O IVE

INSPIRING IDEAS WITH NEEDLE AND THREAD

ER
FF
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NO.1
EMBROIDERY
MAGAZINE

DECEMBER 2020/JANUARY 2021 | £5.50 ISSUE 128

MAGICAL
MOMENTS
MAKE YOUR OWN
GOLDWORK
MANDALA

E n jo y! Follow our
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• A GAME OF CHESS
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• CONTEMPORARY CREWELWORK
PACKED WITH STITCHING DETAIL
• CHEERFUL HAND-WARMERS
Perfect for winter evenings PRETTY AND PRACTICAL

PLUS! EVERLASTING SNOWFLAKES • A FAIRY-TALE FAVOURITE 28

FABULOUS TEXTILE BIRDS • A BEAUTIFUL BEADED WORLD 9 771467 664081 >

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What matters
I make no apologies. This issue is all about the stitching. Pure and simple. There are plenty of
shiny new projects just crying out to be started. All perfect for filling long evenings.
Given the time to be spent indoors over coming months, then surely a board game or a spot
of colouring in is needed…but in embroidery form, naturally! Jen Goodwin’s blackwork chess
pieces are a proper treat. While Loetitia Gibier’s winter mandala has a sparkly hypnotic quality
that will have you transfixed.
Special thanks go to Jay Hooper and Emma Firth for their perseverance. Jay for pushing through
with a pattern that made her head hurt. It was worth it: her dimensional snowflake is utterly breath-
taking and elevates the buttonhole to new levels. (I squealed with delight when I saw it!) As for
Emma, designing hand-warmers in the middle of a hotdog heatwave back in August deserves an
award alone. But staying up until the wee small hours over several nights waiting until it was cool
enough to concentrate went above and beyond. Please enjoy their efforts!
At the beginning of 2020 Alex Law gave us an inspirational cushion cover. ‘Reach for the
Stars’ (in issue 123) was about daring to dream big and being the best version of yourself. Alex
bookends the year with another design with a message. ‘Call of the Wild’ is about being happy
in your own skin. Calming the inner restlessness that can spoil the here and now is perhaps the
secret of inner contentment.
Crossing over to America. When Linda Fjeldsted-Blust offered to share how she makes
her fabulous birds, it was probably the quickest ‘yes’ of the year! Her background in ballroom
costume design means her birds get the Strictly treatment. And just like favourite Saturday night
viewing, they will bring a smile to your face.
Finally, what is important? Ultimately, it’s not complicated. Take
Joyce Wong, she created the penguin portrait above for a friend in
Hong Kong, expecting her first baby. Separated by continents and
coronavirus, it was a simple gift small enough to be popped through
the letterbox. But a gift that had time and care showered to pick out
the threads (Madeira Lana), get the fluffy texture right and nail the
subtle colour changes. It’s a picture that paints a thousand words.
Remember what’s important & keep stitching!
See more of Joyce Wong’s work at @bloomingkapok
FEELING LUCKY? Join us:
Find details of this issue’s giveaways at:
craftmag.co/stitch-win www.facebook.com/stitchwiththeeg
For your chance to win any of the competition
or giveaway prizes featured in this issue, simply
head to our dedicated page and enter your details. Follow us:
The closing date is Sunday 31 January 2021. @stitch_magazine
No entries received after this date will be accepted.
Winners are picked at random; the Editor’s decision
is final. You’ll need to register if you’ve not already
done so. Please state when entering if you do NOT Email us:
wish Warners Group Publications plc to contact stitcheditor@warnersgroup.co.uk
you regarding their products or services that may
be of interest. Or for your details to be shared
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competition information please visit Visit us:
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3
Inside your issue...
19 6

13
23 25

Projects 39 LET IT SNOW!

7 A WINTER MANDALA
Rich blues and icy hues bring sparkle
COVER
and shine to the darker days! Enjoy a STAR!
sublime fusion of goldwork, stumpwork,
mindful repetition and satisfying symmetry.
13 CALL OF THE WILD
Practise the art of inner contentment with an inspirational
cushion cover from Alex Law. One wolf design, nine
contemporary shades of wool and an enjoyable range of
crewelwork stitches to relax into.
19 YOU NEED HANDS
Turn a bunch of scraps into a wonderful gift to warm hearts
and hands. Pretty and practical, with two designs featuring
a multitude of stitches.
25 CHECKMATE!
The white queen takes on the black king in an engaging
game of blackwork chess. Play both sides with a clever
project that showcases traditional and reverse techniques.
32 CUP O’ KINDNESS
Look forward to a better year with a bead encrusted vision
of the world. It’s a beautiful, multi-coloured celebration
of the sentiments behind the words of the famous Robert
Burn’s song, Auld Lang Syne.
Nothing chilly about Jay Hooper’s utterly captivating
snowflake decoration. Learn how to turn the buttonhole
stitch into icy formations. It’s so clever!
44 BLACK MAGIC
Let Linda Fjeldsted Blust cast a spell over you! Be charmed
by her detailed tutorial that creates a life-sized raven from
fabric and wire.
51 THE LITTLE MERMAID
Recreate a favourite character from the Hans Christian
Andersen fairy tale. Beautifully expressed in simple back
stitch and a few French knots.
Inspiration
6 FREEDOM OF EXPRESSION
Alison Carpenter-Hughes explores the importance of
expressing yourself, but lets the embroidery do the talking.
23 HIGHLAND FLING
Hand & Lock Prize winner Emma Wilkinson contemplates her
Scottish roots and the development of her signature style.
29 STRAIGHT TALKING
Benefit from Jen Goodwin’s experience as she outlines
how to approach blackwork projects. She knows what she’s
talking about!

4 www.stitchmag.co.uk
 ISSUE 128 DECEMBER 2020/JANUARY 2021

29

39 44
7

36 FASHION SENSE DON’T MISS OUT!

Combatting fast fashion is a tricky business. Dr Jen Ballie from Let the stitching continue: take advantage TURN TO
the V&A Dundee takes a look at the villains and the heroes. of our fantastic subscription offers. It’s the PAGE 30
easiest and cheapest way to get your next

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38 FOR YOUR BOOKSHELF DELIVERED TO YOUR DOOR

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49 AURIFL OFFER
Enjoy working with these fabulous threads? DELIVERED TO YOUR DEVICE
The Embroiderers’ Guild has a special offer exclusively Go digital and access the magazine through your tablet,
for the readers of Stitch, so you can get your hands on a smart phone or computer. It’s easier than you think!
beautiful kit at a discounted price. LU OFF INSP
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SIV ER
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THE STITCHING INSPIRING EIDEAS WITH NEEDLEIN
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54 STITCH GUIDE ING ID

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NO.1 NO.1
OF VE
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This issue is packed with whole variety of different stitches! There’s so EMBROIDERY

NO.1
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OIDERY MAGAZINE
EMBR ZINE
EX

AUGU
ST/SEP
TEMBE MA
GA
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| £5. EMBR

You’ll find them all in this handy guide. Use it to refresh much more
50
MAG OIDERY
OCTOBER/NOVEMBER 2020 | £5.50 ISSUE 127
AZIN
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128
ISSUE

your memory or get to grips with new ones. to Stitch than RY 202
1 | £5.5
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Can’t get enough? Here’s a sneak peek at all the fresh TURN TO FANCY
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www.stitchmag.co.uk 5
Spotlight
Freedom of Expression
Sharing and exchanging ideas and information are core to society. What if this
right no longer existed? It’s a question explored by Alison Carpenter-Hughes.
Explain the concept behind your piece.
There are two contrasting faces. One showing
a silenced voice; the mouth sealed with
sewing pins. The second face is open mouthed
and eyed, questions flowing forth. The birds
represent the different elements of debate and
diversity of opinion, values and views. My hope
is to define freedom of expression more widely
and unabridged. It was selected to be part of
an art exhibition to celebrate the centenary of
the Magistrates Association.
What is the Magistrates Association:
100 Years of Justice?
It’s an exhibition that aims to demystify the
magistracy, highlight the importance of their
work and create a more approachable and
dynamic image of who they are. It is more
essential than ever that our justice system
reflects the communities it serves. It hopes
to engage a wider audience through art.
What did you want to convey?
As time goes on it feels there is less freedom of
expression and thought, particularly with the
manipulative effects of the media and social
media. I feel passionate about the importance
of maintaining a diversity of ideas, values and
views; the need for open and colourful debate.
I wanted to bring an awareness of how
6 www.stitchmag.co.uk
precarious the state is: without due care and
consideration, the balance could be tipped
and freedom eroded further.
How easy do you find it to express yourself?
I find talking about emotions very difficult.
There can be angst and worry about what
the other person is thinking! Written words
are more comfortable as I can take time to
consider and edit until it feels right. Although
they can still be misconstrued or the tone
misread. As with most people, I find it easier
when I have knowledge and passion, for
example the protection of animals. Then I will
talk openly and share information, especially
if there is the chance it will promote change.
And as an artist?
Creativity allows for another level of
expression that can be very freeing. It can
be completely private; an experiment in
release and one without judgement, working
intuitively or with further consideration. It
can also become public; the work giving
the viewer the opportunity to express
themselves through how they connect with
it intellectually or emotionally.
As an artist, freedom of expression is a key
element of creativity and exploration. It is an
essential part of my ‘self’. It’s a way to express
ideas, thoughts and feelings I almost take for
granted. My current concerns have been in
existence for many years, but without form.
The research around this piece gave the
opportunity to shape these concerns into a
clear idea, visually and verbally. It gave me a
greater understanding of just how important
it is to protect that freedom.
How was the embroidery created?
I liked the contrast of the charcoal and pastel
colours against the brown paper from my
original drawing, so I worked on a natural
coloured artist linen - a first for me. The
faces and smaller birds were stitched on
directly using free motion embroidery. The
swifts and swallows were
created separately, built
entirely in layers of thread.
They were sewn to the
linen, leaving elements
unstitched and threads
loose to give movement -
as if they were emerging
from the two figures. ❤
View the full exhibition online,
ideally via desktop at:
ma100yearsofjustice.com
Find additional content at: @ma100years
 Project

A Winter Mandala

FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 56

Colouring therapy in goldwork form! Quiet overflowing minds by

focussing on filling in the shimmering couching and chipping detail.
Utterly absorbing with sublime results.

BY LOETITIA GIBIER

www.stitchmag.co.uk 7
Project

1 2 3

7 8 9

“This mandala celebrates winter, bringing sparkle and shine to the darker
days of the season. The rich blues and silver white icy colours stand out
against the cool grey background. The mix of goldwork and stumpwork
techniques, using organza for transparency, gives extra dimension!”

YOU WILL NEED

MATERIALS
• Fabric:
- 100% cotton (patchwork weight), dark
grey: 30 x 30cm & 15 x 15cm
- Organza, navy or dark blue: 2 pieces,
30 x 30cm
- Organza, turquoise: 2 pieces, 30 x 30cm
- Calico: 30 x 30cm
- Felt, dark grey: 13 x 11cm
- Leather, silver metallic: 3 x 3cm*
- Felt, dark grey: 20 x 20cm, to cover the
back
• Threads:
- Madeira stranded cotton: 1108, 1013,
1002, 908 (1 skein of each)*
- DMC Diamant: D415 (1 reel)*
- Gutermann sew all: 8, 11, 736
(1 reel of each)*
- Aurifil lana: to match backing felt
• Goldwork supplies:
- Pearl purl size 1mm:
- EM112, light turquoise: 1m* • Needles:
- EM6, silver: 2.5m* - Embroidery No10
- EM105, navy: 1.5m* - A large needle for plunging
- Couching thread: • PVA glue: must dry clear
- EMC026 twilight blue: 5m* • Carbon paper, white: try Saral
- Kora purl, EM46R turquoise: 2m* • A sharp hard pencil
- Rough purl, EM34 white: 2m* • Low-tack masking tape
EQUIPMENT STITCHES & TECHNIQUES
• Embroidery hoops: • Back Stitch, Blanket Stitch, Couching,
- 10cm/4in diameter Long & Short Stitch, Plunging, Running
- 18cm/7in diameter: x2 Stitch, Satin Stitch, Stab Stitch
• Paint pens with a very fine nib (POSCA PC-
1MR): black & white See Stitch Guide for stitch formation details.
• Beeswax, small block
• Scissors: A pack containing all items marked with
- Goldwork with a serrated blade to cut an asterisk (*) and hand stained hoops are
the wires available at www.korrylittleshop.co.uk
- Embroidery - small & sharp! Use discount code STITCH at the checkout
• Small pair of tweezers to get 5% off your order.

PREPARATION 2 In turn, place a hoop upside-down, so the GET STITCHING!

1 Tape the templates to a flat surface. Mount
one piece of navy organza in a 7in hoop and
place the turquoise in the other. Make sure
both are drum tight.
TOP TIP! Using two 7in hoops allows
you to prepare all the organza in one go.
Each hoop can be stitched then left until
you are ready to assemble your mandala.
It also protects the goldwork.
organza is in direct contact with the design.
Use the white paint pen to trace Layer 1
template on to the navy organza, and the
black to trace Layer 2 on to the turquoise.
Leave to dry for a few minutes.
3 Once dry, remove the navy organza from
the hoop and place right side up on the
second navy piece. Mount back in the same
hoop. Repeat with the turquoise organza.
Layer 1: Navy Organza
4 Stitch all the outlines using silver pearl purl.
To couch the pearl purl, use a single strand
of Gutermann 11 in your embroidery needle.
Be sure to run it through the beeswax 2-3
times to make it stronger. Start with a knot
in an area that you know will be covered and
do a small stab stitch to secure. 1

8 www.stitchmag.co.uk

4 5
10
TOP TIP! It’s best to avoid the waste
knot technique with organza; the
fabric is too slippery and the thread
unlikely to hold.
5 Stretch the pearl purl slightly by pulling on
each end. It is stretched enough when rather
than curling on itself, it lies flat and straight.
6 Come up on one side of the pearl purl on
the line, angling your needle so it is tight to
the wire. Now go over the other side of the
wire and down through the fabric, angling
the needle in the opposite direction so it is
tight to the wire again.
7 The pearl purl is not plunged to the
background but cut flush to the surface.
Work in one length whenever possible
and bend the sharp corners using a pair
of tweezers. 1 2
TOP TIP! Use your goldwork scissors
on the wires for a clean cut. The wires
will blunt any other pair.
8 The outer portion of the petals uses
the twilight blue couching thread and
Gutermann 8. Leave 2cm tails and start
couching just inside the outer outline of
pearl purl. Couch a pair at once. 3 4
9 To turn the angles, make a couple
of stitches on the point and bring the
needle back up to the surface holding the
thread tight whilst you are bending the
11
couching thread into position. Be quite
firm with it. Complete 4 rows only; this will
leave a regular gap all around and avoid
incomplete rows. 5 6
10 Couch each section in one length
without cutting the twilight blue thread but
bending it as needed. Use the large needle
to plunge the ends after completing each
section. Trim the ends to 1cm then tie at the
back in the small section below. These will
be covered over later. 6 7
11 The next section is completed in
chipping using the turquoise Kora purl.
Cut the wire as small as you dare, usually
around 1-2mm length. Use two strands of
Gutermann 11, and run them through the
beeswax before starting.
12 Come up through the organza where
you want that first chip to be. Thread a chip
onto the needle, slide to the surface of the
fabric and then bring your needle down
through the fabric on the other side. It’s like
applying beads. Fill in each section. 8
TOP TIP! Make sure to slide the chip
down your thread to the surface before
going back through the fabric or it can
get caught and unravel.
13 Complete the sections in between
the turquoise ones with white rough
purl chipping. Repeat Steps 11-12 with
Gutermann 8 thread. 9
Project
6
12
14 Leave the middle of the flower blank.
On the reverse apply a generous layer of
PVA glue over all the stitched sections and
beyond the outline. Go 1cm into the middle
circle. Leave to dry. 10
Layer 2: Turquoise Organza
15 As with the navy layer, you start with a
couched outline in pearl purl. This time use the
navy pearl purl and Gutermann 736. Fill in each
section, extending each line into the central
circle by 1cm. Do not plunge the ends as these
will be covered by the central flower. 11
16 Fill the outer section by couching two
strands of DMC D415 round and round
with Gutermann 736. The diamant thread is
more flexible allowing you to fill the smaller
shapes more easily. Plus any incomplete
rows do not look unattractive.
17 For the final detailing cut one 4mm chip
and two 3mm chips of white rough purl for
each of the 12 inner sections.
18 Run a double strand of Gutermann 736
through the beeswax. Position a 4mm chip
in the middle of each inner section, using
the circle perimeter as a guide. On each side,
stitch a 3mm chip. 12
19 Apply a layer of glue, not as generously
as the navy layer. Cover the back of the
stitched section thoroughly and about 1cm
past the outside edge. Leave to dry. ➜
www.stitchmag.co.uk 9
Project
13
19
25
Layer 3: Dark Grey Centre
20 For the central circle, it is best to leave
the design transfer until you are ready to
stitch. The carbon paper method works well
but tends to disappear as you handle it.
21 Tape the fabric to a flat surface, place the
carbon paper on top, white side down. Place
the pattern on top.
TOP TIP! Apply tape to the top edge
of the carbon paper and the printed
pattern ONLY. So you can lift to check
everything is transferred correctly
without the design moving out of place.
22 Use a hard pencil to trace the pattern; press
quite hard but be careful not to smudge or
move the layers out of alignment. 13
23 Mount the grey fabric in the 4in hoop.
24 As your design lines may disappear as you
work, complete all the sections surrounding
the central circle with a split stitch outline
using one strand. Work outwards using the
following Madeira Stranded Cotton shades
for each round of petals in turn: 1108, 1013,
1002, 908. 14 15
25 The petals in the central flower (1108)
and the first section (1013) are filled in long &
short stitch. 16 17 18 19
10 www.stitchmag.co.uk
14
20
26
26 Moving outwards, the next section (1002)
and the small diamond (908) are both filled
with satin stitch. 20 21 22
27 Now return to the centre. Cut circles 4
& 5 from the grey felt and the leather circle
piece. Stitch circle 4 in the middle, using one
strand of Gutermann 8 and tiny stab stitches.
Start with 4 stitches: one at the top, bottom,
and each side to hold in place. Then fill in
the gaps every millimetre or so. 23
28 Stitch felt circle 5 on top in the same way.
Finally repeat with the leather circle. 24 25
29 Around the leather, couch an outline of
navy pearl purl using the Gutermann 11. 26
30 Couch the outline of the outer circle in
turquoise pearl purl using Gutermann 736. 27
31 Once your stitching is done, apply a layer
of PVA glue at the back. Leave to dry.
FINISHING
32 Layer the large piece of dark grey fabric
with the calico underneath and secure in
your 7in mounting hoop. Mine has been
stained blue to coordinate. Make sure the
fabric is drum tight.
33 Take the hoop with the navy organza layer.
Cut the flower off the organza, cutting right
up to the pearl purl outline, taking care not to
15
21
27
snip any thread. The PVA glue helps make sure
unwanted cuts are not too much of a disaster.
It also gives a plastic feel to the organza; this
flexibility will allow you to shape it later.
34 Position on the mounting hoop, making
sure it is central. Use Gutermann 11 and back
stitch just inside the inner circle line.
35 Now cut the flower from the turquoise
organza layer. Again right up to the pearl purl
outline. Position on top of the navy layer,
making sure it is central and the points of all
the petals line up. Attach with Gutermann 11
and back stitch but your circle of stitching
must be smaller than the one drawn so it does
not show when you add the final layer. 28
36 Use the templates to cut out circles 1, 2 &
3 from the dark grey felt. In the very middle of
the mandala secure circle 1 with Gutermann
8, using the same technique as Step 27. This
time fill with stitches every 2mm or so. Stitch
circle 2 on top, followed by circle 3. 29
37 Take the 4in hoop with the dark grey fabric
and cut out the stitched circle. Be extra careful
not to snip any threads as the glue does not
protect as well as on the organza. So it’s wise
to cut a little away from the pearl purl edge.
38 Stitch it on top of the felt padding using
Gutermann 736 and going over the pearl
purl, just as if you were couching it again.

16
22
28
31
Start with 4 stitches spread around the circle,
and then fill in in between every 2-3mm or so.
39 Add another outline of turquoise pearl
purl on each side of this one: one inside the
circle and one outside between previous pearl
purl edge and the long chips. It will have to
go over existing pearl purl outline from the
turquoise layer. This will give a wavy effect. 30
40 Shape the petals. Catch the tip of
each navy petal on the outside layer to
secure to the background fabric and give
a rounded shape. 31
41 The petals on the turquoise layer need to be
moulded inwards by rolling each one with your
fingers and shaping the pearl purl in position. 32
Project
17 18
23 24
29 30
32
42 On the reverse, cut the excess fabric
leaving about 3-5cm all around. Use a ABOUT ME
double length of Gutermann to do a running I have been teaching and
stitch 1cm from the edge. Gather the thread designing embroidery for
and fabric together at the back. Secure. seven years, following
Cut a circle of felt using the inner ring from two City and Guilds
a 7in hoop as a template. Use blanket stitch in Stumpwork. I use
and Aurifil lana thread to attach the felt. traditional techniques such as goldwork,
A personalised label is a lovely touch. stumpwork and silk shading in modern
designs and I am passionate about
ALTERNATIVE FINISH colour. I am also the owner of Korry’s
Eager for the brightness of Spring? Try a Little Shop, an online shop specialising in
different colourway using lime green, pink goldwork and difficult to find supplies for
and orange for example. Goldwork wires and embroidery and textile art.
organza exist in so many colours, meaning
you can experiment until you find your www.korrylittleshop.co.uk
favourite combination! ❤ KorrysLittleShop
@korry77
www.stitchmag.co.uk 11
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 Project

Call Of The
Wild

FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 57
??

Meet Luna: a self-assured wolf, comfortable with herself and the

Standfi
world rst
around
standfi
her.
rstSettle
standfiinrst
tostandfi
her crewelwork
rst standfirst
detailing
standfirst
andstandfi
remind
rst
standfirst standfirst standfi
yourself rst standfi
of your rst standfiprowess.
own stitching rst standfirst standfirst

BY
BYALEX
AUTHOR
LAW

www.stitchmag.co.uk 13
Project

1 2 3

7 8 9

13 14 15

“Spending time in nature helps me feel centred. I’ve echoed PREPARATION

1 Frame up the linen twill in your slate
this in my design of a serene wolf at one with her surroundings. frame; ensure the fabric is on the grain and
Crewel wools add such depth: they have such a fabulous tensioned so it is drum tight.

richness of colour and blend really well. They are also quite 2 Using a strong light source, draw the
forgiving - making them a great way to get into thread painting!” design onto the linen twill using your pen or
pencil. The horizontal line of the ice must
align with the fabric grain. If you prefer, you
could use the prick and pounce method. 1

GET STITCHING!
Use a single strand of crewel thread and a
YOU WILL NEED No24 chenille needle unless stated otherwise.
MATERIALS • Rotary cutter or fabric scissors
• Linen twill fabric, natural: 39 x 39cm • Pins The Foreground
• Appletons crewel wools: • Sewing machine 3 Work the two patches of ground in double
- Orange red: 442 • Sewing thread to match your fabric layered trellis stitch. The first layer is worked
- Sky blue: 561, 563, 566, 568 • Iron & ironing board using 965, the second layer in 962. Work
- Iron grey: 961, 962, 965, 967 small vertical holding stitches over the
• Lightweight fabric or calico: 37 x 37cm STITCHES second layer using 961. 2 3
• Backing fabric, similar weight to main • Burden Stitch, Buttonhole Stitch, Chain
fabric: 80 x 40cm Stitch, Feather Stitch, French Knots, TOP TIP! Use the diagonal weave
• Cushion pad: 40 x 40cm Herringbone Stitch, Laid Stitch, Long & of the linen twill to align your trellis
Short Stitch, Raised Stem Stitch, Satin stitches and keep them parallel.
EQUIPMENT Stitch, Split Stitch, Stem Stitch, Straight
• Slate frame: 18in Stitch, Trellis Stitch 4 Use laid stitch to work the ice. Start at
• Fine pen or pencil the top with 561, ensuring your stitches are
• Needles: See Stitch Guide for details on stitch horizontal and match the fabric grain. 4
- Chenille: No24 & No22 formation.
- Tapestry: No24 5 As you work down towards the bottom of
• Embroidery scissors Design area: 16.4 x 18cm the ice, change to 563, 566 and finally 568.
• Ruler Finished cushion size: 35 x 35cm Note: at the bottom of the ice, the shades
transition more quickly than in the middle. 4

14 www.stitchmag.co.uk

4 5
10
16
TOP TIP! To transition smoothly
between shades of blue: alternate the
new and old shade for a few stitches. To
change shade quickly: work 1 stitch of the
new colour, 1 stitch of the old colour, then
continue with the new colour. To change
shade slowly: introduce the new shade
gradually - 1 stitch new, 2 stitches old, 2
stitches new, 1 stitch old, continue in new.
6 Using 563 work two lines of double feather
stitch over the laid stitches – one on the left
and the other to the right - to secure them
from the top of the ice down to where the
darker 566 laid stitches begin. 5
7 Work a third line of double feather in the
middle to the bottom of the ice using 566. 5
8 Using 442, work stem stitch over the lines
between the ice and the ground. Then use
561 and stem stitch across the top of the
ground and the ice. 6
TOP TIP! So your stitching for the
twig sits smoothly, don’t continue your
stem stitch line across its base. Rather
work your stem stitch to where the twig
sprouts and stop, then start a fresh line
of stem stitch just the other side.
The Large Tree
9 Use 563 to work a ladder base for a
raised stem band along the first section of
11
17
the large tree. Keep your stitches evenly
distanced and perpendicular to the length
so the completed stitching will sweep
round smoothly. 7
10 Using a tapestry needle, work the raised
stem band using 563 on the right, switching
to 566 in the middle and 568 on the left.
Transition between shades by alternating a
couple of stitches. 8 9
TOP TIP! Since the raised stem band
area goes from wide to narrow, not all
your rows will go across the whole length.
To keep your stitching looking smooth,
stagger the ends of your rows so that you
don’t end up with a noticeable step.
11 The bottom left corner is worked in
burden stitch. Use 566 to create the
foundation parallel lines. 10
12 Complete the burden stitch using 568
from the corner tip for about a third of the
rows. Use 566 for the middle rows and 563
for the last couple. 11
13 Work the remaining middle section in
rows of chain stitch. Start with the row
next to the raised stem band in 961.
Then work a full row and a partial row in
962. Complete the shape with two rows
each of 965 and 967. Or as many as you
need to fill the shape! 12
Project
6
12
18
14 Use 566 to work a ladder base to fill the
branch with raised stem band using 563, 566
and 568. Work the filling using a tapestry
needle. Use stem stitch and 568 to work to
the end of the branch. 13 14
TOP TIP! Using a tapestry needle for
the weaving of the raised stem band
makes it easier to work around your
ladder stitches rather than stitching
through them.
15 Work the branch nearest the wolf in rows of
stem stitch. Start with a row of 568 across the
full length and the bottom of the branch. Use
566 to work additional rows to fill the shape. 15
16 Fill in the middle twist using rows of chain
stitch in 962, 965 and 967 working from
right to left. 16
17 Work the second branch in chain stitch
using 962 across the full length and top of
the branch. Continuing with chain stitch, fill
the rest of the branch in 962, finishing with a
row of 965 along the bottom. 17
18 The third branch is worked in two rows of
open buttonhole. Work the first row along the
base of the branch from left to right in 566.
Leave a gap large enough for another stitch
to sit in between each of your buttonholes.
When the branch gets too narrow for
buttonhole stitch, continue in stem stitch. 18 ➜
www.stitchmag.co.uk 15
Project
19
30
34
19 Complete this branch by working from right
to left in 563. Start with a few stem stitches
to taper in smoothly. Continue with this row
of buttonhole making sure your stitches fit in
the gaps left by the first row. When you reach
the side of the fourth branch, stop working
buttonhole and switch to straight stitches to fill
in the gaps left by the previous row. 19
20 Work the fourth and final branch in chain
stitch using 962 along the full length and
right side of the branch, then 965 along the
left to fill the shape. 20
21 Using 442, work a line of stem stitch
along the bottom edge of each of the chain
stitch twist sections of the tree trunk. 21
22 Using a No22 chenille needle and 3
strands of thread, work small clusters of
French knots from the ends to the middles of
the blue branches. 22
16 www.stitchmag.co.uk
20
25
31
35
TOP TIP! To work neat and consistent
French knots, wrap the thread around
your needle just once, tighten the knot
and slide it down the needle to the
fabric, then keep holding the thread taut
while you pull the needle through.
The Twig And Small Tree
23 With 568 work the twig in stem stitch.
Then work the left section of the small tree
in rows of stem stitch. Use 563, 566 and 568
on the lower section then 566 and 568 on
the upper section. Note: the lighter shades
are on the left in the lower section, and the
right in the upper section. 23
24 Work the middle section of the small tree
in rows of chain stitch. Use 962, 965 and 967
for the lower section; then 962 and 965 for
the upper section. The lighter shades are on
the left in both sections. 24
25 Work the remainder of the small tree in
stem stitch. Use 442 to work a line that goes
21
26
32
36
from the base of the plant to the tip of the
middle branch. Then 563, 566 and 568 on
the right section, with the lighter shades
sitting to the left. 25
26 Use 442 to work small clusters of French
knots on the twig. This time use one strand
and a No24 chenille needle so the knots are
smaller than those on the large tree. 25
The Moon
27 With 561, work herringbone stitch to fill
the moon. To curve around the shape, your
stitches should be closer together around
the inner curve than around the outer. 26
28 Outline the moon in stem stitch: use 561
for the inner curve, and 563 for the outer. 26
The Wolf Body & Tail
29 The wolf is worked in long & short stitch,
using split stitch foundations for the defined
edges. Begin with her back, using 967 for the
split stitch edge.

22
27
33
37
TOP TIP! It is helpful to draw stitch
direction lines on your fabric as a guide
for working in long & short stitch. Refer
to the stitch direction guide on page 57.
30 Start the long & short stitch at the base
of the wolf’s back with 967. As you work up,
continue with 967 along the back, introducing
965 next to the edge of the hind leg. 27
31 As you come around the top of the hind
leg introduce a few stitches of 962. As you
approach the front leg, continue in just 965.
Then use both 965 and 967 as you work
down the body next to the front leg. 28
TOP TIP! Create smooth edges by
bringing your stitches down over the
split stitch edge, tucking your needle
under the edge. Edges of sections that
sit next to and behind another section
don’t have a split stitch edge. When
working these, bring your needle down
neatly along the design line.
23
28
38
32 Using 962 work a split stitch edge along
both sides of the wolf’s front leg then fill in
with long & short stitch. 29
33 Complete the rest of the wolf’s body
using 962, 965 and 967. Use the images
along with the colour and stitch direction
diagrams to guide you. Working with all the
colours at once makes it easier to blend and
create smooth transitions. 30
34 Use 962 to work split stitch around the
upper curve of the wolf’s hind leg. Start long &
short stitch at the top of her leg with 961, then
introduce 962 as you work down the leg. 31
35 As you continue down the leg, start to
bring in 965. Add in 967 near and along the
edge next to the tail. Keep the left side of the
leg lighter (962 and 965) so that it stands out
from her back. 32
36 Work around the whole tail outline in split
stitch. Use 962 for the upper line and 965 for
Project
24
29
the lower. Start the long & short at the tail tip
with 967. To create a sharp point, extend your
first stitch a bit beyond your split stitch edge. 33
37 Fill in the tail using 961, 962, 965 and 967
as per the colour chart and stitch direction
diagrams on page 57. When changing colours,
alternate a few stitches to blend. 34 35
The Wolf Head
38 Work the edge of the ears and top of the
head in split stitch in 965. Use 962 for the
outer edge of the ear and 967 for the inner
edge. Also work a few stitches in 967 to
create definition on the inside of the ear. 36
39 When the inside of the ear is stitched,
complete the ear by bringing 962 down
towards the head. Repeat with the other ear. 37
40 With 965, work split stitch around the wolf’s
head from inner ear to inner ear. Start stitching
the head with a couple of stitches of 967 at the
top of the head, then continue with 965. 38 ➜
www.stitchmag.co.uk 17
Project
39
44
41 As you come around the wolf’s cheek
switch to 967 along the outer edge. Use 961
to fill in the middle of the face. 39
TOP TIP! For the light grey stitches
around the edge of the face, work the
stitch by coming down into the previous
stitching as this helps you to be more
accurate with this soft edge.
42 Work a split stitch edge in 965 along the
base of the snout. Stitch the snout in 965
around the edge and with a few stitches of
962 in the middle. 40 41
43 For her eyes, start with a couple of stitches in
442 to form a pointed triangle for each eye. 42
44 Complete the eyes with a small stitch in
568. Also use 568 to work the nose, first with
a split stitch edge, then fill with horizontal
satin stitch. 42 43
FINISHING
45 Remove your linen from your slate frame
or hoop. If you used a hoop, carefully iron
out any creases in the fabric. Do not iron
over your stitches!
46 Cut two rectangles out of your backing fabric:
37 x 32cm and 37 x 19cm. Along the 37cm edge
of each rectangle, fold and press under by 1cm.
Then fold and press another 1cm to create a
secure hem. Top stitch the hems in place. 44
18 www.stitchmag.co.uk
40
42
45
47 Trim 1cm off each edge of your
embroidered fabric so that this is a 37 x 37cm
square. Line this square up with the square of
light weight fabric wrong sides together and
baste in place.
48 With the front of your embroidery facing
up, pin your backing rectangles to it right
sides together with raw edges matching.
Layer the larger rectangle first, then the
smaller one. Your hemmed edges should be
across the middle. 45
49 Sew the cushion back and front together
with a 1cm seam allowance. Turn the
cushion right side out taking care to turn the
corners out sharp.
TOP TIP! To create sharp corners,
fold the 2 seams over so you already
have a point and hold in place with your
fingers while turning out the corner. Use
a blunt pencil or chopstick to carefully
push out the rest of the corner if needed.
50 Insert the cushion pad, ensuring the
corners line up with the cover and are not
squashed. 46
ALTERNATIVE FINISH
Feel free to switch the colour palette to
create the vibe of a different season: using
shades of browns, green and pink would give
the design a spring vibe. ❤
41
43
46
ABOUT ME
I have been stitching
and creating in one form
or another as long as I
can remember. With a
scientific background,
mathematical patterns as well as the
natural world are my most common
design inspirations. Creating something
beautiful with your hands is not only
very satisfying, but also a great way to
help manage mental health and unwind
from everyday stresses. I am on a mission
to help as many people as possible live
happier and calmer lives with the aid of
this fabulous craft. On my website you
can find more patterns and follow my
journey to complete the RSN Certificate.
www.elaraembroidery.com
@elara.embroidery
elara.embroidery
 Project

You Need Hands

FIND THE
FINTD TH
EM PLEATE
TEMFO PLRATTE
HIS
FO
PRROTJE
HISCT ON
PROJE CG
PA T EO60
N
PAGE ??

Cheerful hand warmers fashioned from bits of old clothes, trimmings

from a shortened curtain and oddly shaped offcuts too nice to
Standfiaway.
throw rst standfi
Evenrst
thestandfi rst standfi
embroidery rst standfi
threads use rst
up standfi rst standfi
that small tanglerst
of
standfirst standfirstoddments
standfirst standfi
lurkingrst
in standfi rst standfirst standfirst
a drawer!

BYBY
EMMA
AUTHOR
FRITH

www.stitchmag.co.uk 19
Project

1 2 ROBIN STITCH PLAN

1 5

9
4

6 7
10
9
2
11
11

10
Corner dot

“After the difficult year we are all living through, these bright ROBIN STITCH KEY
designs appealed. Britain’s favourite bird, the robin is associated 1 Buttonhole 5 French Knot
2 Leaf Stitch 6 Herringbone
with things hoped for – a friend in the winter; colour when
3 Couched threads 7 Bullion Knot
all the leaves and flowers are gone. The dandelion is another 4 Split Stitch 8 Cretan Stitch
splash of colour and thrives in the most challenging of (outline) 9 Fishbone Stitch
& Satin Stitch 10 Fly Stitch
circumstances. The delicacy of the ‘clock’ seed head reminds of (infill) 11 Leaf Stitch
the passing time and the inevitability of change.”
THE ROBIN
1 Create card templates for the inner and
outer bags. Trace the outer bag on to the
denim twice, for the front and back. On the
front piece, mark the four corner dots in
YOU WILL NEED chalk to show the area to be worked.
MATERIALS • Sewing machine (optional)
• Denim: 25 x 15cm • Embroidery hoop: 7in/18cm diameter 2 For woven fabrics liable to fray, use
• Felt or fabric scraps: brown (2 shades), • Needles: to suit thread and fabric Bondaweb to stabilise the back of the fabric.
red, cream, green, yellow, light grey • Scissors: This is not necessary for felt. Transfer the
• Bondaweb - Fabric shapes and cut out.
• Threads: - Embroidery
- Fine silk hand sewing or machine: TOP TIP! You can trace the shapes
brown, grey, green STITCHES & TECHNIQUES directly to the backing paper of the
- Embroidery: brown, black, red, cream, • Bullion Knot, Buttonhole, Couching, Bondaweb, just remember to flip the image
dark grey, light grey, light green, Cretan Stitch, Fishbone Stitch, Fly Stitch, first and trace the mirror image. Fuse the
mid-green, dark green, yellow French Knot, Herringbone, Lazy Daisy, Bondaweb to the fabric then cut out.
- Machine: to match denim Leaf Stitch, Quaker Stitch, Satin Stitch,
• Calico or scrap cotton: 25 x 15cm Seeding, Split Stitch, Straight Stitch 3 Place the brown robin outline piece on
• Bag filling: rice, wheat or barley the front panel, using the corner dots to
See Stitch Guide for details on stitch see where the edge of the design area will
EQUIPMENT formation. be. Lightly fix Bondaweb (if using) with the
• Iron & ironing board iron. Using fine brown sewing thread, work
• Chalk pencil Finished size: 9 x 11cm around the edge of the shape with small
buttonhole stitches. 1 2

20 www.stitchmag.co.uk

7 DANDELION STITCH PLAN
4
2 3
DANDELION STITCH KEY
1 Buttonhole 7 Fly Stitch with
2 Quaker Stitch added Straight
3 Lazy Daisy Stitch
4 French Knot
5 Seeding
6 Bullion Knot
4 Fix cream layer in place with Bondaweb (if
using). Using buttonhole stitch and fine sewing
thread in grey, work the bottom half of the
shape. There is no need to work the top edge;
this will be covered by the red fabric. 1 2
5 With a single strand of dark grey
embroidery thread, use leaf stitch to suggest
the texture of two tail feathers on the
bottom edge of the cream shape. 1 2
6 Set the red piece in place with Bondaweb
(if using). Make a bundle of 15 strands of red
embroidery thread long enough to edge the red
shape and leave ends to plunge. Starting at the
beak, couch the bundle round the red shape
with perpendicular stitches every 3-4mm. When
the outline is complete, use a large needle to
plunge the loose ends to the back. Secure the
plunged threads and trim excess. 1 2
7 Using one strand of dark grey work the beak
outline in split stitch. Work satin stitch over
the top. For the eye, work a large French knot
using four strands of black. 1 2
8
5
Corner dot
3 4
8 Place the brown twig shape over the cream
fabric so the tail looks like it sits behind the
twig. Secure with herringbone stitch. Using
one strand of dark grey embroidery thread, add
bullion knots for the legs and a shorter pair of
bullion knots in a ‘V’ shape for the feet. 1 2
9 Using two strands of green embroidery
thread, work the two tiny leaves under the
twig in leaf stitch, then outline the rest of the
leaf shapes in split stitch. 1 2
TOP TIP! Remember to work inside
the perimeter marked by the corner dots!
10 Use different shades of green to work the
leaves, or mix two or three strands in the needle.
Refer to the stitch plan for suggested patterns to
work the leaves; stitch options include Cretan 3 ,
fishbone 4 , fly 5 , and leaf 6 .
THE DANDELION
11 Repeat Steps 1 & 2 to mark the outer
bag template and cut out the coloured
fabric shapes.
Project
5 6
12 Using fine green thread, attach the
leaves with a line of running stitch down
the middle and buttonhole stitch around
the perimeter. 7 8
13 With six strands of assorted green
embroidery thread, work both stems in
quaker stitch. 7 8
14 Place the yellow felt shape on the left-
hand stem. Using four strands of green
embroidery thread, work the sepals in lazy
daisy stitch. Note: the stitch faces upwards
with the final part of the stitch worked
through the felt to hold it in place. 7 8 9
15 Using four strands of yellow embroidery
thread and starting at the top edge of the
flower, work the outer ring of petals in lazy
daisy stitch. Start the stitch inside the yellow
felt oval, and add the retaining stitch on the
outside so that the stitch lies across the edge
of the felt, holding the top edge in place with
radiating stitches. 7 8 10 ➜
www.stitchmag.co.uk 21
Project
9 10
14 15
16 Continue to add stitches all the way
around, but make the stitches shorter across
the front/bottom edge. On the bottom edge,
your petals will overlap the sepals from the
previous step. 7 8 10
17 Work a second row of slightly smaller petals
inside the first. Finish the flower by filling the
centre of the felt with French knots. 7 8 11
18 On the top of the seed head stalk, work
the sepals in four strands of green and lazy
daisy stitch. Note: this time the sepal stitch
points downwards. 7 8 12
19 Place the white felt on to the top of the
sepal stitches. Work tiny seeding stitches in
one strand of dark grey all over the surface
of the felt. 7 8 12
20 Work dandelion seeds in short bullion
stitches using a single strand of brown
embroidery thread. Remember to add the
seeds that are floating away! 7 8 12
21 With a chalk pencil, draw a circle around
the centre to act as a guide for placing the
dandelion down. Using one strand of light
grey, work a long fly stitch onto the bullion
knot seeds from Step 20 then make radiating
stitches all round the chalk circle. Add straight
stitch spokes to the ‘Y’ shapes of the fly
stitches so that they look a little like an inside
out umbrella. Don’t worry too much about
precision here, it is good for them to be a little
uneven. 7 8 13
22 Add a second row of fly stitches inside the
22 www.stitchmag.co.uk
11
16
first, working two thirds of the way around.
Stop before you get to the bullion knot seeds
so they don’t get covered up, and to make
it look like some of the down has already
floated away. 7 8
23 Repeat to add down to the floating seeds.
FINISHING
Outer Bag
24 When the designs are completed, cut
the outer shapes from the denim and press
lightly on the reverse.
25 Double fold the top edges of both pieces
towards the wrong side of the denim, press
and hem straight across the top by hand or
machine. 14
26 Place the pieces right sides together
and pin. Sew round three sides, with a 1cm
seam allowance; the top is left open. If
using a machine, zig zag or overcast along
the seams, then trim off any excess fabric.
If sewing by hand, use buttonhole stitch to
overcast and prevent fraying, if desired. 15
27 Turn right side out and press.
Inner bag
28 Fold your calico or scrap cotton in half
along the grain with right sides together. Press.
Match the fold line on the inner bag template
to the fabric fold, draw around and cut out.
29 At the top edge of the layer facing you,
fold back 1cm and press. Repeat on the
other side. 16
12 13
17
30 With a 1cm seam allowance, sew down
both sides from the top folded edge to the
bottom one. If using a machine, overcast or
zig zag next to both seams and remove any
excess fabric. 17
31 Turn right sides out and press. Half fill
with rice, barley or wheat. Stitch the top
seam closed by hand or machine.
HOW TO USE
Heat the inner bag for 30
seconds in the microwave
(do not overheat!), place into
the embroidered cover, cosy
your hands around and
enjoy the warmth. ❤
ABOUT ME
I feel incredibly fortunate
to be a full-time artist
and hand embroiderer,
living and working at
beautiful Southwell
Minster in Nottinghamshire. I am coming
to the end of my RSN diploma, taught by
Tracy Franklin in Durham. I divide my time
between that, ecclesiastical embroidery,
teaching and print making. I am wife and
mum in a clergy family, and our lives flow
around the ancient rhythms of cathedral
worship. The three of us live with Lottie,
my Dog AID assistance dog.
www.emmafrith.co.uk
emmafrithembroidery

Highland Fling
Emma Wilkinson shares how she intertwines her love for Scotland and
its heritage with a passion for embroidery.
What does being Scottish mean to you?
To me, being Scottish isn’t just about wearing
kilts, either loving or despising nationalism or
even Irn-Bru. It’s about having a deep-rooted
connection with your history and upholding
your ancestors’ traditions so naturally that it is
done without a second thought.
Is this something you’ve always felt?
For a long, long time I didn’t think about my
heritage at all. I grew up in Edinburgh and
found the throngs of tourists and tartan tat
shops nothing but a stereotypical annoyance.
In my final year at university I realised there
was so much more to my homeland. I began
to think about all the beauty that exists here
and how we are so in touch with our culture
that we often stop seeing it.
How do you express this through
embroidery?
I opt for layers of glass beads and manipulated
metals aiming to reflect the drama of the
landscape and capturing everything that is
Scotland. Instead of just putting beads on
in a lovely, neat formation, I let the shapes
and colour of the organic and unpredictable
structures take hold and form the piece one
layered-up bead at a time.
And your choice of colours?
I have always tried to tell a Scottish story
that isn’t white and blue. Instead I use the
purple and green hues of glens, the charcoal
tones of the rouged mountains, the flashes
of gold when the sun hits the crashing
waves around the islands and amber as
coppery glimmers of whisky.
Tell us about your relationship with tartan.
Tartan has, let’s be honest, been highjacked. I
was blind to the possibilities for many years.
But a part of me had always appreciated it too:
my dad plays the bagpipes, my grandparents
and great-grandparents went to war in their
kilts. I already had a wee sense of pride in the
cloth. Now I am obsessed.
Tartan possesses endless meaning and
stories. It celebrates family and belonging
simply through colour and line. I love that
Scots still take pride in wearing their tartan
and the sense of community it evokes. I
even designed, registered and wove my own
family tartan!
So how did you get into kiltmaking?
I love Edinburgh; I was meant to forge
something here. I love working with my
hands to create beautiful things which mean
Spotlight
something. I love history, heritage and what
makes humans tick. The signs pointed to
kiltmaking: a long forgotten textiles skill
that only a handful of people know how to
do properly. I happened to be walking past
Gordon Nicolson Kiltmakers and turned
my head just at the right moment. You’d
be surprised by the similarities between
kiltmaking and embroidery; my award-
winning collection brought the two together.
You also write. What’s your blog
‘A Life in Tartan’ about?
I believe strongly in skill sharing and
talking about heritage crafts to capture the
imaginations of others and therefore keep
them alive! As the blog develops, it moves
in different directions. Yes, it
talks about how to make
a kilt. But it also talks
about different tartans TURN TO
and their stories, PAGE 32
about interesting
FO R EMMA’S
points in Scottish
EX CLUSIVE
history and my hopes
PROJECT!
for the industry. ❤
You can follow Emma’s blog at:
alifeintartan.wordpress.com
www.stitchmag.co.uk 23
 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

Checkmate! FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 55

Become a blackwork grandmaster! The black king plays by the rules.

The white queen is a game changer: she reverses the process so her
highlights are stitched and the open areas create shadows.

BY JEN GOODWIN

www.stitchmag.co.uk 25
Project

QUEEN’S BASIC PATTERN QUEEN’S EXTENDED PATTERN

BLACKWORK SHADING GUIDE

KING’S SINGLE PATTERN

TURN TO
PAGE 29 FOR
LOTS OF
POINTERS
ON GETTING
TO GRIPS
WITH
BLACKWORK

“Blackwork is a beautiful technique to master: highlights and PREPARATION

shadows are created by differing the number of threads used 1 Once the fabric has been placed in a
hoop use a tapestry needle threaded with
in the needle. However, it doesn’t need to be worked in black a contrasting thread to tack a line carefully
thread! These chess pieces combine dark and light threads to along the bottom edge of the hoop
following the grain line of the evenweave.
explore the properties of both traditional shaded blackwork and This stage is essential: not only does it
the more unconventional reverse approach.” ensure the chess pieces will sit on the same
level but if you don’t follow the grain the
pattern will be ruined! Here a dark thread has
been used so it shows up easily. 1

TOP TIP! Evenweave often looks

distorted when being worked in a hoop
YOU WILL NEED as the grain lines are prone to wander.
MATERIALS EQUIPMENT This is especially evident when you
• 28tpi green evenweave: 38 x 38cm • Embroidery hoop: 9”/23cm diameter tack a straight line across the fabric.
• Alternatively 14 count green aida: • Needles: Don’t panic or try to correct by eye as
38 x 38cm - Embroidery No9 this will cause problems when it comes
• Acid free tissue paper - Tapestry No24 to mounting up. If you want to avoid
• Threads: • Embroidery scissors this happening, mount the project in
- Tacking thread in a colour easily seen on a slate frame so the grain lines of the
the fabric STITCHES fabric lie straight.
- DMC B5200 (white) • Stem Stitch, Straight Stitch
- DMC 747 (aqua) 2 Now tack a vertical line on the left hand side
- DMC 336 (dark blue) See Stitch Guide for stitch formation details. of the hoop; this marks the king’s central line.
- Kreinik blending filament 001 It will help him to stand up straight in relation
- Kreinik blending filament 018HL Finished size: 15.7 x 18.6cm to the base line. It is a temporary line and will
be removed once he is in position. 1

26 www.stitchmag.co.uk

1 2
5 6
3 Carefully draw the king onto tissue paper,
remembering to mark his central vertical
line. Line this up with the vertical tack line
before basting him in position. 2
4 Switch to a sharp needle threaded with
the same colour tacking thread and carefully
tack over each of the design lines. Stitches
on the surface should be 2-3mm, with a
shorter stitch on the reverse. 3
5 Once all the design lines are tacked in
place, remove the tissue paper. Run your
needle over the tack lines to perforate the
remaining tissue and carefully lift it away. If
any pieces of tissue prove difficult to remove
use a pair a tweezers to pull them out gently.
Remove the vertical tack line at this point. 4
6 Carefully measure the distance between
the chess pieces along the bottom edge:
there is a 5cm space from the base of the
king to the queen’s vertical line. Repeat Steps
2-5 for the queen. 5
GET STITCHING!
7 The difference between the two variations
is that in standard blackwork you are
stitching the shadows and leaving more
open areas for highlight. Reverse blackwork
is trickier as you are stitching the highlights
and dropping out stitches for the shadows.
You don’t always get the same defined look
as a dark thread on a pale fabric, which is
why contrasting the two versions together
can be fun. As reverse blackwork is a
3 4
7 8
different thought process, I suggest stitching
the white queen first.
8 Ideally your first area should be largish;
this makes it easier to get the hang of the
pattern. So work the main body of the queen
first. You’ll need to refer to the Shading
Guide to know which threads (colours and
number of strands) are needed for each area.
You’ll also need to follow the stitching lines
in the Queen’s Basic Pattern. This is based
on a grid of tessellated octagons. Stitching
this first makes it easier to add the extra
elements of the Queen’s Extended Pattern.
9 To start the queen, thread a tapestry
needle with two strands of white thread
along with a length of silver blending
filament. Try to make sure your threads are
no longer than 33cm. When working reverse
blackwork more strands in the needle create
the highlights rather than the shadows (the
opposite of traditional blackwork). 6
TOP TIP! The queen is very delicate;
she is often stitched by feel. It is far
easier to feel the needle bounce over the
threads of the linen than counting!
10 Start in the centre of the queen and work
the white section of the pillar taking care to
stop where the guidelines indicate the next
thread mix is to start. 7
11 Where the guidelines indicate 2 threads
are to be used: thread a single length of white
Project
stranded cotton along with a single length of
the aqua coloured stranded cotton. In areas
indicating one thread is to be used: work with a
single length of the aqua stranded cotton. 7 8
12 Continue until the Basic Pattern fills the
queen. Now add the Queen’s Extended
Pattern. This is a series of stitches worked
within the octagonal grid to make the pattern
more complex. In the Extended Pattern, the
octagon base from the Basic Pattern is in grey
and the new stitches are in green, so you can
see where they sit within the base grid. 8 9
ADVANCED APPROACH
Breaking complex patterns down into
components makes them appear less
daunting. However, if you feel confident
you can work the Queen’s Extended
Pattern from the beginning. Again,
follow the Shading Guide indicating
where the different threads are to sit
within the design.
13 At this point the pattern in the queen will
start to lose definition and might become
more tricky to count correctly. Don’t panic!
This is the intention as the highlights develop
and less of the background fabric can be
seen. Remember the reverse blackwork in this
design has the added benefit of being forgiving
if the occasional stitch goes off course. 10
14 After the central column of the queen is
stitched, complete the remaining sections in
the same way. 10 ➜
www.stitchmag.co.uk 27
Project
9 10
13 14
15 The king is worked following the King’s
Single Pattern. Start with a single strand of
the deep blue stranded cotton in the central
column as this gives plenty of space to set
the pattern. 11
16 Remember while stitching the king to
follow the Shading Guide and alter the
threads in the needle where indicated. 12
TOP TIP! Blending filament can be
temperamental thread to work with, so
use a short length (no more than 33cm)
and knot the thread into the eye of the
needle to prevent it slipping out. Also
make sure to use an even tension as it is
prone to stretching if pulled too tightly!
17 With the blackwork patterning completed,
the stem stitch outlines can be worked to define
the edges. Starting with the queen, thread
two strands of white cotton in the embroidery
needle and cast the thread on through the back
of the finished embroidery. 13 14
TOP TIP! When working stem stitch
on an open fabric, it is vital to make sure
the needle pierces the warp and weft
of the woven fabric rather than coming
up through the holes of the evenweave.
This is the only way to ensure the stem
stitch forms a smooth line that hugs
the edges of the blackwork. It is also
important to avoid piercing the tacking
stitches if possible, as this makes
removing them later more difficult.
28 www.stitchmag.co.uk
11
15
18 Once the stem stitch is finished, snip
the tacking stitches and unpick them with a
tapestry needle. Be very, very careful! A pair of
tweezers can be used to pull out any stitches
lodged in the finished embroidery. 15
19 Repeat the stem stitch outlines for the king
using two strands of the dark blue. Remember to
remove the tacking stitches as you go. 16
20 Finally work a series of straight stitches
along the base line, taking care not to make
the stitches too long. Drop some of these
stitches below the base line to create the
hint of a shadow. Use two strands of the
deep blue thread in the tapestry needle.
WIN! WIN! WIN!
Jen’s first book
‘Blackwork Embroidery’ is
published this November
by The Crowood Press
(RRP £19.95, ISBN
9781785007750).
It includes nearly 250 patterns and
detailed instructions on all aspects
from forming basic stitches to
developing complex shaded pieces.
For your chance to win one of 2 copies,
simply log in and enter your details at:
craftmag.co/stitch-win
Competition closes on Sunday
31 January 2021; UK entries
ENTER only. For more information
ONLINE
see Page 3.
12
16
FINISHING
21 When finishing off, I strongly recommend
mounting the piece traditionally on the grain
over card to ensure the work stays evenly
tensioned and the stitching stays secure.
TOP TIP! Mounting up the finished
chess pieces over a green fabric can
be beneficial as this helps emphasise
the contrast between the light and the
dark pieces.
22 However, a design such as this can always
be made up into a small cushion or a hanging
quite easily if looking for an alternative
method of finishing. ❤
ABOUT ME
I am a traditionally
trained artisan
embroiderer, graduating
from the Royal School
of Needlework
in 2003. My practice focuses on
creating highly detailed and technical
pieces of stitch, incorporating imaginative
designs along with stunningly realistic
natural subjects. I work from my open
studio at Walford Mill Crafts in Wimborne,
in the heart of picturesque Dorset. So
anyone who visits can see me creating
unique pieces of stitchery.
www.jengoodwinembroidery.com
@jagembroidery

Straight Talking
New to blackwork? Or in need of a refresher? Jen Goodwin’s no-nonsense
guide will get you heading in the right direction.
Forming Stitches And Patterns
1 All the stitches that form the blackwork
patterns are worked over two grains of the linen.
This is the standard length of a stitch when
working this technique. However, if you choose
to use aida rather than evenweave, you should
be working one stitch over a single square.
2 To form a horizontal or vertical stitch bring
the needle up through the chosen hole of the
fabric and count over two grains then take the
needle back down through the fabric.
TOP TIP! It is important to remember
to count the grains of the fabric not the
number of holes the needle passes over
as this will distort the size of the pattern!
3 To form a diagonal stitch it can be easier
to count across two grains of the linen
before counting up/down two grains of
the linen rather than counting diagonally
across two. This method finds the opposite
corner without the risk of the stitch
becoming distorted.
Shading Guide
1 With shaded blackwork, it is important to try
to work by eye rather than depend on a chart.
It is not essential to know where the first stitch
sits within the overall shape, but it is essential
that the pattern continues seamlessly when the
thread thickness is altered.
2 The shading guide is there to indicate where
the different thread thicknesses fall within the
overall pattern. Wherever you start you need to
take care to stop where the guidelines indicate
the next thread mix is to start.
TOP TIP! If you do not feel confident
following the shading guidelines by eye,
an air erasable pen can be helpful to
draw the areas onto the fabric as they
will eventually disappear.
3 When ready change to the next mix of
thread in the needle, you must continue the
pattern in the exact same way, without leaving
any spaces or altering the stitches within
the pattern. This creates the subtle shading
without drawing attention to where the
threads have been altered.
4 It can be helpful to work with several needles
on the go at once, parking them in an unused
area of the fabric when they are not in use.
5 However, it is important to allow the pattern
to flow out from one point rather than working
Focus
Lazlo by Jen Goodwin,
a magnificent example
of reverse blackwork
several areas at once as this can again lead to
issues with the pattern not marrying up neatly!
Starting and Stopping
1 Tie a not in the end of your thread. Take
the needle down through the fabric in
an area that will be subsequently worked
before bringing it up a short distance away
creating a tail across the back of the fabric.
This tail of thread will be caught in as the
pattern is worked.
2 Once the pattern has been stitched up to the
knot, it should be trimmed off.
TOP TIP! Double check the trailing
thread has been caught in by gently
pulling on it before making the cut. If the
knot is not secure, leave it alone while
more stitching is worked and the thread
on the back is caught.
3 Threads can be cast off in two different
ways. The threads can be ‘parked’ in an
area where stitching is to be placed, again
creating a trailing thread on the reverse
which will be caught in. Alternatively, the
hoop can be flipped over to the back and the
thread being finished can be woven through
the back of the stitches already worked. ❤
www.stitchmag.co.uk 29
5 REASONS NEVER TO

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Project

SEE MORE
OF EMMA’S
WORK ON
PAGE 23

Cup O’ Kindness
Celebrate the unifying words and sentiments of the famous song,
Auld Lang Syne. Thoughtful, textural glass beading and goldwork with
silk thread stitching in rich jewel tones merge and clash to form an
uplifting view of the world.

BY EMMA WILKINSON

32 www.stitchmag.co.uk
 Project

“The poems and songs of Robert Burns have echoed round the A NOTE ON MATERIALS
I used what I had, including some things
world for generations. I wanted to showcase the Scottish Bard, but I have had for ages and have no idea
using my signature style. The emotive words of Auld Lang Syne are where they came from! I pick stuff up
about forgiveness, togetherness and hope for a new year. They’re that I like as I go without any planning
in terms of what it might be used for.
incorporated into my positively coloured, heavily
However, the seed beads were all
embellished vision of the world. And it’s all worked on Toho beads. Both www.beadsjar.co.uk
tartan; the fabric Scotland gave the world!” or www.totallybeads.co.uk have
really great selections of colours.
And www.golden-hinde.co.uk is a
YOU WILL NEED great source for goldwork supplies.
MATERIALS EQUIPMENT
• Printed framed canvas: 30 x 20cm • Computer with access to the internet PREPARATION
• DMC stranded cotton: • Gel pens: 1 Start with a visit to the tartan register
- White, lavender, deep red, black - White, pinky/red at www.tartanregister.gov.uk. Browse
• Purl wire: • Needles: and select a tartan, being sure to select an
- Jade green, purple, gold - Embroidery, beading unrestricted one in the options. I picked my
• Assorted beads, in a jewel palette: • Scissors: all-time favourite, Highland Mist designed
- Seed beads: sizes 15 (tiny), 11 (small) & - Embroidery, goldwork by House of Edgar for its complex lines and
8 (medium) beautiful use of colour. It also complimented
- Faceted beads (cut like diamonds) STITCHES & TECHNIQUES my chosen colours for the beads being used to
- Bugle beads: 10mm • Applying A Bead, French Knots, Stem Stitch reflect the climates of each continent. But also
See Stitch Guide for stitch formation details. it’s modern, ahead of its time – a bit like Burns’
humanitarian views on the world during his life. ➜

www.stitchmag.co.uk 33
Project
1 2
7 8
11
2 Take a copy of the image from the
website. Then using photoshop, or similar,
repeat the image as many times as it takes
to fill an A4 area.
3 On to this I then overlayed a map of the
world and infilled in black. The map outline
was simply downloaded from the internet.
4 The file was uploaded to the Vistaprint
website to be printed on to a simple
stretched framed canvas. The instructions
are clear and easy to follow. Honest!
5 The project could be done on any cloth
though, I just thought a canvas would
make this a nice piece of wall art as maps
normally are. The matt finish also offsets the
embellishment. If you opt for fabric, you’ll
need to transfer an outline of the world map
and set in an embroidery frame.
6 Next I thought about the climate and
where the weather changes from place to
place. I drew lines in gel pen to give me a
rough idea where colours should merge.
I used a white gel pen to plot out the outline
of the shapes I wanted to fill with beads. 1
GET STITCHING!
7 I work really, really organically just plotting
out colours as I go based on what feels right.
I like working like this, I’m super methodical
in everything else I do and yet somehow my
34 www.stitchmag.co.uk
12
stitching is very fluid. I encourage you to take
a similar approach: have a rough plan around
colours or materials, but use what feels right
as you go.
8 For this project the colours followed the
climates of the map rather than individual
countries. You can’t argue with weather, it
is what it is! Thereafter there are no rules,
just flowing with the materials. Although I
did complete all of one colour at once. So
I jumped about the map a bit. I found this
easier as my working space was limited and
I just wanted one lot of beads out at a time.
9 Countries and areas like Siberia, Canada,
Greenland, Alaska and the very bottom of
South America (basically anywhere you
get penguins or polar bears!) were done
in cold colours: white, pastel blue and
lilac. Glass beads and masses of soft little
French knots created a mix of matt and
shiny finishes. 1
10 The whites dispersed into more blue
tones of glass seed and faceted beads
around Scandinavia.
TOP TIP! Faceted beads are fun
because they bring a bit of a geometric
dimension when the light hits them they
sparkle. Attach them in the same way as
bugle beads with a seed bead to anchor.
2 3
3
9
13
11 This turned into green shades across North
America, Europe, New Zealand and around
where the Amazon Rainforest would be. All
places with a wetter climate (lucky us!).
PURL LOOPS This is a very simple
goldwork technique. Cut your purl into
1cm sections. Using a double thread
put the cut purl onto the thread then
plunge the needle down just 1mm away
from where it came up and carefully pull
the thread through so the metal purl
loops around. Repeat, placing the loops
randomly to raise interest and texture.
You can also cut the purl to varying
lengths. It creates a softer landscape
that contrasts beautifully with the
structure of the beads. 4 5
12 The colours then merged and developed
again. Now changing into purple shades across
warmer areas of Europe, Central Asia around
China and across parts of Australia and Africa. 6
BUGLE BEADING I love to create
different heights and a beautiful way to
do this is to have bugle beads standing to
attention. I load a bugle and a seed bead
on to the thread then plunge back down
through just the bugle – the seed bead
acts as an anchor on the top. With a good
amount of tension the bugle will stand up.
Continue building them, standing snuggly
side-by-side like little soldiers. 7 8

4 5
10
14
TOP TIP! I always double up my thread
when I’m doing bugle beads. It helps them
stand up and avoids the thread snapping
under increased pressure.
13 Moving into golds where the climate is
much dryer such as the Southern States of the
US, Central America, North Africa, The Middle
East and Southern Asian Islands. 9
FRENCH KNOTS Use doubled up DMC
thread to create your French knots so
the knot is a little thicker. Wrap the
thread around the needle three times,
then carefully plunge the needle down
1mm away from where it came up. Do
this slowly so you don’t end up with
annoying knots instead of lovely French
ones! These look great when built up,
creating a mossy texture. 10 11
SEED BEADS I layer up beads
starting with filling the space then
building on top again. This encrusted
effect is my signature style. It takes ages
but I love the landscape it creates. I used
beads from size 15 to 8 to create varying
heights and textures. For seed and
faceted beads I just use a single thread
and layer them all up on top of each
other. You need to be careful with the
tension of your thread for this. To create
an organic feel it’s important to work
systematically yet randomly. 11
15
14 The final colour worked in was red to
reflect the hottest parts of the globe. This
merged into Africa, across Asia around India
and into Australia. Your bejewelled world is
now complete. You can stop here, or add in
Burns’ words. 12
15 I used the principles of traditional
monogramming to form the writing.
However my own handwriting makes it a
little more fluid. The words were plotted out
using a pinky/red gel pen so it would blend
in with the tartan if the thread didn’t cover it
entirely. 13 14
16 The outline of the words is completed in
stem stitch using one strand of white cotton.
Start with a tiny stitch up then plunge back
down, then bring the needle back out again
about 4-5mm away from the first stitch.
Now work back like a back stitch but plunge
the needle down into the middle of the stitch
before. It will start to look like a rope. 13 14
17 The dot of the ‘i’ in kindness is formed
with a French knot.
18 Now pour yourself a dram or tipple of
your choice. Take time to reflect on those
that matter and the good times ahead. The
world may have gone quiet, but we will
come together again! 15
Project
6
ALTERNATIVE FINISH
I’m not really a minimal maker: my style is
full-on beading, I love the layering texture.
However, the whole map could be filled with a
series of French knots… or nothing! Maybe just
use an outline of beads or stitch. Or change
the focus, use a map of the UK and show it in
colours representing the four home nations. ❤
ABOUT ME
I am a lover of design but
I specialise in embroidery
and kiltmaking with the
odd print and garment
too. I take inspiration
from personal experiences and my home.
I’m from Edinburgh so am surrounded by
beauty in many forms. My work aims to tell
stories and evoke feelings simply through
colour and texture So I work with materials
from glass beads to oxidised coins! This
fusion of deep, personal inspiration and a
broad mind for materials is what, I hope,
makes my work special and stand out! I
graduated from Edinburgh College of Art
with a First class degree in 2018. I have since
won the Hand & Lock Prize for embroidery,
become the first and only Queen Elizabeth
Scholarship Trust Kiltmaker and am an
Embroiderers’ Guild Graduate and Scholar.
www.emmawilkinson.design
@emmawilkinson.design
www.stitchmag.co.uk 35
Interview

Credit: Julie Howden

Fashion Sense
Cotton socks start decomposing in landfill in weeks. A mixed fibre jumper
can take over 200 years, while a pair of trainers will last a century!
The problems raised by fast fashion are complex. How can we tackle them?
And what role can embroidery play?
Dr Jen Ballie is a PhD graduate from Textiles 1,100 workers died and 2,500 were injured be reprocessed and reused multiple times.
Environment Design (TED). Her research – most of them young women. It was the The launch of World Circular Textile Day (8th
explores social innovation within fashion fourth largest industrial disaster in history. October) is championing a future vision for
and textiles to re-think future practices. She The media coverage finally brought attention 2050; where virgin resources are no longer
is a researcher at Duncan of Jordanstone to the way fashion is made and shone a needed and our shared textiles resources, in
College of Art & Design within the University spotlight on the broken ties between those the form of products and raw materials, are
of Dundee and Research Manager for who produce, sell and buy fashion. kept in continual circulation.
the ‘Design for Business’ programme - This is exciting but it also requires huge
positioned within the V&A Dundee, a Design What’s the most damaging part? change within the business of fashion. The
Museum in Scotland. With credentials like The pressure to reduce costs and speed scale and pace of production and consumption
these, Jen is well-placed to give much- up production time means environmental needs to become less and slower.
needed perspective. corners are cut in the name of profit.
This puts enormous pressure on supply Every story has its villains. So who and/or
In a nutshell, what is fast fashion? What chains who manufacture clothing. And what is responsible?
are the issues with it? as consumers we have a responsibility to The pandemic exposed the huge power
Fast fashion is a growing trend of low-cost question: why does a garment cost £3? We imbalance at the heart of the fashion
clothing brought to market in less than three need to advocate for more transparency, as industry. It demands suppliers in some of the
weeks. It has an enormous environmental somebody, somewhere is paying the cost. poorest countries in the world bear upfront
footprint for both its production and There are additional challenges. The production costs while buyers pay nothing
disposal. But there is still too little awareness textile fibres that make up the clothing in until weeks or months after factories ship
concerning the social and environmental our wardrobes are often blended and make the goods. The wealth across the fashion
crisis caused by the global fashion industry. recycling problematic. There has been industry isn’t distributed proportionally
In 2013, the Rana Plaza building, a garment radical innovation within the concept of a and that needs to change. Orders made by
factory in Bangladesh, collapsed. More than circular economy – where some fibres can brands were either cancelled, or suspended,

36 www.stitchmag.co.uk

leading to the
waste of around
982 million garments and the possibility
of up to half of the four million garment
workers in Bangladesh losing their jobs
(BBC ref, 2020).
What needs to happen to make a change?
And the biggest challenge along the way?
The business of fashion needs a new
model; one that re-thinks over-production,
over-consumption and the relentless drive
for the new. We need to adopt a people-
centred approach and call for the design and
investment of new supply chains that have
dignity, equity and equality at the heart of them.
Consumers will need support to adopt a
bold shift in their mindsets around what to
buy, own and use.
And the heroes…
A lot of people have been campaigning
for change for a very long time, including
Orsola DeCastro, the co-founder and
Creative Director of Fashion Revolution. She
declares: “if you really enjoy wearing clothes,
then you should commit to the clothes you
are wearing in an emotional way. If clothes
are our ‘second skin’, shouldn’t we care
about its origin and composition?”
How is the V&A raising awareness?
In 2019, V&A London had a wonderful
exhibition titled ‘Fashioned from Nature’; it
is currently touring. This contributed to a
cross-party parliamentary UK government
Environmental Audit Committee
investigating the sustainability of the fashion
industry. They hosted an open hearing at
the V&A where some of the questions from
expert witnesses were based on issues raised
in ‘Fashioned from Nature’.
Closer to home, what is happening at
V&A Dundee?
‘Sewing Box for the Future’ is a live research
project and pop-up exhibition in partnership
with the University of Dundee. Using the idea
of the sewing box as a metaphor, it raises
awareness about diminishing sewing skills and
explores what materials, skills and knowledge
people need to help them take proactive steps
towards reducing fashion waste.
The exhibition is organised around
three themes: care, repair and customise.
It encourages people to think again about
how they can extend the lifetime of clothing
they already own. There are inspirational
examples of best practice, such as the visible
mending by Celia Pym and Bridget Harvey.
Or the second-hand Levi’s denim jacket
from Depop, embellished with a gorgeous
sequin snake by textile designer Chloe
Patience (see below) to show the impact
of customisation.
Make do and mend used to be a way of
life. What happened?
Ready-to-wear clothing bears the air of shop
finish and doesn’t call for repair, alteration
or unpicking. There are very little alteration
services or shops left on our local high
streets. However, while conceptualising
this project/exhibition, the team was really
inspired by an older publication by Singer
titled Clothing Care and Repair (1985). A lot
of the tips, ideas and techniques haven’t
dated and are very relevant today!
What’s the reception been?
‘Sewing Box For The Future’ has had different
feedback from different generations. For
those who have grown up without these
basic skills, it has been more novel and new
but they’ve enjoyed being empowered to
experiment, be creative and learn.
For those with more advanced knowledge,
it has provided a space to come together and
share nostalgia around making. It has facilitated
some really lovely conversations across
different generations that have been a highlight.
A mother wrote us a letter after visiting
the museum with her 6-year-old son earlier
this year. He had a lot of fun and kept asking
to come back. They visited five days on the
trot; it gave them a space to sit down, sew
and have conversations. They felt welcome,
relaxed and inspired. At the end of the week
he asked to spend his pocket money on an
embroidery hoop!
What can we do?
Small, individual acts can be powerful
collectively. So start with what you already
have in your wardrobes and homes. Be more
aware of where your clothing comes from.
Question the fibres and fabrics that make
up your wardrobe. Take responsibility to
care for your clothing in the best ways you
can. Embrace these as life skills that grow
with you, in your home, around your own
family, friendships and beyond.
What impact do you think this year’s
events might have on how people
consume fashion?
The pandemic and lockdown have
catalysed a resurgence around making
again; this needs to be nurtured.
But we need to be vigilant and
Interview
keep asking questions to play our part
in influencing a future fashion industry
that is fairer, more ethical and more
environmentally conscious.
How do you manage your own wardrobe?
I love fashion because it’s a means for self-
expression. It manifests cultures and identities
while enabling us to present who we want to
be, and our own clothing plays a part in our
emotional wellbeing by bringing us joy.
Most of my wardrobe comprises of old
fast-fashion pieces, second-hand findings
or gifted and swapped items from friends.
When I buy new, I look for ethical and
fairer pieces of clothing. Buying sustainable
clothing is important, in order to encourage
conscious brands to continue their work. For
outerwear I love Kerrie Aldo, for accessories
- Emily Millichip or Nublvk, and for clothing -
Kalopsia Collective.
Finally. The champions. The campaigners.
Who’s work do you admire?
Fashion Revolution and the positive
activism they have catalysed globally.
Thereafter, we’re now at a point where the
Government’s Industrial Strategy is looking
at the circular economy. People such as
Greta Thunberg and Sir David Attenborough
have flicked a switch on to raise awareness
of sustainability. This creates many
challenges for an industry that is traditionally
so wasteful, but it also means there’s
tremendous opportunity for innovation and
new collaborations.
‘Sewing Box for the Future’ is a pop-up
exhibition currently on show at V&A Dundee
in the upper foyer until Jan 2021.
www.vam.ac.uk/dundee/exhibitions/
futuresewingbox
If you can’t make it then explore
the downloadable resources at:
www.vam.ac.uk/
dundee/info/sewing-
box-for-the-future-
resources ❤
www.stitchmag.co.uk 37
Latest
For Your Bookshelf
email sales@cleopatrasneedle.co.uk
LACE REIMAGINED
By: Elizabeth Healey
Publisher: Search Press
ISBN: 978-1-78221-742-8
RRP: £12.99
There are tired old stereotypical ideas
of lace that this book merrily sets
about challenging and blowing apart.
Elizabeth Healey takes lace in all sorts of
directions, making for an unexpected and
entertaining journey. Throughout stories
are interwoven giving not just historical
context but bringing the skill to life.
Although it’s Elizabeth’s refreshing
definition of lace that is the real triumph.
Certainly, she pays proper respect to
the tools and techniques: bobbin lace,
tatting, net darning, needlelace and
more are covered. But it’s when the
projects start that the fun begins: using
a soldering iron to make a paper-lace
bowl and embroidering spray painted
leaves run alongside a magical set
of fairy wings and an heirloom scarf
fashioned from happy memories. By
dipping into other skills and inspiring
creative experimentation, Elizabeth’s
book offers so much more than was
ever expectedemail sales@cleopatrasneedle.co.uk
and becomes even more
appealing. You’ll never think of lace in
the same way again!
email sales@cleopatrasneedle.co.uk
A PASSION FOR
NEEDLEWORK:
BLAKISTON CREAMERY
Publisher: Inspirations Studios
ISBN: 978-0-6482873-9-1
RRP: £33.99
The concept is simple: a dozen
embroideries from the same number
of designers assembled in one location.
The execution, however, is so much
more. It involves all the care and
attention to detail you’d expect from the
Inspirations Studios team. The resulting
book is a treat on every level.
There are the coffee table pages:
beautiful photography, beautifully staged.
The imagery elevating the embroideries
to objects of unquestioned beauty.
Then there are the business pages where
the art of achieving the same results
for yourself is boiled down to clear and
confident instruction.
The designers come from all over the
world. Their stunning designs embrace
the traditional, the quirky and the practical:
William Morris inspired crewelwork, a sea
turtle sculpted in goldwork and handy
little pots with stumpwork lids. All are
aimed at those with experience. And all
are exquisite. This is a glorious celebration email sales@cleopatrasneedle.co.uk
of top-end hand embroidery at its best.
BUTTERFLY STITCHES
By: Catherine Redford
Publisher: C&T Publishing
ISBN: 978-1-61745-986-3
RRP: £16.99
A group of butterflies is called a
kaleidoscope. And that’s exactly what
‘Butterfly Stitches’ gives you: a collection
of twelve designs of winged creatures.
Each design is worked two ways. The first
option uses a range of surface stitches on
fabric. The second builds up the design
in layers of wool appliqué, finished with
stitch and bead embellishment. The
effects are startlingly different; you don’t
instantly recognise them as being based
on the same design. This encourages
you to give things your own twist which
ultimately is what Catherine wants.
In line with her folk-art influences,
Catherine’s designs start with chain
stitch. So it’s no surprise, this is the
stitch with deeper instruction on its
formation and multiple variations.
Thereafter, there is a degree of
assumed knowledge. The book doesn’t
lack anything because of this. To the
contrary, it means the focus is firmly
on creating the butterflies. In fact, it’s
a fun and colourful combination of
entomology and embroidery!
 Project

Let It Snow!

FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 59

Be entranced by this delicate, everlasting snowflake. Achieve beautifully intricate

results with just the humble buttonhole stitch and some careful construction!

BY JAY HOOPER OF DIZZY & CREATIVE

www.stitchmag.co.uk 39
Project

1 2 3

7 8 9

A B C

“You can make this snowflake with regular stranded cotton, or thread with a
metallic element. The latter can fray and knot when stitching tightly over wire, but
the results are worth the effort. My best advice is to use short lengths of thread,
a new needle, stock up on patience and all will be well!”

YOU WILL NEED PREPARATION

MATERIALS • Light/heat fading pen or gel pen for 1 Place one piece of fleece centrally over
• Soluble fleece: 2 pieces, each 30 x 30cm design transfer Template A and transfer the design using
• Thread: • Needle: crewel your choice of pen. Lay a second piece of
- 1 skein DMC Light Effects E5200 • Small sharp scissors fleece behind your marked piece and gently
(metallic), or • Clean towel/tea towel secure the fabric in the embroidery hoop. 1
- 1 skein DMC Colour Variations 4020 • Bowl
(stranded cotton) • Low-tack masking tape (optional) 2 Take one length of wire, bend and fold it
• Covered wire, 26 gauge: 12 x 30cm lengths following the outline of Template B to create
• Sewing thread: white STITCHES a snowflake arm, keeping 1cm free at the
• Seed beads, size 11: silver-lined crystal • Buttonhole Stitch start. Use pliers to help make each fold tight
• Translucent sequin: 1 and crisp, and stick exactly to the template.
See Stitch Guide for details on stitch The end of the wire should just cover the
EQUIPMENT formation. length of one side of the largest hexagon;
• Wire snips you may have to trim off a tiny amount.
• Small pliers Finished dimensions: Repeat for all six arms. 2 A
• Embroidery hoop: 10in/25cm diameter diameter 14cm, depth 4cm

40 www.stitchmag.co.uk

4 5
10
D E
3 Lay the wire arms on the snowflake
design on the fleece, making sure the
angles are all correct. Use a single strand of
sewing thread to oversew the wire lightly in
place against the fleece. Repeat with all six
arms, overlapping each one along the sides
of the outer hexagon. 3 4 B C
GET STITCHING!
4 From this point: use one strand of
metallic thread, or two strands of
stranded cotton. All ends of thread can
be incorporated into stitching, getting
covered as the project progresses.
IMPORTANT! When stitching on
soluble fabric, it is VITAL that all threads
are anchored over a wire, through
another stitch or over a running thread.
This ensures that your work doesn’t
unravel when the fleece is washed away!
The Snowflake Centre
5 Join the thread at the base of an arm at
point a. D Take the thread along the marked
spoke line and down through the centre
of a sequin, positioned in the centre of the
hexagon. Bring the thread up on the same
11
spoke line at the edge of the sequin, and
work back up the thread to cover it using
buttonhole stitch. Repeat for the remaining
five central spokes. 5 6 7 8 D E
TOP TIP! I find a hands-free hoop
really helps with this kind of project.
6 Work straight stitches around each side of
the inner hexagon (indicated in black). Be
sure to catch your thread in each arm. 9 F
7 Join the thread at b. F Work buttonhole
fill stitch around the wire hexagon, inserting
a bead into each stitch. Make four stitches
in each section, taking the thread over and
around the covered thread line at each
spoke intersection. You’re working between
the two red hexagon bands; with the beads
secured to the middle hexagon. 9 10 E
8 Once the full round is complete, take
the thread down to the next stitched
line (made in Step 6) by making tiny stab
stitches through the stitched covering of
the central line. Work a second round of
buttonhole fill, reducing to three stitches
(each with a bead). 11 12 F ➜
Project
6
12
F
Neat and Tidy TECHNIQU
E
FOCUS
• STARTING: Make a slip
knot in a new thread. Use
this to anchor your thread
over a wire or another thread. Take the
thread through the last stitch worked,
and resume stitching.
• CONTINUING: If you are part way
through stitching a section, finish the
thread by looping it around a wire/thread
and take the needle back through the
loop to create a knot. Repeat, then trim
the thread leaving a short end. When
you resume stitching with a new thread,
position the slip knot over the remaining
thread end for extra security, then
incorporate and cover any loose ends of
threads as you continue stitching.
• FINISHING: Once you have completed
stitching a section and covered all the
wire/thread using buttonhole stitch,
finish by making a few tiny stab stitches
backwards and forwards through the
stitched covering. Trim close.
www.stitchmag.co.uk 41
Project
13
19
G H
9 Take the thread down once more, to the
edge of the sequin. Work a final round of
buttonhole fill (without beads), making just
one stitch in each section. Once the round
is complete, work a buttonhole stitch over
the stitch threads, close to the edge of the
sequin. 13 14 G
The Snowflake – Central Arms
10 Use the illustration as your stitching guide
and follow the order indicated. H
11 Join the thread at c. Make a buttonhole
stitch right at the end of the wire, inserting
a bead. Make a second buttonhole stitch
on the wire alongside, taking the needle
through the previous stitch. This will help to
anchor the bead at the end of the wire. 15 H
12 Work down the wire to junction d using
buttonhole stitch to cover the wire, and
also cover any thread ends and windings
as you work. 15 H
13 From junction d, take the thread up to
the next junction e by making a couple of
stitches tightly over the wire, then continue
in the same way to take the thread up to f
42 www.stitchmag.co.uk
14
20
J K
and then on to point g. Make a stitch with a
bead as at Step 11, and use buttonhole stitch
to cover the wire back to junction f, covering
all the winding stitches as you work. 16 H
TOP TIP! As you start to stitch the
snowflake arms, covering the arms not
being worked with masking tape may
help to prevent the thread from catching
and snagging on the wires.
14 Once again, make a couple of stitches
tightly over the wire to take the thread up
to the end of the upper point h, add a bead
and use buttonhole stitch to cover the wire
down to junction e, covering all threads
and winding stitches. 16 17 H
15 From junction e, take the thread up
to junction i and on to point j. Make a
stitch with a bead and use buttonhole
stitch to cover the wire down to junction
i covering all threads and winding stitches
as you work. 17 H
16 Repeat in this way to the tip of the arm,
until l and m are worked and you’re back
at junction k. 17 H
15
21
17 Work buttonhole stitch from junction
k to junction i, covering all threads and
winding stitches as you work. 17 H
18 Repeat Steps 13- 17 in reverse, securing
beads at points n, o, p and q. This time
cover the wire and threads between
junctions as you work back to the base of
the arm at junction d. 18 H
19 You have now completed one arm
of the snowflake. From junction d, work
buttonhole stitch along one side of the
hexagon, covering all threads and wires. 18
20 At the junction of the next arm, take
the thread up to c and repeat Steps 11-19.
Continue until all six arms are covered. 19
The Snowflake – Individual Arms
21 You will now create another set of
arms. These are stitched individually
and will add dimension to your finished
snowflake. Repeat Steps 1-3 to create
the wire frames. However, this time trace
five arms using Template B and one using
Template C (this one will be at the top so
has a hoop for hanging). J K

16
22
25
22 Position the tracing onto the fleece within
your hoop to fit in all six. Splay the legs of
each arm and leave sufficient stitching room
around each. 20 21 22
23 Repeat Steps 11-20 for each arm. You’ll
need to start by covering the end up to d in
buttonhole. Then work each side and section
in turn. Remember to run catching stitches
to each point, secure a bead then work
buttonhole stitch to cover the wire and stray
thread. Work through in alphabetical order, this
time covering the sections between junctions
in buttonhole as you come to them. H
FINISHING
24 When the snowflake and all six arms
are stitched, remove the fleece from the
hoop and trim off any excess fabric. Place
in a bowl of warm water and gently rub to
dissolve the fleece. Rinse briefly in clean
water and press flat in a towel or tea towel.
Place somewhere warm and flat to dry. 23
TOP TIP! Place your snowflake
pieces on a sheet of grease proof paper
to avoid any remaining glue causing
unwanted sticking.
Project
17 18
23 24
26
27
25 To assemble, start a thread on the main
snowflake at junction k. Slot an individual
arm over the main snowflake arms, matching
junctions. Use a single strand of thread
to make tiny stab stitches through the
buttonhole stitching to secure both pieces
together. 24 25 26 H
26 Repeat this for all six arms. Adjust the
wires to make sure the individual arms sit at
90 degrees.
27 Hang your finished snowflake where it
can sparkle and shine! 27 ❤
ABOUT ME
As a lifelong stitcher, I have always loved experimenting with shape, form
and colour. Transforming something into a stitched version has always
held a fascination; the satisfaction in seeing a finished piece is always
immense. Helping to sow the seed of inspiration in others and see their
confidence grow as they discover the magic of stitching is something I love. Dizzy & Creative
lets me explore this further with our wide range of embroidery and sewing kits. We cater
for everyone: from the tentative first-timer to the experienced stitching enthusiast. There’s
also our monthly embroidery subscription service, ‘Strand & Deliver’: beautiful embroidery
projects chosen especially for you and delivered straight to your letterbox.
www.dizzyandcreative.co.uk www.strandanddeliver.com
www.stitchmag.co.uk 43
Project

Black Magic
Conjure up a mischievous life-size raven from cotton fabric and wire! He’s bold,
beautiful and brilliantly broken down into bite-size steps for you to follow.

BY LINDA FJELDSTED BLUST

1 2 3

4 5 6

THE LEGS
1 Cut two 8cm pieces of brass tubing and
eight 30cm lengths of wire. 1
TOP TIP! There are tutorials on the
internet for making simple wire legs.
These may be strong enough for small
birds, but you need something sturdier
to support these large ravens. My
solution is to encase the wires in metal
tubes! They are readily available from
hobby or model making supply shops.
2 Thread four wires through each tube,
and then use the pliers to bend the wires
into 4cm toes – three in front and one
in the back. 2
3 Break off a chunk of polymer clay, knead
it until soft, and shape into a roll about 1cm
in diameter and 20cm long. Cut the clay roll
into eight equal pieces. Shape the pieces
into pointed claws and push one talon onto
the end of each toe. Remove the claws and
bake them in your oven according to the
directions on the clay packaging. 3 4
TOP TIP! Due to long drying times, it
takes several days to complete a pair of
legs. Use the downtime to work on the
body and feathers.
4 Once cooled, squeeze a bit of super glue
onto the end of the toe wire, and attach the
claws. Repeat for all eight toes. 3 4
5 Stand the legs upside-down in a glass or
vase lined with a plastic bag for protection.
Allow the glue to cure overnight. 5
6 The next day, gently twist one of
the claws to make sure the glue has
thoroughly cured. If the claw moves, leave
it alone for a few more hours. Once you’re
sure the claws are securely attached,
squeeze a few drops of super glue into the
bottom end of each tube. Again allow to
cure overnight. 6
TOP TIP! The toes have a tendency
to turn sideways, so hold them in place
with a food bag/chip clip while the glue
dries inside the tube. 6 ➜

44 www.stitchmag.co.uk

YOU WILL NEED
MATERIALS
• 18 gauge steel wire, 1mm: 3m
• Brass or aluminium tubing, 6mm: 20cm
• Polymer oven-bake clay, any colour:
small pack
• Large-hole round beads: 2
• Cotton fabric, in shades of black: 1.5m cut
into fat quarters
• Water-soluble stabiliser
• Temporary spray adhesive
• Mod Podge Matte glue and sealer
• Mod Podge Stiffy or other liquid
fabric stiffener
• Super glue
Project
EQUIPMENT
• Polyester fibre filling: I recommend Fairfield • Mini tube cutter or hacksaw with blade
Poly-fil Quick Craft or Crafter’s Choice. suitable for cutting metal
Avoid anything labelled ultra soft. • Wire cutters
• Acrylic paint: black & silver • Small needle-nose pliers
• Roll of florist tape, any colour • Paint brushes
• Upholstery thread: black • Ball-head straight pins
• Machine thread: black • Chalk pencil
• Embroidery floss: black • Sewing scissors
• Buttons for eyes: 2 • Sewing machine
• Heavy black guipure lace • Black marker pen
• Disappearing marker
Finished dimensions, approximately: • Needle: long upholstery or doll
46cm long x 38cm tall x 12cm wide • Protective gloves
“A group of ravens is sometimes called an
“unkindness” or a “conspiracy.” I prefer the latter,
because when these birds congregate it’s easy to
imagine them plotting mayhem. These photos were
taken as I worked on a conspiracy of four ravens.”
FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 58
www.stitchmag.co.uk 45
Project
7 8
15 16
23 24
27 28
7 The next day, turn the legs right side up
and squeeze some super glue into the upper
end of the tube. Then thread a big-hole bead
over the wires and glue it atop the tube. 7
8 Paint the claws with at least two coats of
black paint or nail polish and let dry. 8
TOP TIP! For extra pizzazz use shiny
lacquers or sparkly nail polish.
9 Brush a coat of Mod Podge Matte over the
legs and toes, and wrap with the florist tape.
Start wrapping just above the bead, down
the brass tube and along each toe, and then
all the way back up the tube. Brush on more
glue and repeat, this time adding extra layers
to the toes. The more layers, the stronger
the toes will be. Allow to dry. 9 10
TOP TIP! I like Mod Podge Matte
because it dries clear and not too shiny.
You could use PVA glue thinned with
just enough water to make it spreadable.
Run a test to make sure you like the
appearance after it dries.
46 www.stitchmag.co.uk
9 10
17
25
29
10 Paint the wrapped legs with at least two
coats of black paint. Allow to dry. 11
11 Brush Mod Podge Matte over the
painted legs and toes and wrap them with
embroidery floss and any other strings or
yarns of your choosing. 12
TOP TIP! Get creative with colour and
texture: wrap with left-over embroidery
strands, metallic threads, fuzzy yarns or
colourful bits of string. 13
The body
12 Fold one fat quarter of black fabric in half
and lay on the pattern pieces. Cut them out
and transfer markings to each piece with a
chalk pencil. 14 15
13 Machine stitch the underbody pieces
together along the top edge, leaving an
opening between the two notches. I used
contrasting thread to make it easy to see, but
you should use black thread. 16
18
26
30
14 With right sides together, sew one
underbody to one body piece, backstitching
at the leg opening. 17
15 Sew one side of the head gusset to the
top of the raven, placing the gusset front at
the upper edge of the beak, and the back at
the notch. 18
16 Pin the assembled body to the remaining
body piece, right sides together, being careful
to keep the previously stitched sides of the
head gusset and underbody out of the way.
Stitch all around, leaving the leg open. 19 20
17 Clip all curves and trim the seam
allowance at the beak point. 21
18 Turn the body right side out and stuff it
with fibre fill. Use a stick or long screwdriver
to pack it into the head and beak as tightly as
you can. 22 23
The beak
19 Paint the beak with at least two coats of
silver paint. 24

11 12
19 20
31 32
20 After the paint dries, sketch the mouth
line with chalk or a disappearing marker.
It’s important both sides match. 25
21 Trace over the line with a black marker
pen, smearing it a little with your finger or
an eraser. 26
22 To shape the beak, thread the long
upholstery or doll needle with black
upholstery thread and tie a knot at the end.
Take a stitch on the back of the head and
then push the needle into the back of the
head and out at one corner of the beak.
Reinsert the needle close to where it came
out, push it through to the same spot on
the opposite side of the beak and pull the
thread tightly. Then reinsert the needle and
push it through to the other side close to
the previous stitch, again pulling tightly.
Continue stitching in this manner all the way
along the mouth to the point of the beak
and back again. When you reach the starting
point, take a long stitch to the back of the
head and tie a knot. 27
13
21
33
Attaching the legs
23 Spread a little Mod Podge Matte on the
upper legs above the beads and push one
into each of the body’s leg openings. Stand
the bird up to make sure it sits upright
and balanced. Once you’re satisfied with
the bird’s stance, pin the fabric of the leg
openings tightly around the legs, and allow
the glue to dry. 28
TOP TIP! A table vice is handy for
holding the bird steady on its back.
Alternatively, prop him between books
or boxes.
24 When the legs are set, turn the bird on its
back and stuff more filling into the opening,
pushing it around and between the wires
until the legs barely move. Whip stitch the
opening closed with upholstery thread. 29
25 For added stability, and to keep the toes
pointed forward, it’s a good idea to create a
wire exoskeleton. Start by cutting a piece of
wire long enough to reach from the bead on
the outside of one leg over the bird’s back
Project
14
22
34
and down to the bead on the other leg. Sew
the wire in place with upholstery thread. 30
26 Turn the bird on its back and run another
piece of wire up the inside of the leg from
one bead across the belly to the other bead,
bending it at right angles at the tops of the
legs. Stitch in place. 31
27 Cut a remnant of black fabric large enough
to cover the bird’s belly. Brush one side with
Mod Podge Matte, and spread the remnant
smoothly over the wire and stitching. 32
28 Cut some fabric strips, brush them with
Mod Podge Stiffy, and wrap them around the
upper legs and over the back, completely
covering all the bare wires. Finally brush a
thin coat over the entire body. This hardens
the fabric, makes the raven sturdier and
protects from moisture. 33
29 Coat the bare upper legs with Mod Podge
Matte and wrap them with yarn or embroidery
floss. Pin the ends of the yarn out of the way
and snip them off after the glue dries. 34 ➜
www.stitchmag.co.uk 47
Project

35 36 37 38

39 40 41 42

43

The feathers
30 You will need 12 large, 10 medium and 21
small feathers.

TOP TIP! Mix up the fabrics for the

feathers: use prints, batiks or even
vintage wools or linens.

31 To create the fabric sandwich for the

feathers, cut the remaining fat quarters in half.
Spritz some spray adhesive on the reverse of
one half, cover it with a piece of water-soluble
stabiliser, spray again with adhesive, and cover
with the other fabric half, right side up.
32 Trace the feather templates onto your
fabric sandwiches with chalk. 35
33 Machine stitch along the chalk lines. 36
TOP TIP! Have fun embellishing the
feathers with your choice of machine or
hand embroidery stitches or fabric paints.
34 Cut out the feathers close to the stitching
lines and soak them for a few minutes in fabric
stiffener. This will also dissolve the stabiliser
and remove the chalk marks. Spread them on
an old towel to dry, and then iron them flat. 37
TOP TIP! My favourite fabric stiffener
is Mod Podge Stiffy diluted with 25
percent water. If you can’t find it, you
can try other liquid stiffeners, but
experiment with the amount of water to
use. The feathers need to be stiff enough
to hold their shape, but not so hard that
you can’t push a needle through.
THE FINISHING TOUCHES
35 Turn the raven on its back and pin one long
feather on the tail end with about 7cm sticking
out behind the body. Sew in place with a few
stitches. Overlap two more feathers on either
side of it and stitch in place. 38
36 Turn the raven over and sew more long
feathers on the top and sides, overlapping as
you go. 39
37 Place medium feathers on the sides and
back a little higher up the body but still
overlapping the large feathers. 40
38 Add two rows of small feathers, each a
little further up the sides and back. The only
placement rule is that the feathers should
overlap, but otherwise you can arrange them
however you like.
39 Cut the guipure lace into small motifs
and pin them to the upper body and head,
overlapping the feathers and the top of
the beak. When you’re satisfied with the
arrangement, remove one piece of lace at
a time, spread a thin layer of Mod Podge
Matte on the back, and then carefully pin
it back in place. Remove the pins after the
glue dries. 41
TOP TIP! Instead of lace, cover the
upper body with embroidered pieces,
torn fabric bits, paint or beadwork.
The possibilities are as endless as your
imagination!
40 Sew buttons at the eye markings, and watch
your raven’s personality come alive! 42 43 ❤
ABOUT ME
After a long career
designing ballroom
dance costumes in Las
Vegas, Nevada, I am now
happily retired in Reno
and devoting my creative energies to textile
art. My specialty is 3D wildlife sculptures,
especially birds, which I’ve exhibited in
galleries and quilt shows all over the world.
www.wildthingsbylindab.com
WildThingsByLindaB
@lindablust1

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

The Little Mermaid

FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 61

Immerse yourself in this simple underwater delight. Perfectly executed

swirls of back stitch and a sprinkling of French knots breathe life into a
magical fairy tale creature.

BY ELAINE MORK

www.stitchmag.co.uk 51
Project

1 2 3 4

9 10 11 12

“The first books I remember were written by Hans PREPARATION

1 Press the fabric and turn in 1cm on all sides.
Christian Andersen. His tales were a joy to read. So I Machine in place with a zig-zag stitch. Iron the
couldn’t resist doing an embroidery based on The Little lightweight stabiliser onto the reverse. Press well
to make sure it is properly fused in place. 1
Mermaid and celebrating my family’s connections with
Denmark. I loved stitching this piece, so simple but TOP TIP! Don’t skip the stabiliser:
effective with her long flowing locks of hair and swishing the batik fabric needs it to give a bit of
firmness for embroidering. 
tail. I hope you enjoy her too.”
2 Place the fabric right side up on a
moveable flat surface like a cutting mat and
secure with masking tape. Place a piece of
YOU WILL NEED transfer carbon paper face down on top of
MATERIALS the fabric and tape in place. Photocopy the
• Batik fabric, medium/light green: • Sewing machine with zig-zag foot mermaid design template then tape on top
1 fat quarter • Masking tape of the fabric and carbon sheet. 2
• Lightweight iron-on stabiliser: 45 x 45cm • Stylus or blunt ended tool for transferring
• Sewing machine thread: to match fabric the design 3 Use the stylus to transfer the design. Having
• DMC Light Effects: • Embroidery frame taped it to the mat means you can turn it to
- E3849, E316 • Needles: access each area easily. It also protects table
• DMC Coloris: - Embroidery: No9, or tops as you will need quite a lot of pressure to
- 4504 - Chenille: No24 transfer the details effectively.
• DMC stranded cotton: • Scissors
- 948, 950, 3687, 3688, 3808, 3809, • Thimble 4 Remove the design sheet and carbon
3810, 3811 • Thread conditioner paper. Check over and fill in any missed or
• Transfer carbon pattern paper: Burda yellow lightly marked areas with a pencil. Place your
• Tissue paper STITCHES & TECHNIQUES fabric into the embroidery frame and secure.
• Back Stitch, French Knots, Waste Knot Use tissue paper to keep your design clean.
EQUIPMENT
• Iron & ironing board See Stitch Guide for stitch formation details. TOP TIP! Try to keep the batik taut
• Cutting mat in the frame but not so tight that the
• Pencil Stitched area: 18.5 x 19.7cm stabiliser on the back ‘gives in’: be gentle
and don’t overstretch.

52 www.stitchmag.co.uk
 Project

5 6 7 8

TECHNIQU
E 7 Take a length of metallic thread E316, split
A Tidy Start FOCUS
THE IN-LINE WASTE KNOT
As the design involves lines of back stitch,
try the in-line approach to secure your
threads and keep your embroidery tidy.
1 Make a large knot in the end of your
thread.
2 Take the thread through from the right
side of the fabric, but do so on the design
line. This needs to be a small distance
from where you want to start.
3 Now work two or three tiny seed or back
stitches towards your start point to secure
the thread.
4 Start stitching and once you reach the
knot, simply snip it close to the fabric
surface and continue.
GET STITCHING!
5 Thread an embroidery needle with two
strands of the variegated thread Coloris
4504 and work all the design lines of the
mermaid’s hair in back stitch. It’s best to use
a waste knot to start. 3
TOP TIP! Use the needle sizes
indicated; a needle that’s too large will
leave unsightly holes. If you struggle
to thread the embroidery needle, a
Chenille No24 has a bigger eye and
makes a good alternative.
6 Your back stitches need to be small and
evenly sized (1-3mm depending on the
area). Towards the ends of the strands of
hair reduce the stitch length to create a nice
taper. For sharp points on the hair, tuck the
last stitch of the second row into the middle
of the last stitch in the first row. 4
TOP TIP! When starting, a small ruler
to keep your stitches the same length
may prove useful. Once you get into
the rhythm, you’ll be able to judge the
length automatically.
it into two fine strands and run it through
the thread conditioner. This makes it easier
to work with. Work all the tiny wispy hairs
coming off the main strands in back stitch.
Rather than using a waste knot, you can
secure the thread by weaving into the back
of the work already completed. 4
8 Work the mermaid’s face and chest area
in light pink 950 and back stitch. Use one
strand to complete the lips in 3687 and the
eye in 3809. 5
9 Continue with the outline of the tail fin,
working with one strand each of 3808 and
3810 in your needle. 6
10 Work the tail outline from the top left
starting with a few stitches in 3810 before
switching to 3808 to complete the flipper
outline. Travel back up the right side switching
to 3809 then 3810 to match where the scales
will be lighter in colour. 7
11 The scales of the tail are worked from
the bottom up starting with 3808 at the tip,
through 3809 for the majority and finishing
with the last 5 rows in 3810. 8
12 Create the detailing in the flipper with
extra rows of 3810 and 3809. Sit the lightest
shade, 3810 in the middle. 9
13 Create single wrap French Knots to sit
at the join of each scale. Change from dark
pink 3687 to light pink 3688 as you work to
the top of the tail. 10
14 Work back stitch in two strands of 948 for
both shells. 11
15 The water bubble outlines are completed
in 3811. Highlights are added with metallic
thread E3849 as two tiny back stitches in the
left side of each bubble. 12
FINISHING
16 My mermaid is framed and will hang
proudly in my home. However, she would
look wonderful monogrammed on to a
pillowcase or swimming bag! ❤
ABOUT ME
Having always had a
passion for sewing/
embroidery, creating
heirloom garments
and treasured gifts for
family, friends and customers, I decided
it was time to hone my skills and now
study the RSN Certificate Course with
Tracy A Franklin in Durham. I love the
journey stitching has taken me on:
creating, teaching and meeting new
friends. Living in the Lake District with my
Danish husband, three grown-up children
and two dogs means we always have
somewhere new to discover with plenty
of inspiration.
www.etsy.com/uk/shop/
UnicornQuilter
@elainemorkembroidery
Unicorn Quilter

www.stitchmag.co.uk 53
Stitch Guide

Lazy Daisy Stitch

Bring the thread
through and, holding
the thread down
with the thumb, as
shown, insert the
needle again just a
Back Stitch Feather Stitch single thread away. Still holding the thread, bring the
Bring thread through on the stitch Bring the needle out where needle through. Pull the thread through gently to
line and take a small backward you want to start stitching, form a small loop, then insert the needle to form a
stitch through the fabric. Bring hold the thread down small tying stitch over the loop.
the needle through again a little with the left thumb, insert
in front of the first stitch, take the needle to the right on Leaf Stitch
another stitch, inserting the needle at the point the same level and take a Remarkably similar to fishbone
where it first came through. Repeat. small stitch down to the stitch. Worked as a series of
centre, keeping the thread under the point of the overlapping open diagonal
Blanket Stitch needle. Next, insert the needle to the left on the same stitches with stitching lines
Bring the thread out on the lower line, insert the level and take a stitch to centre, keeping the thread crisscrossing over the centre.
needle in position in the upper line and take a under the needle point. Work these two movements Draw two parallel lines down
straight downward stitch, keeping the working thread alternately, as shown. the middle of your leaf. Bring
under the point of the needle. Pull up the stitch to your needle up from the left-hand line and take to
form a loop and repeat. Fishbone Stitch the right side, keeping the thread at a slant. Then
Work a short straight stitch at bring the thread up at the right-hand centre line,
Bullion Knot the centre top of the design below the stitch just made and cross over to the left
Make a back stitch, the length and bring the needle through leaf edge. Can be outlined in stem stitch.
of the bullion knot required. again just to the right of the
Bring the needle out where stitch. Make a sloping stitch, Long & Short Stitch
it first entered the fabric, but inserting the needle just The stitches in the first row
do not bring it out all the way. over the centre line. Bring are alternately long and
Twist the working thread round the needle point, as the needle through at the short and closely follow
many times as is necessary to equal the length of opposite side of the design the shape of the outline.
the back stitch. Holding the left thumb on the coiled and make another sloping stitch to the other side of In the following rows, the
thread, turn the needle back to where it was inserted the centre line, overlapping the previous stitch. The stitches are even in size
(see arrow) and insert it in the same place. Pull the stitches can be worked close together over a shape and worked to achieve a
thread through until the bullion knot lies flat. or more openly as the Leaf Stitch. smooth appearance. The
diagram shows how to
Burden Stitch Fly Stitch achieve a shaded effect.
A filling stitch that starts with Can be worked singly, To give a good edge, stem,
a series of horizontal single in rows or as a filling back or chain stitch can be
stitched lines over the area to stitch. Bring the thread worked around the outline;
be filled; lock the last stitch on through at the top left, stitches should be taken
the reverse. Next stitch a series hold it down with the over the stitched outline,
of vertical straight stitches to left thumb and insert as shown.
anchor each row down. The vertical stitch length the needle to the right on the same level, a little
should lie over a horizontal row, spanning the gap distance from where the thread first emerged. Take a Plunging Threads
between the previous and the next horizontal lines. small stitch downwards to the centre with the thread This is used to take
Space these stitches across each row depending on below the needle. Pull through and insert the needle the ends of threads
the effect desired: denser stitching gives a woven below the thread, as shown, to hold it in place, to the reverse of
look. In subsequent rows the vertical stitches should bringing the needle up again in position to work the the fabric.
sit in between the stitches of the previous row. Keep next stitch. Place the stitches closer together with a 1 Thread a large
adding these vertical couching stitches until all short tying stitch for a closed fly stitch filling. needle with a loop
horizontal lines are covered and the area is filled. of sewing thread.
French Knot Take the needle through the fabric, leaving the loop
Buttonhole Stitch Bring the thread out at of thread on the surface.
Bring the thread out on the lower line, insert the the required position. 2 Place the loose end of the other thread through the
needle in position in the upper line and take a Keep the thread taut, loop (if couching two strands, take them to the back
straight downward stitch, keeping the working thread holding it firmly about one at a time) and then pull the loop to bring the end
under the point of the needle. Pull the stitch up to 4cms from where it of the thread to the wrong side.
form a loop, and repeat. emerges. Encircle the 3 To hold the ends in place, use sewing cotton in a fine
thread twice with the needle to over-sew the end in place on the reverse.
Chain Stitch needle and, still holding the thread firmly, twist the
Bring the thread up at the top of the line and hold it needle back to the starting point, inserting it close Quaker Stitch
down with the left thumb. Insert the needle where to where the thread first emerged (not in the exact A split stem stitch that creates a raised line of
it last emerged and bring the point out a short place or it will simply pull back through). Pull the taut stitching. Form a small straight stitch. Bring your
distance away. Pull the thread through, keeping the thread so that the knot slides down the needle until it needle back up at your starting point. Make a full-
working thread under the point of the needle. Repeat is touching the fabric. Pull the needle through to the length stitch, leaving a loop to one side. Now bring
following the design line. back, leaving a small knot on the surface, as shown. your needle up to split the first stitch. Tighten the
loop to create the braided effect. Continue splitting
Couching Herringbone previous stitches in this way, making sure your thread
Lay down the cord or braid Stitch always emerges to the left as with stem stitch.
to be couched and with Bring the
another thread catch it needle out at Raised Stem Stitch
down with small, evenly A on the lower A textured stitch often used
spaced, stitches worked at right angles over the top. If line at the left in crewelwork. Start by
working multiple rows, stagger the couched stitches side and insert creating a series of straight
so they sit in a brickwork pattern. on the upper line a little to the right at B, taking a stitch bars around 4mm
small stitch to the left to C. Next insert the needle on apart to fill the stitching area.
Cretan Stitch the lower line a little to the right at D and take a small Have your stitches sit just
Bring the needle through to stitch to the left (E). Repeat as shown, making sure outside the design lines to
the right of the centre, then, that the stitches are of equal size and evenly spaced. make sure they are covered
with the needle pointing by subsequent stitches.
inwards, insert the needle onto the design line at the Laid Stitch These ‘ladder rungs’ are the
left, bringing it out once more to the left of centre, Long stitches are laid over the surface of the fabric foundation around which the
keeping the thread under the point of the needle, with short stitches on the reverse; so you bring your stem stitches will be formed.
as shown. Insert the needle on the design line at needle back up next to the stitch just formed. It Take your thread over the first rung, then thread
the right, bringing it up again just to the right of the makes for an economical use of thread and creates back under (using the eye of the needle first to stop
centre. Continue until the area is filled; stitches can great shading effects. Decorative stitching can be unwanted catching). Continue wrapping stitches
be spaced or tightly packed. worked over its flat surface. with your thread emerging from the left side of each

54 www.stitchmag.co.uk
 Templates

previous stitch until your row is complete, then

secure. Start a new row – always from the same end.
Keep your tension consistent, neither too loose, nor
too tight. Pack the design shape with stitching until
no fabric is visible underneath.

Running Stitch
Templates
Pass the needle in and out All the templates, guides and patterns
of the fabric, making the you will need to complete this
surface stitches of equal
issue’s projects. Please note
length. The stitches on the
underside should also be the scale before starting.
of equal length, but half
the size or less than the
upper stitches.

Satin stitch
Work straight stitches
so they lie side-by-side.
The number of strands of
thread used for stitching
will vary depending on the
effect desired.

Seeding
This is a small filling
stitch made up of small
straight stitches placed
at random over the
surface.

Split Stitch
Following the line to be
covered, take a small
back stitch so the needle
comes up through the
working thread.

Stab Stitch
This is a very small tack stitch used to hold fabric
layers together without visible or distorting lines of
stitching on the fabric surface.

Stem Stitch
Work from left to right,
taking regular small
stitches along the line of
the design. The thread
always emerges on the left
side of the previous stitch.
This stitch is used for flower stems, outlines, etc. It
can also be worked as a filling stitch if worked closely
together within a shape until it is completely filled.

Straight Stitch
Single, spaced stitches sometimes of varying size.
The stitches should lie flat on the surface and not be
loose or pulled too tight.

Trellis Stitch
Work long, evenly
spaced stitches
diagonally over the
area to be filled.
Work long, evenly
spaced stitches at
right angles over the
first layer of stitches
to create a grid. Now
secure the grid by
working small upright stitches over the intersections
where the lattice stitches cross.

Waste Knot
Make a knot in the end of the
thread. Take the needle through
from the right side of the fabric,
Checkmate!
about 5cm from where you
want to begin stitching. Bring
Page 25
the needle back through to the
surface at the point where you
want to start stitching. Once
you’ve worked 3-4 stitches, snip
Scale:
off the knot and darn the end
into stitching on the back of the 100%
work. Snip off excess.

www.stitchmag.co.uk 55
 Layer 3
Felt patterns
Templates
Cut onepatterns
of each Layer 3
Felt
Cut one of each
Layer 3
Felt patterns Circle 2
Cut one of each Circle 2

Circle 2
Circle 3
Circle 3

Circle 3 Circle 1
Circle 1 Layer 2
Layer 2
Circle5 Circle 4 Circle 1
Circle5 Circle 4 Layer 2

Leather pattern
Circle5 Circle 4
Leather pattern

Leather pattern

Layer 1
Layer 1

Layer 1

Winter Mandala
Page 7

Scale:
100%

56 www.stitchmag.co.uk
 Templates

Call Of The Wild

Page 13
967
Scale:
965
100%
962

961

568

COLOUR CHART STITCH DIRECTION GUIDE

www.stitchmag.co.uk 57
58
Templates

Placement of
head gusset

Scale:
70%
Page 44

www.stitchmag.co.uk
Black Magic Body
Side Body
(cut 2 back to back)
Includes 1cm seam allowance

Front

Leave open
cen
wa

Underbody gusset
t 1) et
allo

u
ad

(cut 2 back to back)

m

.5c

(c guss
12
sea

He

Includes 1cm seam allowance

1cm
es
lud
Inc

Back
38cm
 Templates

12.5cm

End
Black Magic Feathers Small feather

Page 44

Scale: 17.5cm

End
70% Medium feather

23.75cm

End
Large feather

Let It Snow!
Page 39

Scale:
100%

TEMPLATE A

TEMPLATE B TEMPLATE C

www.stitchmag.co.uk 59
Templates

Robin:
Double fold & hem

Brown

Mark corners

Outer bag template

11cm

Front & back

(finish design before cutting)

Cream/grey

Red

9cm

You Need Hands Brown

Page 19

Place to fold
Scale:
100%

Dandelion:
White
10cm

Inner bag template Yellow

Green
Place to fold

8cm

60 www.stitchmag.co.uk
 Templates

The Little Mermaid

Page 51

Scale:
100%

www.stitchmag.co.uk 61
Your next issue...
STITCH: MAKING BEAUTIFUL EMBROIDERY EASY
THE JOY
OF COLOUR

STEP INTO SPRING!

An exquisite pocketed sewing book with space to organise
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A WOODLAND WALK
Free machining on water
soluble stabiliser? Let Hellen
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LIFE IN THE SLOW LANE
Take it easy with beautiful stitching and
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MAD MARCH HARES
Make time for tea with a mug rug using
traditional kantha techniques from
Angela Daymond.
PLUS!
✶ Rejuvenate: a scrap-busting daffodil
design inspired by the Bacton Altar
Cloth.
✶ Celebrate: Kelly Fletcher captures
the circle of life with an exciting
variety of surface stitches.
✶ Escape: let go of your worries with
a cafe scene from Charles Henry &
Elin Petronella.
✶ Astonishing talent: Open your eyes
to the artistry of Pippa Haynes and
Kenris MacLoed.

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

62 www.stitchmag.co.uk
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