _____________
Address ______________________________________________
Card no
Postcode __________________________
■■■■ ■■■■ ■■■■ ■■■■
Telephone ____________________________________________
Security no* ■■■
Accepted overseas payment methods: *last three digits on signature panel
Visa/Mastercard; cheque drawn on UK bank.
Start date _________________ Expiry date _________________
I enclose a cheque for £ _____________
(made payable to Embroiderers Guild) Cardholder’s signature __________________________________
If you do not wish the Embroiderers’ Guild to send you information about the
activities and services of the Guild and of carefully selected organisations that Date _________________
the Guild believes will be of interest to you, please tick this box ■

Please return this form with payment to:

Aurifil Thread Offer, Embroiderers’ Guild, Bucks County Museum, Church Street, Aylesbury, Bucks HP20 2QP

56 www.stitchmag.co.uk
 Templates

An Autumn Picnic
Page 13
Scale:
100%

www.stitchmag.co.uk 57
Templates

A Proud Plume
Page 21
Scale:
100%

Forever Frosty
Page 25
Scale:
100%

58 www.stitchmag.co.uk
 Templates

Fine Dining
Page 48
Scale:
100%

www.stitchmag.co.uk 59
Templates

DMC
Number Colour Name
D02 Tin Robin Red Breast:
D03 Medium Tin Thread Charts
D04 Dark Tin Brands, Numbers & Substitutions
D19 Medium Light Autumn
D469 Avocado Green
D470 Light Avocado Green
D472 Ultra-Light Avocado Green
D610 Dark Drab Brown Cosmo
D611 Drab Brown
D645 Very Dark Beaver Grey Number Colour Name Substitutes

D646 Dark Beaver Grey C100 White DMC Blanc

D648 Light Beaver Grey C110 Ivory DMC 3865

D701 Light Green C153 Castor Grey DMC 04

D702 Kelly Green C186 Dark Cheddar Cheese DMC 3776

D703 Chartreuse C187 Harvest Pumpkin DMC 301

D704 Bright Chartreuse C242 Oxheart DMC 498

D721 Medium Orange C246 Dark Cardinal DMC 814

D762 Very Light Pearl Grey C309 Bronze Brown DMC 433

D890 Ultra-Dark Pistachio C310 Light Shiitake Mushroom DMC 801

D909 Very Dark Emerald C312 Seal Brown DMC 844

D910 Dark Emerald C324 Macaw Green DMC 3894

D977 Light Golden Brown C364 Oyster White DMC 822

D3021 Very Dark Brown C365 Dark Oyster White DMC 3033

D3782 Light Mocha Brown C366 Spray Green DMC 644

D3818 Ultra-Very Dark Emerald C367 Bronze Mist DMC 3032

D3853 Dark Autumn Old C368 Tapenade DMC 642

D3854 Medium Autumn C369 Beech DMC 3781

D3866 Ultra-Very Dark Mocha C383 Light Taupe DMC 840

D3884 Medium Light Pewter C384 Light Teak Greyish Brown DMC 839

D3894 Light Parrot Green C386 Amber Greyish Brown DMC 839
C500 Medium Vivid White DMC Blanc
C600 Black DMC 310
Anchor C713 Medium Twill Grey DMC 713
Number Colour Name Substitute C800 Aurora Red DMC 321
A903 Medium Tawny DMC 829 C895 Dark Shadow DMC 645
A906 Dark Brass DMC 3032 or 640 C2310 Brown DMC 938
A1003 Amber Glow DMC 3853, 921 or 922 C2311 Dark Earth DMC 938
A1041 Very Stone Grey DMC 844 C3311 Bark DMC 3031
A1050 Medium Dark Tawny DMC 3781 C4311 Dark Chocolate DMC 3371

Gütermann
Number Colour Name Substitutes Alternative
G1001 Black Black Cotton Sewing Thread DMC 310
G1006 White White Cotton Sewing Thread DMC Blanc
G3310 Dark Off-White Dark Off-White Cotton Sewing Thread DMC 746
G4403 Grey Grey Cotton Sewing Thread DMC 317
G5201 Dark Grey Dark Grey Cotton Sewing Thread DMC 3799
G8680 Black Olive Dark Olive Cotton Sewing Thread DMC 730
G9280 Greymore Medium Grey Cotton Sewing Thread DMC 169

60 www.stitchmag.co.uk
 Templates

Robin Red Breast

Page 7
Scale:
100%

Leaf 3

Leaf 2

Leaf 1

www.stitchmag.co.uk 61
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Create professional level embroidery with
Janome Artistic Digitizer Software.
Stunning embroidery quality results, without needing
to be an expert! No more operating system dilemmas.
ONE Software for MS Windows ® and Mac OS®.
The full version of Artistic digitizer includes tools for
creating original designs with advanced editing
features, paint stitch, quilting motifs and more.
Whilst the Junior version has reduced features for
simple embroidery tasks without compromising quality.
Over 60 tutorial videos available directly
in the software. Enjoy your creations.

Go ahead… get creative!

The wo rld’s le a ding se wing ma c hine ma nufa c ture r