O YFUL

J
stitching
Laura Wasilowski

TRANSFORM FABRIC
with Improvisational Embroidery
 JOYFUL
stitching
TRANSFORM FABRIC
with Improvisational Embroidery

Laura Wasilowski
Text copyright © 2018 by Laura Wasilowski
Photography and artwork copyright © 2018 by
C&T Publishing, Inc.

Publisher: Amy Marson

Dedication
Creative Director: Gailen Runge To my grandchildren,
Editor: Lynn Koolish
Technical Editor: Debbie Rodgers who are always happily in my thoughts while I happily stitch
Cover/Book Designer: April Mostek
Production Coordinator: Tim Manibusan
Production Editor: Alice Mace Nakanishi Acknowledgments
Illustrator: Linda Johnson
Thank you to my mother, Penelope, my first embroidery teacher.
Photo Assistant: Mai Yong Vang
Hand Model: Kristi VIsser And to the crew at C&T Publishing, who always make me look good.
Photography by Diane Pedersen of C&T Publishing, Inc.,
unless otherwise noted

Published by C&T Publishing, Inc., P.O. Box 1456,

Lafayette, CA 94549
All rights reserved. No part of this work covered by the
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and retrieval systems—without written permission from
the publisher. The copyrights on individual artworks
are retained by the artists as noted in Joyful Stitching.
These designs may be used to make items for personal
use only and may not be used for the purpose of personal
profit. Items created to benefit nonprofit groups, or that
will be publicly displayed, must be conspicuously labeled
with the following credit: “Designs copyright © 2018 by
Laura Wasilowski from the book Joyful Stitching from
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Library of Congress Cataloging-in-Publication Data

Names: Wasilowski, Laura, 1952- author.
Title: Joyful stitching : transform fabric with
improvisational embroidery / Laura Wasilowski.
Description: Lafayette, CA : C&T Publishing, Inc., 2018.
Identifiers: LCCN 2017023202 | ISBN 9781617455674
(soft cover)
Subjects: LCSH: Embroidery--Patterns.
Classification: LCC TT771 .W33 2018 | DDC 746.44--dc23
LC record available at https://lccn.loc.gov/2017023202

10 9 8 7 6 5 4 3 2 1
CONTENTS
Introduction: Free-Form Embroidery 4

Materials and Tools for Stitching 5 PROJECTS

Fabrics: Wool • Felt • Silk
Threads • Embroidery tools • Needles • Other tools 28 32

Transferring Designs for Embroidery 9

Transfer Methods: Wool • Felt • Silk

Embroidery Stitch Directions 13

Lazy Daisy or
Backstitch 13 Detached Chain Stitch 21 A Tasty Bite of Apple A Rare Songbird

37 41

Blanket Stitch 14 Long-and-Short Stitch 22

Bullion Knot 15 Needle Weaving 23

Chain Stitch 16 Pistil Stitch 24

Love at First Stitch Folk Art Garden

45 48
Couching 17 Running Stitch 25

Cross-Stitch 17 Satin Stitch 25

Ermine Stitch 18 Scattered Seed Stitch 26

Hand of Fortune Yellow House Landscape

Fern Stitch 18 Sheaf Stitch 26

Fly Stitch 19 Stem Stitch 27 More Ideas for Free-Form Embroidery 53

Display Options 57
French Knots 20 Straight Stitch 27
Patterns 59

Herringbone Stitch 20 About the Author 63

 INTRODUCTION: FREE-FORM EMBROIDERY

Hand embroidery may seem like a quiet pastime for quiet people in a notion of the hand-made along with
quiet room. But we all know there is a secret, creative power lurking in the heady thrill of improvisation.
each stitch. Hand stitchery transforms fabric from a flat, plain surface
In this book, I share with you
into a world packed with color and texture and joyful pattern. In short,
the joys of free-form embroidery.
hand embroidery brings fabric to life.
There are six projects that begin
with simple shapes destined for
embellishment with a riot of thread.
You’ll learn about the materials
and tools (page 5) needed to make
these designs and about trans-
ferring designs for embroidery
(page 9). You can review step-by-
step embroidery stitch directions
(page 13) as needed. And there are
more ideas for free-form embroidery
(page 53) to inspire you as well.

Free-form embroidery is not

about being precise or meticulous.
You have permission to be loose,
relaxed, and cozy when stitching.
Change the designs, use different
colors, try new stitch combina-
tions. Free-form embroideries
are made just for the pleasure of
stitching and the enjoyment of
placing colorful thread on fabric.

I hope this book challenges you to

invent new ways to mark fabric with
stitches. I hope you discover the
thrill of liberated stitching. And I
hope you find this intimate art form
a creative way to express yourself.
A Rare Songbird by Laura Wasilowski,
7˝ × 9˝ (project instructions, page 32) So you see, I have high hopes for
you in this joyful adventure.
It is this transformation of fabric by stitch that makes free-form embroi-
And here is the best news: You can
dery my passion. Yes, it is an art form that is compact, portable, uses few
always remove stitches if they aren’t
tools, and is meditative, but it is also a delightful challenge for an artist.
placed where you want them.
Like any art form, you are constantly making decisions about color, line,
pattern, and texture. Free-form embroidery pairs the warm, friendly, Your friend, Laura

4 Joyful Stitching
MATERIALS AND TOOLS FOR STITCHING

Fabrics
Cotton and linen fabrics have long been the go-to fibers for hand
embroidery on tea towels, hankies, and that cross-stitch sampler for a
An Easy Way to Make Wool Felt
friend. The projects in this book can be made on those fabrics. But why
not explore some new fibers? Fabrics such as boiled wool, silk, and felt When starting with a woven or knit
make an attractive base for free-form hand embroidery. Selecting an fabric, the process of shrinking it to
unexpected background fabric elevates the work from that practical tea compact the fibers and “felt” them is
towel look to an art form. called fulling. Make sure you use a woven
or knit fabric made of 100% sheep’s wool.
WOOL
1. Place the fabric in your washing
The best wool fabric for hand embroidery is made of 100% sheep’s wool
machine, fill with very hot water, and
with a woven or knit structure that has been felted. The process of felt-
add mild laundry detergent.
ing condenses the fibers to make a thicker fabric that is easy to grip and
feels substantial in your hands. The 2. Wash the fabric with the agitator on
needle and thread glide effortlessly the fastest setting.
through this bulkier fabric and the 3. Use a cold-water rinse in the machine.
knots are hidden. My favorite ver-
4. Air-dry the fabric or place it in a dryer
sion is boiled wool commonly found
to compact it even more.
in heavy jackets and coats. Nearly
1/4˝ thick, the needle travels through
the fabric layer rather than to the FELT
back of the fabric at every stitch.
Felt is a nonwoven fabric. The most
Do a few test stitches on your wool fabric before committing to a project. suitable for stitching is made with a
If wool is not felted enough, it feels thin and floppy and will be hard to high percentage of wool combined
handle. Beware of wool that is too tightly felted and compressed, making with some synthetic fibers. This flat,
hand stitching difficult. Occasionally wool fabrics are fuzzy, and their nonreflective fabric comes in a wide
short, wispy wool fibers tangle in the thread and interrupt stitching. Try variety of solid colors and is available
pressing this fuzzy wool with a steam iron to flatten the fabric and make at your local craft shop or online.
it easier to stitch.
Felt has a cozy, folk-art look. It does
Find wool at your local fabric store, online sources, and resale shops for not fray when cut and shapes may be
used clothing. Or how about that old winter coat hiding in your closet— stacked to make compositions. It is
time to dismantle it and turn it into a work of art! easy to stitch through several layers
of felt using larger threads.

Materials and Tools for Stitching 5

 Some felt fabrics may pill or
frizz with too much handling,
so treat them gently. Felt that is
very densely compressed may be
difficult to stitch. Test the felt for
your project before stitching.
SILK
Silk provides a lightweight canvas for stitchery and comes in a wide
variety of colors, weaves, and weights. The recommended weight or
momme (unit of measurement for
silk, abbreviated “mm”) of silk for
these projects is at least a 12 mm
or 14 mm with satin or jacquard
weaves.

My preferred silk is a 14 mm

charmeuse that is finely woven
and has a luster or glowing texture, unlike wool or felt which looks matte.
Fusing the silk to wool batting (see Silk Transfer Method, page 11) adds
body to the fabric, making it easier to handle and providing a convenient
hiding spot for knots.

Find silk in the fashion section of your fabric store, online shops, and
through hand-dyers such as me (artfabrik.com). Also, check out resale
shops for silk garments that you can recycle into art.

Threads
While a variety of embroidery
threads are available, for this book
we are keeping it simple and using
my favorite thread for stitching—
perle cotton. It is easy to manage
and has a high twist making it a
sturdy thread with a slight sheen
that catches the eye. Perle cotton
also elevates off the surface of
fabric giving your embroidery
dimension and texture.
The perle cotton threads used in
this book come in several useful
sizes: 3, 5, 8, and 12, with the
thickest thread being a #3 and the
finest thread being a #12. They are
available in balls or skeins and in
solid or variegated color schemes.
Your local needlework shop, fabric
shop, and online shops such as my
own (artfabrik.com) carry perle
cotton threads. Note that thread
sizes may vary slightly according
to brand.
I have a fondness for variegated
perle cotton threads—the color
winks in and out adding interest
to hand embroidery. Many of the
variegated threads used in these
projects are my own hand-dyed
threads that contain close color
changes. These shifts in color
or value along the length of the
thread create lively stitchery.

12

6 Joyful Stitching
Tips: Using Perle Cotton

• A length of 18˝ or less is good for
stitching. If the thread is too long, it
tangles and may fray from the fric−
• To end a thread, run the needle
tion of being pulled through fabric.
• Use the thread as a single with one
end of the thread knotted.
• Match your needle size with your
thread size. Use the Needle and
Thread Sizes chart (page 8).
• Twist your needle slightly after
every stitch to keep the thread from
twisting back on itself. Or dangle
the threaded needle to let it unwind
if the thread gets twisted.
through a few adjacent stitches
on the back of the work and snip
the thread. Or end the thread by
making a few shallow backstitches
into the back of the embroidery.
(Don’t let the thread appear on the
top of the piece.) Slide the needle
and thread through the batting or
back layer of the fabric for 3/4˝ and
snip the thread.

How to Store Thread Skeins

1. Use a metal binder ring about
2˝ in diameter or a smooth
bracelet.
2. Open the skein and place one
end loop into the center of the
metal ring.
4. Cut the thread skein in half at
the far loop.
5. To remove a single thread for
stitching, gently pull a strand
from the center of the skein where
it wraps around the ring. Pull the
thread slowly and it won’t tangle.

3. Put the other thread loop on

the other side of the ring and pull
that loop through the first thread
loop to secure it around the ring.

Embroidery Tools
It takes very few tools to create beautiful hand embroidery. You’ll need
scissors that are short and sharp, a pincushion for needles and straight
pins, and a thimble. A thimble will protect your finger for more stitching
time. A thread conditioner, such as Thread Heaven or Thread Magic
(taylorseville.com), is helpful (see Conditioning Threads, page 8). And
don’t forget good lighting and a sturdy needle threader to alleviate
frustration.

Materials and Tools for Stitching 7

 Assemble your tools at your work- tip, opt for a better brand from For more informa-
station or make a portable sewing your supplier. I like needles tion on needle
kit for travel. With my trusty travel- from Colonial Needle Company uses, types, and
ing etui (little traveling sewing kit), (colonialneedle.com). Needles sizes, see my Sew-
I can stitch on airplanes, while wait- are your primary tool. It is worth ing Needle Pocket
ing for an appointment, or in a car investing in the best. Guide for Hand
(provided someone else is driving). Stitching (from
C&T Publishing).
Tip: Conditioning Threads Needle and
Thread Sizes
Thread condi­tioner is applied to
threads before stitching. It is not Other Tools
Perle cotton
a wax but a coating that helps Embroidery Embroidery hoops are not
embroidery
needle
thread glide more easily through thread necessary for free-form embroidery.
the fabric. It adds to the longevity … use a #5 or But other items needed to create
For #12 thread …
of the thread and keeps it from #7 needle. your projects include:
tangling and knotting.
For #8 thread …
… use a #3 or
#4 needle.
• Tracing paper
To use thread conditioner, draw
the thread through the conditioner … use a #1 or • Black marker (such as a Sharpie
For #5 thread …
once or twice before threading the #3 needle. Extra Fine Point Permanent
needle. … use a Marker)
For #3 thread …
#1 needle.
• Straight pins
Needles
Matching the size of your embroi-
• Pinking shears or rotary cutter
Embroidery or crewel needles
pinking blade for trimming edges
have a long eye, a long tapered dery thread with the correct size
on felt projects
sharp point, and work on all of embroidery needle makes for
types of fabric. The projects in happier stitching. Thread should Also for the silk designs:
the book require embroidery glide easily through the hole made • Parchment paper (baking paper)
needles in sizes 1, 3, 4, 5, and by the needle in fabric. If there or Silicone Release Paper (by
a size 7, which is optional. The is a large gaping hole around the C&T Publishing)
higher the number, the finer thread, then the needle is too large.
the needle. If it is difficult to draw the thread • Lightweight fusible web (such as
through the fabric, then the needle Mistyfuse)
Please note that embroidery
needles are not all created equal.
is too small. • Iron
You may notice that a #3 in one Use the Needle and Thread Sizes • Pencil with eraser
brand may feel slightly thicker chart (above) and test the needle
with the thread before beginning
• Fine-tip .03 or .05 micro pens in
than a #3 in another brand.
various colors
Also, check for needle quality. your project. Note that some perle
If a needle feels rough and has cotton threads may be used in two • Lightbox or window
burrs on the needle shaft or different-size needles.

8 Joyful Stitching
TRANSFERRING DESIGNS FOR EMBROIDERY

You don’t need a pattern to create

stitched imagery, but it sure comes in
handy! Even in free-form embroidery a
drawing or pattern helps determine the
size of the design. It tells you where to
place the elements in the design and
how the shapes relate to each other.
The pattern drawings for the projects
(Patterns, page 59) are very simple,
cartoonlike shapes that lend them-
selves to free-form stitchery. The
Design Your Own
Would you like to design your own patterns for free-form embroidery? Here
are a few tips:
• Make a sketch of your design adding all the details you like.
• Make another sketch and simplify the drawing so that it has distinct shapes.
These shapes are the boundaries or structure of your design. They tell you
the placement and size of the basic design elements.
• Remove any finicky details on your second sketch. Designs with large open

method of transferring these pattern shapes lend themselves to fun stitch combi­

shapes to fabric (wool, felt, or silk) nations and improvisational stitching.

depends on the fabric you are using. • Use this second sketch and follow the direc-

Think of these simple patterns as a tions for transferring the pattern shapes to

giant playground with fences. You your specific fabric.

can play with your stitches anyway • Refer to your initial sketch when adding fine
you like once you’ve set up a few lines and stitch details to your embroidery.
boundaries. Here’s how to set up
your stitch playground.

Wool Transfer Method

1. Select one of the wool patterns, such as A Tasty Bit
of Apple (page 59) or A Rare Songbird (page 59), or
use your own design. Trace the pattern as is (do not
separate the shapes) onto tracing paper using a black
marker.
2. Position the tracing paper on the wool and pin it
in place with straight pins. Choose a thread, such as
perle cotton #8 or #5, in a color contrasting to the
background fabric that won’t be used later to stitch
the outline of the shapes. Follow the black marker
lines and stitch an outline of the design on the wool
using running stitches (page 25).

Transferring Designs for Embroidery 9


Felt Transfer Method
1. Select from one of the felt
patterns, such as Love at First
Stitch (pages 59 and 60) or Folk
Art Garden (page 61), or use your
own design. Trace the individual
pattern shapes onto tracing paper
using a black marker.
2. Pin each pattern shape to the
felt color for that piece. Cut out the
felt shape following the black line.
For multiples of the same shape,
use a previously cut felt shape as
a template for the next shape.
10 Joyful Stitching
3. To remove the paper after the outline of the design is stitched, use the
tip of a pin to score the paper next to the stitches. Gently rip away the
paper. Try not to pull the stitches and distort the design. These running
stitches that define the edges of the design will be removed after outlining
the shapes and filling them in with exuberant embroidery stitches.
3. Arrange all the felt shapes 5. Tack fabric shapes onto the back-
on the background fabric. This ground fabric using a large cross-
prearranging of shapes assures stitch (page 17) or running stitches
that you have enough space for (page 25). These stitches anchor
each element before stitching. An the shapes into place for decorative
example of a design with multiple stitching and will be removed later
shapes is Folk Art Garden. after the fabric shape is sewn into
place. Remove the pins.
4. Remove any smaller felt shapes
or those stacked on larger back-
ground pieces of felt. (Smaller
pieces and top layers of felt are
added later after the larger back-
ground shapes are stitched down.)
Pin the larger felt shapes onto the
background fabric.
Silk Transfer Method

1. Select one of the silk patterns,
such as Hand of Fortune (page 61)
or Yellow House Landscape
(page 62), or use your own design.
Lightly trace the dashed outline of
the pattern onto tracing paper with
a pencil. (This dashed line does not
get transferred to the silk—it is used
to align or position the tracing onto
the silk.) Trace the interior lines of
the design onto the tracing paper
using a black marker.
3. Cut lightweight fusible web,
such as Mistyfuse, the size of
the silk fabric. Place the fusible
web onto the wrong side of the
silk. Cover the web with a large
piece of parchment paper or
Silicone Release Paper. Follow the
manufacturer’s instructions and
glide the iron across the paper to
fuse the web to the silk. Leave the
parchment paper on the silk.
4. Test different colors of .03 or
.05 micro pens in the 1˝ margin of
silk around the outside edges of
the design. Find a color that is not
too intense yet visible. If you are
using a gradated fabric as in the
example, the pen color must show
up on all the colors.

2. Cut the silk fabric to measure

1˝ larger than each edge of your
embroidery design. (This measure-
ment is 1˝ outside of each dashed
line on the pattern.) The silk fabric
must measure 1˝ larger on each
edge of the design so the fabric
edges can be folded to the back
when finishing (page 47).

Transferring Designs for Embroidery 11


6. Cut wool batting to measure 1˝ smaller than the
silk on each edge—the size of the original design.
Remove the parchment paper from the silk and
center the batting onto the fused side of the silk.
12 Joyful Stitching
5. Place the paper tracing on a lightbox or tape it to
a window. Center the silk on the tracing; tape it into
place if necessary. About 1˝ of fabric should extend
beyond the dashed pencil lines of the tracing on each
fabric edge. Trace only the interior pattern shapes
with a .03 or .05 micro pen onto the silk. Keep these
items in mind:
• Keep the parchment paper on the back of the silk to
give it stability when drawing.
• Each line you draw must be covered up by a stitch to
conceal the drawn line.
• Do not draw the dashed pencil line around the design.
• Glide the micro pen lightly across the surface of the
silk. Do not hold it into place for too long or the ink
will wick. Practice drawing on the exterior margins
of the silk to get the pen pressure right.
7. Flip the fabric and batting over and place them on
a piece of parchment paper that is larger than the silk.
Place another piece of parchment paper on top of the
silk. Follow the manufacturer’s instructions and glide
the iron across the paper to fuse the silk to the batting.
EMBROIDERY STITCH DIRECTIONS

In free-form embroidery, the stitch acts like a pen mark on fabric. Stitches make linear marks, open loops,
hits of concentrate color, or conceal the fabric completely. Used alone, stitches may outline shapes, fill
in shapes, construct repeat patterns, or build texture. When combined, embroidery stitches create lively
motifs, dense texture, or recognizable shapes such as trees, leaves, or flowers.

Backstitch

A B A B C

1. Come up at A. Insert 2. Come up at C about 1/4˝

the needle into the fabric to the right of B. Insert
at B about 1/4˝ to the right the needle vertically at B.
of A. Draw the thread Draw the thread through
through the fabric. the fabric.

B C

The backstitch makes a dashed line on fabric. Vary the length of

3. What was point C now
the stitch to outline shapes or stack rows of the stitch to make a becomes B. Repeat Step 2.
bricklike texture.

Embroidery Stitch Directions 13

 Blanket Stitch

C B
B
A
A
B C B

A A

1. Come up at A. (Point A 2. Skim the needle under

The blanket stitch creates spiky lines or adds a decorative trim to
fabric shapes.
is on the background
fabric if stitching a fabric
shape on top.) Insert the
needle tip about 1/4˝ to the
right of A and up about
1/4˝ at B. (Point B is on
the fabric shape if using
2 fabrics.)
the fabric and bring the
needle tip up at C about
1/4˝ up from A and 1/4˝ to
the left of B. (Point C is
on the background fabric
if using 2 fabrics.) Trap
the thread coming out
of A under the needle
tip. Draw the needle and
thread to the left through
the fabric.

Tip: Turning the Corner with the Blanket Stitch

C
Stitch up the edge of the shape and place the last blanket stitch at a 45° angle to the
A corner. This stitch goes into the tip of the last blanket stitch inside the shape.
B

C B
A

3. What was point C now

becomes A. Repeat.

Before continuing down
the next side, insert the
needle tip on the other side
of the thread at the corner
of the shape. Draw the
thread through the fabric.
Bring the needle up just
next to where you exited
the fabric at the corner.
For the first stitch down
the next edge, insert the
needle tip into the same
hole where the last 2 corner
stitches went into the shape.
Continue the blanket stitch
around the shape.

14 Joyful Stitching
Bullion Knot
The bullion knot makes a bold and bulky hit of color on fabric.
This coil of thread rises off the surface and is useful for flowers,
bird crests, and decorative texture.
3. Grip the fabric with
your left hand and hold
the wraps under your left
thumb. Use your right
hand to pull the needle
and thread all the way
through the wraps.
4. Hold the thread tautly
with your right hand.
Remove your left thumb
and tilt the bullion wraps
to be near the fabric at
point A.
1. Come up at A. Insert 2. Wrap the thread
the needle tip about 1/4˝ around the needle about
down from A at point B. 10–12 times. Hold the
Skim the needle under wrappings in place with
the fabric and bring your right index finger
the needle tip up at A. placed under the needle.
Extend the needle about Do not pull the thread too
3/4˝–1˝ out of the fabric. tightly on the needle.
5. Pull the needle and 6. Insert the needle at B
thread toward B. Place and draw the thread to
your left thumbnail on the back of the fabric. Tie
the bottom end of the off the thread to keep the
wraps near B and tighten bullion knot secure.
them up to B by pulling
the remaining thread
through the wraps.
Embroidery Stitch Directions 15
 Chain Stitch
The chain stitch makes a bold line on fabric. Use it to outline
shapes, draw bulky lines, or make solid shapes by packing rows
of the stitch closely together.
3. Draw the needle and
thread through the fabric
creating an evenly shaped
loop.
16 Joyful Stitching
C (new)
C D
4. Insert the needle tip at
D right next to C inside
the thread loop. Bring
the needle tip up at a new
point C, 1/4˝ up from D.
Trap the thread coming
out of old point C under
the needle. Draw the
thread through the fabric.
A B C
B
A
1. Come up at A. Insert 2. Trap the thread com-
the needle tip right next ing out of A under the
to A at B. Bring the needle tip.
needle tip up at C, 1/4˝
up from B.
C E
5. Repeat Step 4. To end
the chain, insert the
needle on the other side
of the thread loop from
C at point E. Draw the
thread through the fabric.
Couching
In couching, thick threads are secured to fabric with a smaller, easier to handle thread. Couching makes distinct bold lines, shapes, and
heavy-duty texture on fabric.
B A
1. With a thick thread
(such as a #3), come up at
A. With a lighter-weight
thread (such as an #8 or
#12), come up at B about
1/4˝ from A.
Cross-Stitch
Spaced evenly, the cross-stitch
creates a pattern of X’s across
the fabric. Randomly scatter
cross-stitches to build texture.
Or join the stitches to make
bold bands of color.
B C
2. Place the big needle
into the fabric to hold it
out of the way. Bring the
small needle over the
thick thread and insert
the needle back into B.
Draw the thread through
the fabric.
A A
B
1. Come up at A. Insert
the needle at B about 1/4˝
down and 1/4˝ to the right
of A. Draw the thread
through the fabric.
B
3. Bring the small needle
up at C about 1/4˝ from B
and over the thick thread.
Insert the needle back
into C. Draw the thread
through the fabric.
A
C
2. Bring the thread up at
C about 1/4˝ up from B and
1/4˝ to the right of A.
4. Continue to couch
down the thicker thread.
To end the stitching,
bring both threads to the
back of the fabric and tie
them off.
C
D B
3. Cross over the
AB stitch and insert the
needle at D about 1/4˝
down from A and 1/4˝ to
the left of B. Draw the
thread through the fabric
to make an X.
Embroidery Stitch Directions 17
 Ermine Stitch

The ermine stitch is a concentration of straight stitches that crisscross. The volume of thread makes a star shape adding sparkly texture
to fabric.

A
A C
C D A
B E
B C
D
E
A
C B F
D B

1. Come up at A. Insert
the needle tip at B about
1/4˝ down from A. Bring
the needle up at C about
1/8˝ down and 1/8˝ to the
right of A. Draw the
thread through the fabric.
2. Insert the needle tip at
D about 1/8˝ to the left and
1/8˝ up from B.
3. Bring the needle up at
E about 1/8˝ above D and
1/8˝ to the left of A. Draw
the thread through the
fabric.
4. Insert the needle at F
directly below C and even
with D. Draw the thread
through the fabric.

Fern Stitch

A
A

C
B
B

1. Come up at A where 2. Come up at C about

you want the top of the 1/4˝ to the right of B and
stitch line to begin. Insert midway up between the
the needle at B about 1/4˝ AB line. Draw the thread
This adaptation of the fern stitch makes spiny lines and textures.
Stitches are worked from the top down to create plant shapes like
down from A. Draw the through the fabric.
tree branches, vines, or leaves. thread through the fabric.

18 Joyful Stitching
 A
C A
C
D New
B D
B A

3. Insert the needle tip at D about 4. Trap the CD thread loop under 5. What was point B now becomes
1/4˝ to the left of A and midway up the needle at B. Draw the thread A. Repeat.
between the AB line. Bring the through the fabric.
needle tip up at point B.

Fly Stitch

The fly stitch is an open V-shaped stitch that builds pattern on fabric. Use them to construct tree branches or scatter them to make birds
in flight.

A A B
B
C
D

A
B
D
C

1. Come up at A. Insert
the needle tip at B about
1/4˝ to the right of A.
2. Bring the needle tip up
about 1/4˝ down and mid-
way between A and B at
point C. Trap the thread
coming out of A under the
needle tip at C. Draw the
thread through the fabric.
3. Insert the needle at
point D, just on the other
side of the thread loop
from C. Draw the thread
through the fabric to
make a V-shaped stitch.
4. Vary this stitch by
inserting the needle at a
point D 1/8˝–1/4˝ beyond
point C to make a Y-
shaped stitch.

Embroidery Stitch Directions 19

 French Knots

1. With the thread on top of the

fabric, grasp the thread with your
left thumb and forefinger. Hold the
needle parallel to the fabric. Wind
The French knot sits on the surface of fabric like a bead. It adds a concentrated dot of color, the thread clockwise around the
builds texture, and enhances other stitches. needle 3 times.

2. Hold the wound thread in place
on the needle with your right index
finger. Pull the thread slightly
with your left hand to tighten it up.
(Don’t pull the thread too tightly.)
3. Scoot the needle tip just next to 4. Slowly draw the thread through
where the thread initially emerged to the back of the fabric. Place your
from the fabric. Insert the needle left thumb on the threads near the
halfway into the fabric. Continue to knot to keep them from tangling.
hold the thread in your left hand.
Move your right hand to the back
of the fabric and pop the needle
through the fabric.

Herringbone Stitch
A

1. Come up at A. Insert the needle

The herringbone stitch looks like stretched out X’s joined together to make a wide textural
tip at B about 1/2˝ down and 1/2˝ to
line. Vary the width or length of the stitch to make shapes or combine it with other stitches
to build pattern. the right of A.

20 Joyful Stitching

A
C
B
2. Take a short 1/8˝ stitch up from
B to point C. Keep the thread
coming out of A below B. Draw
the thread through the fabric.
Cross the thread over the AB line.
Lazy Daisy or Detached Chain Stitch
The lazy daisy or detached chain stitch leaves a small peak of fabric showing inside its loop. A versatile stitch, it creates shapes like flowers
and trees or builds texture with soft edges.
C
B
A
1. Come up at A. Insert
the needle tip right
next to A at B. Bring
the needle tip up 1/4˝
up from B at point C.
A
C
E B
D A C
B
3. Insert the needle tip about 1/2˝ to 4. Point E now becomes a new
the left and 1/2˝ down from B at D point A. Repeat Steps 1–3.
(point D is directly below A). Take
a short, 1/8˝ stitch up from D to E.
Before pulling the needle through
the fabric, pass the thread coming
out of C over the needle. Draw the
thread through the fabric.
C
A B
D
C
2. Trap the thread 3. Draw the needle 4. Insert the needle at
coming out of A under and thread through the point D just on the other
the needle at C. fabric creating an evenly side of the thread loop
shaped loop. from C. Draw the thread
through the fabric.
Embroidery Stitch Directions 21
 Long-and-Short Stitch
The long-and-short stitch is an alternative to the satin stitch and
useful for filling in large areas with its interlocking structure.
3. Continue making a
row of stitches alternat-
ing between long (1/4˝)
and short (1/8˝) stitches.
End on a point D or short
stitch.
22 Joyful Stitching
D E
4. Begin the next row by
bringing the needle and
thread up at E about 1/4˝
to the right of D (a short
stitch). Insert the needle
at D and draw the thread
through the fabric.
A B
1. Come up at A. Insert
the needle into B about
1/4˝ from A. Draw the
thread through the fabric
to make a long stitch.
5. Continue along this
row making stitches that
measure 1/4˝ long. Stitch
only into the short stitches
of the previous row. (Skip
the long stitches of the
previous row.) Stitches
will interlock, fill in the
notches between stitches,
and create a new row of
long-and-short stitches.
C D
A B
2. Come up at C just above
and even with A. Insert
the needle at D about 1/8˝
to the right of C or half the
distance to B. Draw the
thread through the fabric
to make a short stitch.
6. Repeat Steps 4 and 5.
Stitch the last row of a
shape with short stitches
to fill in open notches
along the row.
Needle Weaving
Needle weaving makes a bold, woven tex-
ture on fabric. Space stitches apart to create
a mesh texture across the background fabric.
Or place stitches closely together to conceal
the fabric completely.
3. Use the blunt end of the needle
and weave over and under and
over and under across the warp
threads. Draw the needle and
thread through the warp threads.
This is the weft thread.
6. Insert the blunt end of the
needle and weave across. Weave
over and under the opposite warp
threads from the previously woven
weft thread. Use the needle to
tamp down the previous weft
thread. Draw the needle and
thread through the warp threads.
1. Stitch a row of vertical straight 2. Bring the needle and thread up
stitches about 3/4˝ long and 1/8˝ at A to the right and about 1/8˝ down
apart from left to right on the from the top of the last warp thread.
fabric. These are the warp threads.
B B
A A
C
4. Insert the needle at B to the left 5. Bring the needle and thread up
and about 1/8˝ down from the top at C about 1/8˝ below point B and
of the last warp thread. Draw the to the left of the last warp thread.
thread through the fabric.
A
D
7. Insert the needle at D about 1/8˝ 8. Repeat Steps 2–7 to weave
down from A or the previous weft opposite the weft thread above
thread. Draw the thread through and continue weaving to the
the fabric. bottom of the warp threads.
Embroidery Stitch Directions 23
 Pistil Stitch

1. With the thread on top of the

fabric, grasp the thread with your
left thumb and forefinger. Hold the
needle parallel to the fabric. Wind
the thread clockwise around the
The pistil stitch is a small ball of color with a tail that adds movement and spark to artwork.
Use it for flowers, the crest on a bird, or grouped together to make texture. needle 3 times.

2. Hold the wound thread in place
on the needle with your right index
finger. Pull the thread slightly
with your left hand to tighten it up.
(Don’t pull the thread too tightly.)
3. Insert the needle tip 1/4˝ away 4. Slowly draw the thread through
from where the thread initially to the back of the fabric. Place your
emerged from the fabric. Insert left thumb on the threads near the
the needle halfway into the fabric. knot to keep them from tangling.
Continue to hold the thread in your
left hand. Move your right hand to
the back of the fabric and pop the
needle through the fabric.

24 Joyful Stitching
Running Stitch

B A

1. Come up at A. Go down at B about

1/4˝ from A.

2. Skim the needle tip under the fab-

ric about 1/4˝ and rock the needle up.

The running stitch makes dashed lines on fabric. Use it to outline shapes, draw lines, and
3. Draw the needle and thread
build texture. Stitch rows of the running stitch in curves to create movement. through the fabric. Repeat.

Satin Stitch

A B

C
B
A

The satin stitch is a set of densely packed

straight stitches that conceal the background 1. Come up at A. Insert the needle 2. Come up at C just above A. Draw
fabric. Use it to fill in spaces or create solid
shapes on fabric. at B about 1/2˝ from A. Draw the the thread through the fabric.
thread through the fabric.

C D
A B

E
C

3. Insert the needle at D just above
B. Draw the thread through the
fabric.
4. Come up at E just above C. Draw
the thread through the fabric.
5. Continue to stack the stitches
closely together. By varying
the length of the stitches in
small increments, you can make
compact thread shapes.

Embroidery Stitch Directions 25

 Scattered Seed Stitch
The scattered seed stitch is a quick texture building stitch useful for filling in large areas
of a design. The goal is to not have the stitches form a repeating pattern.
Sheaf Stitch
The sheaf stitch is a bundle of straight
stitches cinched in the center with another
stitch to make an hourglass shape. Use
it to create sheaves of grain, flowers, or
decorative motifs.
3. Slip the blunt end of the needle
under the left vertical stitch. Draw
the thread under the stitch.
26 Joyful Stitching
1. Make 3 parallel vertical stitches
measuring about 1/4˝–1/2˝ long and
spaced about 1/16˝ apart.
4. Insert the needle tip under the
right vertical and center stitches
and into the fabric at A. Draw the
thread through the fabric to gather
the stitches together. Tie the thread
off to secure the stitch.
1. Make straight stitches measur-
ing about 1/4˝ long in any direction.
Keep them in a random pattern.
2. Think of the stitch angles as an
hour hand on a clock giving you
12 different stitch directions.
2. Bring the needle tip up at A under
the center of the middle stitch. (Do
not pierce the middle stitch.) Draw
the thread through the fabric.
5. Another option for this stitch is
to place the gathering stitch at the
base of 3 horizontal stitches rather
than in the middle. This makes a
V-shaped bundle.
Stem Stitch
The stem stitch neatly outlines a shape
or draws lines on fabric. Stitch rows of the
stem stitch closely together to fill in areas
or to create solid thread shapes.
Straight Stitch
The straight stitch is a stroke mark of thread made in any direction. Make the stitch long or
short, cross other stitches, or space stitches evenly or at random.
C B A B
A
C
1. Come up at A. Insert the needle 2. What was point C now becomes
tip at B about 1/4˝ from A. Skim A. Repeat.
the needle under the fabric and
exit about halfway back to A at C.
Keep the thread coming out of A
below C. Draw the thread through
the fabric.
1. With the thread on top of the
fabric, insert the needle in any
direction.
2. Draw the needle and thread
through the fabric.
Embroidery Stitch Directions 27
 A TAST Y BITE OF APPLE
Finished size: 7˝ × 8˝

This delicious free-form embroidery begins by sketching or stitching

the outline of the pattern shapes on wool using the Wool Transfer
Method (page 9). A patchwork of stitches and stitch combinations
randomly fill in the shapes of an apple, stem, and leaf. The repetition
of stitch patterns within an outlined shape makes a stylized design
full of color and texture.

28 Joyful Stitching
 The threads selected for this embroidery on wool are all perle cotton #8.
Personalize your design with other color combinations.

MATERIALS
Boiled or felted purple wool: 7˝ × 8˝

Perle cotton #8 threads

Light blue: To outline pattern shapes

And in the following colorways (for apple, stem, leaf,

background, and edging):

Pea green Variegated rainbow colors

Variegated red/orange Variegated yellow/gold

Variegated Variegated turquoise/blue

green / gold / yellow

Stitching the Apple

1. Position the tracing of the apple
pattern (page 59) on the wool. Place
the base of the apple shape about
11/2˝ up from the bottom edge of the
fabric and the left side of the apple
shape about 11/4˝ in from the left-
hand side of the fabric. Transfer the
apple, stem, and leaf pattern shapes
to the wool using the Wool Transfer
Method (page 9).
2. Scatter stacked rows of the 3. Fill in the boxes made with
blanket stitch (page 14) inside the blanket stitches with French knots
apple shape. By placing rows of (page 20).
blanket stitches right next to each
other, the stitches make a set of
boxes or square shapes.

A Tasty Bite of Apple 29

 4. Stitch rows and parallel swirls of 5. Stitch patches of needle weaving 6. Fill in the rest of the apple
the stem stitch (page 27) inside the (page 23) inside the apple shape. shape with scattered seed stitches
apple shape. A rainbow variegated thread adds (page 26).
color surprises when weaving.

Apple Stem and Leaf

1. To make the apple stem, stitch vertical rows of
the stem stitch right next to each other to conceal
the background fabric.
2. Stitch one line of stem stitches down the center of
the leaf from the leaf tip to the apple stem. Add 2 more
rows of stem stitches on each side of this centerline.
Begin the rows at various points along the centerline to
make a tapered shape ending wider at the apple stem.
Stem stitch 5 lines on each side of this centerline at an
angle to make the leaf veins.

30 Joyful Stitching
3. Fill in the leaf shape with tightly packed rows of lazy 4. Carefully snip and remove the running stitch used to
daisy stitches (page 21) that fit between the leaf veins. outline the shapes. Stitch a backstitch (page 13) around
Stitch each lazy daisy stitch next to the previous stitch the exterior of the apple, stem, and leaf shapes.
and angle them out toward the edge of the leaf.

Background and Finishing the Apple

1. Stitch a row of running stitches (page 25) horizontally and about 1/2˝ up from the bottom edge of the fabric.
Leave about 1/2˝ on each outside edge free of stitches for finishing the edges. Add 5 more horizontal rows of
running stitches spaced about 1/2˝ apart up to and around the apple shape.

2. Fill in the space between the
rows of running stitches with
cross-stitches (page 17) alternat-
ing with French knots to make the
tablecloth. Leave about 1/2˝ on each
outside edge free of stitches for
finishing the edges.
3. Place rows of running stitches
vertically across the fabric to make
the wallpaper. Space the rows about
1/4˝ apart leaving about 1/2˝ on each
outside edge free of stitches for
finishing the edges.
4. Stitch each edge of the piece
with a blanket stitch to make a trim
finish. For display methods, refer to
Display Options (page 57).

A Tasty Bite of Apple 31

 A RARE SONGBIRD
Finished size: 7˝ × 9˝

Begin the songbird design by sketching or stitching the bird

shapes on wool using the Wool Transfer Method (page 9). The
shapes are filled in with stitches that suggest the colorful feathers
and attractive legs of a fanciful bird. More stitchery depicts a
blazing sun, swirling air currents, tufts of grass, and a curious bug.

32 Joyful Stitching
 The orange threads for the fanciful bird and his friend provide
high contrast with the blue background fabric.

MATERIALS
Boiled or felted blue Perle cotton #8 threads Perle cotton #12 threads
wool: 7˝ × 9˝ Variegated orange/yellow: For tail, wing, legs, beak, bug, Black: For eye
crest, sun, and edging
Perle cotton #5 thread Pea green: For grass
Variegated yellow/gold: For body and back
Brown: To outline pattern Light blue-green: For sky
shapes Variegated green / gold / yellow: For grass and back

Light blue-green: For neck, eye, tail, wing, legs, crest, and sun

Variegated purple / dark blue: For neck, back, toes, and crest

Stitching the Bird’s Body

1. Center the tracing of the bird
pattern (page 59) on the wool. Place
the base of the leg shapes about
2˝ up from the bottom edge of the
wool and the head of the bird about
2˝ in from the left-hand side of the
wool. Transfer the pattern shapes
to the wool using the Wool Transfer
Method (page 9).
2. Stitch around the shapes of
the bird’s body, beak, wing, and
tail using a stem stitch (page 27).
Stitch the leg shapes with a back-
stitch (page 13). Remove the
running stitches around the bird
shape.
3. Stitch a row of blanket stitches
(page 14) in an arc across the neck
to the wing to make the neckband.
Make a line of backstitches next to
the top of the blanket stitches and
another line of backstitches across
the bottom of the blanket stitches
to make boxes. Fill in the boxes
with French knots (page 20).

A Rare Songbird 33
 4. Use the stem stitch and
the black #12 thread to
make a 3/8˝ circle for the
outer eye. (The inside of
the eye is filled in later.)

5. Stitch parallel rows 6. Stitch long-and-short 7. Fill in the divide between

of running stitches
(page 25) on the bird’s
head and belly. Follow
the arc shape of the lower
belly as a guide and make
the stitches short, about
1/8˝ in length.
stitches (page 22) from the left and right side of the
the belly up to the center back with French knots.
peak of the back. Then
angle the stitches down
the left side of the back.
Use 2 thread colors and
alternate colors between
the interlocking rows.

Stitching the Bird’s Tail and Wing

1. Stitch 3 rows of fern stitches
(page 18) next to each other and
down the length of the tail. Stitch
stem stitches on both sides of
the center row of fern stitches to
divide the rows. Add French knots
between the spikes of fern stitches.
2. Stitch 3 rows of lazy daisy
stitches (page 21) across the front
edge of the wing. The first row (or
bottom row) follows the arc shape of
the wing made by the stem-stitched
outline. The next 2 rows follow that
same arc shape.
4. Stitch a row of French knots
along the arc of the lazy daisy
stitches on the wing. Stitch rows
of the fly stitch (page 19) across
the wing pointing them toward the
wing tip to make feathers. Fill in
the fly stitches with French knots.

3. Stitch a row of bullion knots

(page 15) perpendicular to the right
edge of the wing from the wing tip
down to the lazy daisy stitches.

34 Joyful Stitching
Stitching the Bird’s Eye, Beak, and Crest

1. Use the black
#12 thread and fill in
the eye circle with short
straight stitches that
radiate from the center
of the eye. Leave a small
triangle free of stitches in
the top quarter of the eye.
2. Stitch a French knot 3. Fill in the beak shape 4. Stitch 3 bullion knots
inside the open quarter with rows of stem stitches across the top of the bird’s
of the eye using a light tightly packed together. head to make the crest.
colored thread to add a Add 4 French knots next
highlight. to the bases of the bullion
knots. Add French knots
to the tips of the 3 bullion
knots.

Stitching the Bird’s Legs, the Bug, and Grass

1. Begin stitching the leg at the top. Stitch satin 2. Stitch 3 toes on the 3. Stitch 5 circles measur-
stitches (page 25) across the outline of the leg shape bottom of each leg with ing about 1/2˝ across using
making a block (about 6 stitches) of thread. Leave long satin stitches. Stitch the stem stitch to make
an opening of 1/4˝ of fabric and repeat blocks of satin straight stitches (page 27) the bug. Stack one circle
stitches all the way down the leg. Fill in the spaces across the toes. on top of the other.
between the blocks with cross-stitches (page 17).
Repeat this on the other leg.

A Rare Songbird 35
 4. Fill in the circles with a spiral of stem stitches. Work
from the outside edge of each circle into the center.
5. Stitch 2 bullion knots on the top circle to make the
bug’s antennae. Add a French knot to the top of each
bullion knot.
6. Stitch straight stitches in groups, pointing up or
at an angle to make tufts of grass. Use both the #8
and #12 threads to fill in the bottom area of the fabric
keeping 1/2˝ free of stitches on each edge for finishing
the edges.

Stitching the Sun, Sky, and Edging

1. Stitch a spiral of blanket stitches
(page 14) with the “teeth” facing
out following the running stitches
to make the sun. Keep 1/2˝ free of
stitches on each edge for finishing
the edges. Remove the running
stitches.
3. Stitch parallel lines of the run-
ning stitch across the sky to make
waves and spirals. Keep 1/2˝ free of
stitches on each edge for finishing
the edges.
4. Stitch each edge of the piece
with a blanket stitch to make a trim
finish. For display methods, refer to
Display Options (page 57).

2. Add a French knot inside each

“tooth” of the blanket stitch. Stitch
a spiral of running stitches between
the blanket stitches.

36 Joyful Stitching
LOVE AT FIRST STITCH
Finished size: 81/4˝ diameter

Create colorful flowerbeds on a heart shaped piece of felt and enjoy

gardening in the comfort of your own home. Lines of couching
delineate garden beds filled with unusual flowers made with a
variety of stitch combinations. This is a great gift for the friend who
loves gardening or as a colorful pillow decoration. Also see Other
Methods of Display (page 58).

Love at First Stitch 37

Only 3 pieces of felt are needed to make this
heart shaped garden full of beautiful flowers.

MATERIALS

Felt Perle cotton #8 threads Perle cotton #12 thread

Blue: 9˝ × 9˝ for backing
Yellow: 8˝ × 8˝ for
background
Turquoise: 6˝ × 6˝ for heart
Perle cotton #3 thread
Variegated gold/yellow:
For couching and inside
blanket stitch
Variegated light green / pink: For blanket stitches around Variegated green/gold:
heart For leaves and stems
Variegated green/gold: For couching the perle cotton #3
thread
Yellow: For flowers
Orange: For flowers
Variegated yellow / blue / pink: For flowers
Pink: For herringbone stitches around edge

Aquamarine: For French knots around edge

Stitching the Heart to the Background

1. Transfer and cut out full circles
and the heart pattern shapes
(pages 59 and 60) for the felt
fabrics by tracing full circles from
the half-circle patterns.
3. Center and pin the heart onto the 4. Stitch the heart to the circle with
background circle. Stitch around blanket stitches (page 14). Remove
the heart with long running stitches the tacking stitches.
(page 25) to tack it into place.

2. Trim 1/4˝ from the edge of the back−

ing fabric using a pinking shears or
a pinking blade in a rotary cutter.
Set the backing fabric aside for later.

38 Joyful Stitching
Stitching the Flowerbeds

1. Place 5 wavy rows of the
#3 thread across the heart with
couching (page 17) to make the
ground of the flowerbeds. Use a
#8 thread to couch the heavier
thread.
2. In the top left flowerbed,
make 5 sets of lazy daisy stitches
(page 21) stitched in a circle to
create flowers. Fill in the center
of the flowers with French knots
(page 20). Stitch stem stitches
(page 27) from each flower to the
ground to make the stems. Stitch
lazy daisy stitches on either side
of the stems to make leaves.
3. To make the flowers across the
second flowerbed, stitch bundles
of sheaf stitches (page 26) using
4 horizontal stitches. Stitch a
bullion knot (page 15) to the top
of each sheaf stitch bundle. Top
each bullion knot with a French
knot. Stitch a straight stitch
(page 27) out from each side of
the base of the bullion knot.

4. Stitch chain stitches (page 16) from each flower in 5. Stitch stem stitches in a hook shape to make the
Step 3 to the ground to make the stems. Stitch lazy ferns in the third flowerbed. Add short satin stitches
daisy stitches on either side of the stems to make (page 25) on either side of the stem stitches to make
leaves. fern leaves. Stitch French knots between the leaves.

Love at First Stitch 39

 6. Make the flowers in the fourth
flowerbed using the same stitch
combinations as those in Step 2.
Or make up your own stitch com­
binations to create new flowers.
7. Make the flowers in the fifth
flowerbed using the same stitch
combinations as those in Steps 3
and 4. Or make up your own stitch
combinations to create new flowers.
8. Make the flowers in the bottom
flowerbed using the same stitch
combinations as those in Step 2.
Fill the lower tip with additional
lazy daisy stitches.

Finishing the Heart on Felt

1. Bring a needle with the #3 thread up at the center
dip of the heart. Use the blunt end of the needle and
run the needle and thread under the blanket stitches
around the edge of the heart. Return the needle and
thread to the back of the fabric at the same place
where the thread first emerged from the fabric.
2. Center the background fabric with the heart onto
the backing fabric and pin into place. Stitch a herring­
bone stitch (page 20) around the edge of the inner
circle to attach it to the backing fabric. Add French
knots between the herringbone stitches. For display
methods, refer to Display Options (page 57).

40 Joyful Stitching
FOLK ART GARDEN
Finished size: 81/2˝ × 101/2˝

This garden of flowers is quick and easy to make. Made with a few
swatches of felt and stitched with a perle cotton #5 thread, the flowers
have the cozy, folk art feeling of a penny rug. Adapt the design to the
size of a table runner by rearranging the pattern shapes on a larger
background fabric. Also see Other Methods of Display (page 58).

Folk Art Garden 41

The perle cotton #5 threads stitch easily through
the felt and give the design dimension.

MATERIALS

Felt Perle cotton #5 thread

Watermelon pink: 1 piece 81/2˝ × 101/2˝ for background Variegated yellow / pink / green

Olive green: Turquoise

• 9˝ × 11˝ for backing Pink
• 7˝ × 11/2˝ for large ground crescents Olive green
Gold felt: 3˝ × 5˝ for flower bases

Light yellow: 2˝ × 6˝ for flower tops

Turquoise: 1˝ × 3˝ for flower dots

Dark green: 1˝ × 6˝ for small ground crescents

Stitching the Ground, Flowers, and Background

1. Trim 1/4˝ off each edge of the
background and backing fabrics
with a pinking shears or a pinking
blade in the rotary cutter. Set aside
the backing fabric for later.
2. Transfer and cut out the
ground and flower pattern shapes
(page 61) from the felt fabrics.
Refer to Felt Transfer Method
(page 10). Arrange the shapes on
the background fabric for spacing.
3. Remove all the elements except
for the 3 flower bases and the
3 large ground crescents. Pin the
flower bases and crescents to the
background fabric. Stitch-tack
(page 10) them into place.

42 Joyful Stitching
4. Stitch blanket stitches (page 14) around each of the ground crescents 5. Place a flower top above a flower
and each of the flower bases. Remove the tacking stitches. base. Stitch the divots in the flower
top to the background fabric with
straight stitches (page 27). Add
blanket stitches down each side of
the flower top. Repeat this for each
flower top.

6. Place a flower dot on a flower
top. Stitch 8 straight stitches from
the outside of the dot into the
center of the dot. Repeat this for
each flower.
7. Stitch French knots (page 20) 8. Stitch pistil stitches (page 24)
to the top edge of a flower top and from the divots of a flower top onto
around the interior of the flower the background fabric. Repeat this
base. Repeat this for each flower. for each flower.

Folk Art Garden 43

 9. Place a small ground crescent
on a large ground crescent. Stitch
5 straight stitches across the small
crescent. Start at the bottom center
and stitch out to the edge of the
crescent in a fan shape. Repeat this
for each ground crescent.
12. Stitch 2 lines of chain stitches
(page 16) from the base of each
flower to the top of the center
crescent to form the stems. Use
2 different colors of thread on
each stem.
44 Joyful Stitching
10. Stitch French knots between
the straight stitches on the small
ground crescent and below the
center straight stitch on the cres-
cent. Repeat this for each ground
crescent.
13. Stitch lazy daisy stitches
(page 21) and pistil stitches at the
base of the stems to make grass.
11. Stitch a sheaf stitch (page 26)
at the base of each flower.
14. Center the background fabric
on the backing fabric and pin into
place. Stitch fly stitches (page 19)
around the pinked edge of the
background fabric to attach it to the
backing fabric. Use an elongated
version of the fly stitch (page 19) to
make a Y-shaped stitch. For display
methods, refer to Display Options
(page 57).
HAND OF FORTUNE
Finished size: 61/2˝ × 71/2˝

Personalize this hand shape with stitches that symbolize your past,
your present, and your destiny as a world-renowned embroiderer. In
this version made on silk fabric, we are celebrating a future full of
sunshine, flowers, and joyful journeys in stitching.

Hand of Fortune 45
The #8 threads make bold lines and shapes in this design;
the #12 threads make the finer textures and patterns.

MATERIALS
Light peach colored silk: 81/2˝ × 91/2˝ Perle cotton #8 threads Perle cotton #12 threads
Wool batting: 61/2˝ × 71/2˝ In the following colorways (for stem In the following colorways (for cross-
stitches, fern stitches, chain stitches, stitch, ermine stitch, pistil stitch,
Lightweight fusible web (such as
and straight stitches): running stitch, and French knots):
Mistyfuse): 81/2˝ × 91/2˝
Aquamarine Aquamarine
Parchment paper: 9˝ × 11˝
Yellow/gold Yellow/gold
Tracing paper: 9˝ × 11˝
Variegated green / gold / yellow Pea green
Felt: 6˝ × 7˝ for backing
Red Variegated medium to dark blue

Outlining and Filling in the Hand

1. Trace the pattern
for the hand (page 61)
and transfer the pattern
shape to the silk using
the Silk Transfer Method
(page 11). Fuse the batting
to the silk (page 12).
2. Stitch the outline of the
hand with stem stitches
(page 27) concealing the
traced lines.
3. Stitch the fern stitch
(page 18) down each
finger of the hand and
into the palm. Vary the
length of the fern stitches
and curve them to add
movement.
4. Stitch curved bands of
the chain stitch (page 16)
on the fingers and palm
to create arcs and a heart
shape. Stitch straight
stitches (page 27)
perpendicular to the
outside edges of the
chain-stitched shapes.

46 Joyful Stitching
5. Fill in the chain-
stitched shapes with
cross-stitches (page 17).
Add a second set of cross-
stitches on top of the first
with a different colored
thread. Stitch this thread
in the opposite direction
of the first cross-stitches.
6. Stitch French knots
(page 20) between each
of the straight stitches
around the chain-stitched
shapes.
10. Fill the fabric sur-
rounding the hand
shape with scattered
seed stitches (page 26).
7. Stitch patches of ermine
stitches (page 18) inside
the hand shape. Add
French knots between
the ermine stitches.
Detail of Step 9
Finishing the Hand
1. Fold a corner of the
fabric to the back of
the embroidery at a
90° angle. Iron just that
corner area into place.
Repeat at each corner.
8. Stitch pistil stitches
(page 24) inside the
spikes and on both sides
of the centerline of the
fern stitches.
2. Fold each edge of the
silk fabric to the back and
iron into place. Make a
crisp point at each corner.
9. Stitch the remaining
open areas of the hand
shape with swirls of run-
ning stitches (page 25).
3. Place the felt for the
backing on the back of the
embroidery. (Trim it to
size if necessary.) Stitch
the felt to the back of the
embroidery with a run-
ning stitch. For display
methods, refer to Display
Options (page 57).
Hand of Fortune 47
 YELLOW HOUSE LANDSCAPE
Finished size: 9˝ × 61/2˝

This free-stitched landscape on silk starts with a very simple outline

of the main elements in the design. But soon intense stitchery fills
the design shapes with texture, pattern, and fine details in thread.

48 Joyful Stitching
 The background fabric is a 14 mm hand-dyed silk. The variation in coloring in
the treetop and grassy areas depend upon variegated perle cotton #12 threads.

MATERIALS
Light yellow to pink
colored silk: 11˝ × 81/2˝
Wool batting: 9˝ × 61/2˝
Lightweight fusible
web (such as Mistyfuse):
11˝ × 81/2˝
Felt: 8˝ × 51/2˝ for backing
Parchment paper: 12˝ × 10˝
Tracing paper: 12˝ × 10˝
Perle cotton #12 threads In the following colorways:
Variegated yellow/gold: Variegated dark red /  Pea green: For shoreline
For house, left field, boat, brown: For tree trunk, flowers
and rope shoreline, path, and boat Light blue: For shoreline
Aquamarine: For door, Variegated green / gold /  flowers, boat, and foreground
windows, roof, chimney, red / turquoise: For treetop plants
boat, fences, and birds and shrub flowers Variegated green / yellow / 
Variegated red/gold: For Dark green: For small tree gold / blue: For left field,
roof, doorknob, and path branches and shrubs grass, and foreground plants

Mark the Silk and Stitch the House

1. Trace the pattern for the land-
scape (page 62) and transfer the
pattern shapes to the silk using the
Silk Transfer Method (page 11).
Fuse the batting to the silk
(page 12).
2. Stitch the outline of the house
sides and base with the stem stitch
(page 27). (Skip the area beneath
the door.) Stitch the door shape
with 7 vertical rows of the chain
stitch (page 16). Taper the height
of the rows to give the door a
shaped top.
3. Add 8 windows to the house.
Use straight stitches (page 27) to
make the windowpanes in a plus (+)
shape. Surround the plus shape
with 4 straight stitches to make the
windowsills.

Yellow House Landscape 49

 4. Stitch inside the house shape
with horizontal rows of the stem
stitch up to the roofline.
5. Stitch a French knot (page 20)
to the door to make a doorknob.
Stitching the Tree
1. Stitch the tree trunk shape with
vertical rows of the stem stitch.
Add a few straight stitches to make
branches off the big branches.
Stitching the Shoreline and the Fields
1. Stitch along the shoreline with
the backstitch (page 13). Stack
rows of backstitches to make wide
and narrow areas of the shore.
50 Joyful Stitching
6. Stitch the roof shape with
horizontal rows of the stem stitch.
Stitch straight stitches vertically
across the roof to make tiles.
2. Stitch lazy daisy stitches
(page 21) around the branches
and into the sky with a variegated
thread. Place the stitches at random
angles to make a treetop shape.
2. Stitch across the path shape with
backstitches or stem stitches, using
2 different thread colors to make
bands of color.
7. Stitch around the outside edge of
the roof shape with a chain stitch.
Stitch 4 rows of the chain stitch
vertically on the right side of the
roof to make the chimney.
3. Stitch a straight stitch inside each
lazy daisy stitch opening in Step 2
using the same variegated thread.
Add straight stitches between the
lazy daisy stitches with a dark
thread to make branches.
3. Stitch 2 rows of lazy daisy
stitches vertically on each side of
the path above the shoreline. Top
the lazy daisy stitches with French
knots to make flowers.
4. Stitch the left field with rows of
chain stitches. Make waving lines
of the stitch and alternate the rows
with different colored threads.
Stitching the Boat and Plants
1. Stitch the top edges of the boat
with a chain stitch. Stitch the boat
bench with stem stitches. Add
2 rows of stem stitches across the
bow and stern of the boat as braces.
4. Stitch a row of fern stitches
(page 18) across the lower edge of
the piece to make plants. Add lazy
daisy stitches between the spikes of
the fern stitch.
5. Stitch across the grassy areas with a combination of long-and-short
stitches (page 22) and satin stitches (page 25), using a variegated thread.
Use long-and-short stitches in open areas. Fill in small, tight areas with
satin stitches.
2. Stitch rows of stem stitches 3. Stitch the top interior of the boat
across the lower interior of the boat with stem stitches. Stitch the exte-
to make the floor of the boat. rior of the boat with chain stitches.
Connect the boat to the shore with
stem stitches to make a rope.
5. Stitch a straight stitch inside
each lazy daisy stitch opening.
Yellow House Landscape 51
 Adding Details and Finishing the Landscape

1. Stitch French knots along the
horizon line on either side of the
house to make shrubs. Add color-
ful French knots to the top of the
shrubs to make flowers.
2. Add a fence to each side of the 3. Stitch fly stitches (page 19)
horizon. Stitch the fence posts with across the sky to make a flock
the chain stitch. Connect the fence of birds.
posts with stem stitches.

4. Add stem stitches horizontally
across the water. Wave and curve
the stitch lines to make ripples.
5. Fold a corner of the fabric to
the back of the embroidery at a
90° angle. Iron just that corner
area into place. Repeat this at
each corner.
6. Fold each edge of the silk fabric
to the back of the embroidery and
iron into place. Make a crisp point
at each corner.

7. Place the felt for the backing onto

the back of the embroidery. (Trim it
to size if necessary.) Stitch the felt
to the back of the embroidery with a
running stitch. For display methods,
refer to Display Options (page 57).

52 Joyful Stitching
MORE IDEAS FOR FREE-FORM EMBROIDERY
Embroidered Landscape #1 by Laura Wasilowski
Finished size: 9˝ diameter
Background Fabrics
Background fabrics play an important role in your
choice of stitches and thread colors for free-form
embroidery. The recycled silk kimono fabric used in
this embroidery has a subtle jacquard pattern woven
into it that adds texture. Overdyed in blue, it provides
a richly colored background for stitching.
In the lower field of this landscape piece, running
stitches and French knots are widely spaced to reveal
the blue fabric. In the left field, a variegated thread
with colors analogous to the background color seems
to recede into the blue background. While the chain
stitch, in a cheery yellow thread, comes forward. A
fuchsia thread is whipstitched through a set of run-
ning stitches to liven up the field. That same red
color provides high contrast with the background
fabric when making the flowers.
Constructed on wool batting cut in a round shape,
the piece is supported with a piece of Timtex (from
C&T Publishing) cut to the same size as the batting.
After stitching, the Timtex is placed behind the
batting. Edges of the silk fabric are wrapped around
the Timtex to finish the edges.
Embroidered Landscape #2 by Laura Wasilowski
Finished size: 51/2˝ × 51/2˝
Creating Line
Linear stitches lead the eye around an embroidered
piece and add action and movement. Stitches such as
the running stitch, stem stitch, backstitch, chain stitch,
couching, and blanket stitch direct your vision and
point you to different areas of the artwork to explore.
In this small landscape, parallel lines of running
stitches curve and sweep across the sky. The angled
lines of the tree trunk, made with stem stitches, lead
you right into the swirls of color. Thick rows of crops
across the right field are made with couching. Blanket
stitches roll across the left field in waves. The blanket
stitch has a thread whipped through the top of the
stitch to give a more defined line. Even the irregular
edges of this piece showcase the importance of line.
The irregular edge gives this embroidery on wool an
organic, unplanned look.
More Ideas for Free-Form Embroidery 53
 Embroidered Landscape #4 by Laura Wasilowski
Finished size: 9˝ × 8˝
Creating Shapes
Think of the needle and thread as your drawing tools
for sketching on the surface of fabric. Like a pencil on
paper, embroidery stitches draw the enclosed shapes
needed to create your designs. Shapes are outlined
on the fabric with linear stitches such as the running
stitch, stem stitch, backstitch, chain stitch, couching,
or blanket stitches. After the shapes are defined, other
stitches fill in the interior with texture and detail.
To make the trees in this embroidery on silk, a line
is stitched around the treetop shape with the blanket
stitch facing out. Fern stitches and French knots fill
in the treetop suggesting branches and flowers. Each
field is made up of its own set of stitch combinations to
create boundaries between crops. Distinct leafy shapes
in the foreground are made with fern stitches and lazy
daisy stitches. The fluffy cloud shapes are made with
blanket stitches looping in arcs across the sky.
54 Joyful Stitching
Cactus #1 by Laura Wasilowski
Finished size: 81/2˝ × 61/2˝
Creating Texture
The embroidery stitch inherently makes texture. The
thread sits above the fabric and invites you to touch
or feel the surface. This same stitch you want to touch
also creates texture on your embroidery piece. Stitches
can indicate the roughness or smoothness of the
shapes you are making.
Scattered seed stitches evoke the spiky texture of a
cactus in this desert landscape. Horizontal waves of
stem stitches make the flowing texture of a dazzling
sky. By repeating the satin stitch at different angles,
the distant mountains appear as fractured facets
of stone. Straight stitches randomly fill in the mid-
ground suggesting rough territory. And patches
of loosely made needle weaving in the foreground
replicate the coarse texture of desert dirt.
 Red Belly Bird by Laura Wasilowski
Finished size: 61/2˝ diameter
Variations on a Stitch
Like the brushstroke of a painter, the embroidery
stitch delights the eye and helps define shapes. In this
embroidery on wool, one stitch—the lazy daisy—is used
in three different ways to make the design and help
define what you are seeing. It is used to create sketchy
lines, open loops, and compressed intense color.
The bird sits on a nest of lazy daisy stitches that are
loosely made and look like quick sketch marks. The
open loops of lazy daisy stitches, lined up in a fan
shape across the bird’s tail, reveal the fabric beneath
to create the illusion of tail feathers. Packed together,
this same stitch produces an intense show of color for
feathers on the bird’s wing cap.
Embroidered Pear by Laura Wasilowski
Finished size: 5˝ × 61/2˝
Creating Stitch Motifs and Pattern
Simple shapes, such as this pear, create a space for
experimenting with stitch motifs and pattern building.
All you need to get started is a basic outline to fill with
a glorious riot of free-form stitches. Invent new stitch
combinations and play.
Inside the confines of this pear shape, you’ll find a
patchwork of stitches: needle weaving, stem stitches,
lazy daisy stitches, satin stitches, and blanket stitches
filled in with French knots. In contrast, the tablecloth
is made with an orderly repeat of a stitch motif. By
combining the cross-stitch with the French knot, a
pattern emerges to calm down the crazy energy of
stitches that make up the pear.
More Ideas for Free-Form Embroidery 55
 Garden of Flowers by Laura Wasilowski
Finished size: 9˝ × 6˝
Inventing Stitch Combinations
Inventing new stitch combinations is part of free-form
embroidery. By combining the basic stitches found in
the Embroidery Stitch Directions (page 13) you can
create your own little world full of pattern, texture,
and shape.
As with the flowers and plants in this garden on silk,
it takes a variety of stitch combinations to create
the shapes. Lazy daisy stitches, left open or filled
with a straight stitch, form flower heads enhanced
with French knots. Tiny blooms of French knots and
bullion knots attach themselves to stem-stitched
stalks. Combine stem stitches with satin stitches and
ferns curl up next to leafy plants made with lazy daisy
stitches. Fly stitches, placed tip to tip in a circle and
filled with French knots, make starlike flowers.
56 Joyful Stitching
Pine Trees by Laura Wasilowski
Finished size: 81/2˝ × 6˝
Sources of Inspirations
As with any other art form, free-form embroidery
designs can range from abstract to representational.
Look for everyday objects, exciting geometric
patterns, or portraiture to trigger your next design
idea. This simple landscape was inspired by the piney
islands near Sitka, Alaska, and a hand-dyed silk that
suggested the dramatic evening sky and water of that
region.
The pine trees are made with closely stitched rows
of the stem stitch for the trunks and small lazy daisy
stitches for the leaves. The lush grasses for the island
foliage are straight stitches using a fine, variegated,
perle cotton #12 thread. A light blue perle cotton #8
thread and the stem stitch make the rocky banks of
the islands.
DISPLAY OPTIONS

Now that you’ve enjoyed the

pleasure of making free-form em-
broideries, it’s time to share them.
Display your artwork on the wall,
as a pillow topper, a decoration for
a favorite purse or scarf, a table
runner, or as a small sewing kit
for your next stitching adventure.

Wall Art
Displaying your artwork on the
wall requires a hanging device.
Here are a few methods for hang-
ing your work:
• Stitch a simple hanging loop of thread across the back of the embroidery.
Measure down about 1˝ from the top of the piece and center the loop
across the back.

• Use an acid-free mat and pierce 2 holes in the mat
that match each corner of the embroidery. Stitch
through the holes into the back of the embroidery
at each corner. Display the embroidery in a shadow-
box frame that is deep enough so the glass does not
touch the artwork.
• Drill 2 holes in 1/4˝ Plexiglas at each corner that match
the embroidery. Drill 4 holes (2 on each side) one-
third of the way down from the top of the Plexiglas
for a hanging wire. Attach the hanging wire. Center
the piece on the Plexiglas and stitch through the holes
into the back of the embroidery at each corner.

Display Options 57
 Other Methods of Display
You can also display your free-form embroideries in ways other than wall art. Sew
embroidered pieces onto a pillow topper and display it proudly in your home. Rearrange
the pattern shapes used in A Folk Art Garden (page 41) and make a long table runner
for a special occasion. Stitch free-form embroidery to a cloth purse to add pizzazz. Add
a few decorative stitches to a matching wool scarf for embellishment. Or make your own
etui (little traveling sewing kit) from felt and embroider it with our favorite designs.

58 Joyful Stitching
PATTERNS

1˝

Use a ruler to measure

these inch marks to verify that
printout is correctly sized.

A Rare Songbird

A Tasty Bite of Apple

Love at First Stitch

Heart

Enlarge 200%.

Patterns 59
 1˝

Use a ruler to measure

these inch marks to verify that
printout is correctly sized.

Love at First Stitch

Backing
Background

60 Joyful Stitching
 Folk Art Garden
Flower
1” Dot
Cut 3. Flower Top
Cut 3.
Flower Base
Cut 3.
Large
Ground Crescent Small
Cut 3. Ground Crescent
Cut 3.

Hand of Fortune

61
62
Yellow House Landscape

Joyful Stitching
1”
ABOUT THE AUTHOR

Laura Wasilowski is a textile artist and creator of

Photo by Bonnie McCaffrey

hand-dyed fabrics and threads. Her pictorial art quilts
and free-form embroideries are collected and exhibited
internationally.

Laura’s narrative quilts are inspired by stories of

family, friends, and home. Her whimsical wall pieces,
created from fused fabrics, are hand-embroidered
or machine quilted. Her free-form embroideries are
inspired by everyday objects, landscapes, and the
urge to do handwork at every opportunity.

She has an undergraduate degree in Costuming from

the College of St. Benedict, St. Joseph, Minnesota;
and a master of arts in Fiber from Northern Illinois
University, DeKalb, Illinois.

Owner of the dye shop Artfabrik, Laura is also a

lecturer, instructor, and pattern designer. She lives
in Elgin, Illinois, with her adoring husband and a
large garden full of mosquitoes.

Follow Laura on: Also by Laura Wasilowski:

Website: artfabrik.com

Instagram: @laurawasilowski

Facebook: /artfabrik

Pinterest: /laurawasilowski

About the Author 63

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Joyful Stitching Download
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CRAFTS/Needlework

Begin with simple shapes and fill

STITCH PLAYFUL PROJECTS them with improvisational stitchery

Change up the provided designs,

swapping out colors and trying new
stitch combinations, to create your
own unique work

From popular,
best-selling author
and teacher Laura
Wasilowski