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ISSU E

106
2020
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(I N CL GST)

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Welcome 15 Only Accommodation
 I S S U E 1 0 6

contents
8 14
4

6 11
32 48
24

40
56 66 78

projects f e at u r e s
14 Pomegranate 48 Robin Hood 6 World of Textiles
Margaret Lee | Discover the Kay and Michael Dennis | Fabulous Imagine
amazing potential of Random figurative stumpwork featuring Robin
Stitch Embroidery with this Hood beneath a shady tree
8 Community
Threads of Life
exquisite embroidered study
6 Field of Flowers
24 Pane Di Casa Deborah Love | Whitework mat with
11 In Profile
Words in Stitch
Elisabetta Sforza | Italian linen flowers worked using a compelling
bread bag adorned with poppies, variety of traditional Schwalm fillings
cornflowers and wheat in surface in every issue
embroidery
66 Into the Forest
Ana Mallah | Woodland themed From the Editor
2 Coquette felt sewing accessories charmingly
10 Cutting Edge
Renette Kumm | Ornate humming- embellished with raised and surface
bird depicted in threadpainting embroidery 92 General Information
40 Delicate Stitches 78 Dawn Chorus 9 Kits
Di Kirchner | Enchanting Anna Scott | Handy tote showcasing a
Hardanger embroidery worked on pretty songbird in engrossing crewel 94 Loose Threads
fine linen embroidery

2 • I N S P I R AT I O N S
 from the editor
“Art washes away from c a n e m b r o i d e ry b e a r t ? w h at i s a r t a n y way ? The meaning of this short,

the soul the dust of

but controversial, word has, in fact, changed significantly over the centuries. Up until the 1600s
it referred to ‘skill; its display, application or expression’, but after this time, when aesthetic
everyday life.“ considerations became paramount, it came to mean ‘the expression or application of creative skill
and imagination, typically in a visual form such as painting, drawing, or sculpture, producing
pablo picasso
works to be appreciated primarily for their beauty or emotional power.’ Oxford English Dictionary
Its meaning and the validity of its application will always be a point of contention, best left
to those with the energy and wisdom to argue the point, but for an embroidery, there is certainly
potential for both meanings to be applied.
While some embroidery may not be art, art can certainly be a wonderful inspiration for
embroidery. Wandering through a gallery or even browsing through an exhibition catalogue or
book can reveal an abundance of exciting ideas that can be effectively applied to stitching. A unique
concept, eye-catching colour scheme, dynamic composition or clever use of light and shade are as
valuable and important in great pieces of embroidery as they are in any other visual medium. All too
often, embroiderers focus heavily on stitch technique or thread choice, giving little thought to these
other considerations, much to the detriment of the success of the finished work.
So, next time you are about to begin a new piece of embroidery, take some time to do a little
research and you too may discover the art of stitch.

Happy stitching,
Susan

ERRATA / Issue 104 We are delighted to announce the winners of

our Chloe Giordano Book Competition
Please make a note of the following
from issue 104.
corrections and insert into the
respective magazine. Marilyn Polgreen of South Australia,
Ella Parker of Victoria and Karen Holford
Christmas Spirit
of the USA will each receive a copy of the
The thread count for the etui lid on the
beautiful book, The Embroidered Art of
layout diagram on page 33 is incorrect.
Chloe Giordano.
It should read 120 x 120 threads.
The graph for the etui lid on page 34 is o THE EMBROIDERED ART OF

incorrect. The correct graph is shown here ry e ho took Chloe Giordano

and can also be downloaded from the time to enter and
www.inspirationsstudios.com/errata to Search Press for
generously providing
Carnation Tile
the prizes.
D = 641 ultra lt blue-green SEARCH PRESS

requires 2 skeins

F R O M T H E E D I TO R • 3
 pa t t e r n
downloads

Click on the links on the following page to download the

patterns for issue 106 direct to your computer or tablet.

4 • I N S P I R AT I O N S
1 1 1
cm cm cm
2 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 106 2 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 106 2 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 106

1 1 1
3 3 3

inches

inches

inches
4 4 4
EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS
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3 3 3
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14 14 14
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18 pomegranate 7 18 pane di casa 7 18 coquette 7
19 19 19
BY MA R GA R ET LEE BY ELISA BETTA SF OR ZA BY RE NE TTE KU MM
20 20 20
For colour photos and full details, see pages 14–21.
8 For colour photos and full details, see pages 24 –31.
8 For colour photos and fu l details, see pages 32–39.
8
P R I N T I N G G UI DE LI N E S / PAG E S CA LI N G P R IN TIN G G UIDE LINE S / PAG E SCAL IN G P R INTING GU IDEL I NE S / PAGE S CAL ING
Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”, Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”, Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”,
in the print dialogue box. Refer to the measurements along each edge to ensure you in the print dialogue box. Refer to the measurements along each edge to ensure you in the print dialogue box. Refer to the measurements along each edge to ensure you
have printed correctly. have printed correctly. have printed correctly.

www.inspirationsstudios.com www.inspirationsstudios.com www.inspirationsstudios.com

Inspirations issue 106 · Copyright reserved ©2020 Inspirations Studios
This design is for private use only.
Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken
reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the
contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control
over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward results.
Inspirations issue 106 · Copyright reserved ©2020 Inspirations Studios
This design is for private use only.
Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken
reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the
contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control
over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward results.
Inspirations issue 106 · Copyright reserved ©2020 Inspirations Studios
This design is for private use only.
Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken
reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the
contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control
over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward results.

Pomegranate Pane di Casa Coquette

1 1
1 cm cm
cm
2 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 106 2 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 106
2 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 106
1 1
1 3 3

inches

inches
3
inches

4 4
4 EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS
EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS
5 2 5 2
5 2
6 6
6
7 7
7 3 3
3 8 8
8
9 9
9
10 4 10 4
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11
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13 5 13 5
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15 6 15 6
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16
17 17
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18 d e l i c at e s t i t c h e s 7 18 robin hood 7 18 field of flowers 7
19 19
19 BY KAY AN D M ICH AEL D EN NIS BY DEBO R AH LOVE
BY D I K I R C HN E R 20 20
20 For colour photos and full details, see pages 48 –55.
8 For colour photos and full details, see pages 56–65.
8
For colour photos and full details, see pages 40–47.
8
P R IN TIN G G UIDE LINE S / PAG E SCAL IN G P R INTING GU IDEL I NE S / PAGE S CAL ING
P R I N T I N G G UI DE LI N E S / PAG E S CA LI N G
Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”, Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”,
Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”, in the print dialogue box. Refer to the measurements along each edge to ensure you in the print dialogue box. Refer to the measurements along each edge to ensure you
in the print dialogue box. Refer to the measurements along each edge to ensure you have printed correctly. have printed correctly.
have printed correctly.

www.inspirationsstudios.com
Inspirations issue 106 · Copyright reserved ©2020 Inspirations Studios
This design is for private use only.
Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken
reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the
contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control
over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward results.
www.inspirationsstudios.com
Inspirations issue 106 · Copyright reserved ©2020 Inspirations Studios
This design is for private use only.
Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken
reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the
contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control
over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward results.
www.inspirationsstudios.com
Inspirations issue 106 · Copyright reserved ©2020 Inspirations Studios
This design is for private use only.
Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken
reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the
contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control
over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward results.

Delicate Stitches Robin Hood Field of Flowers

1 1
cm cm
2 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 106 2 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 106

1 1
3 3
inches

inches

4 4
EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS
5 2 5 2
6 6
7 7
3 3
8 8
9 9
10 4 10 4
11 11
12 12
13 5 13 5

14 14
15 6 15 6
16 16
17 17
18 into the forest 7 18 dawn chorus 7
19 19
BY ANA M ALLAH BY ANNA S C OT T
20 20
For colour photos and full details, see pages 66–75.
8 For colour photos and full details, see pages 78–85.
8
P R IN TIN G G UID ELIN ES / PAG E S CAL ING P R INTI NG GU IDE LI NE S / PAGE SCAL ING
Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”, Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”,
in the print dialogue box. Refer to the measurements along each edge to ensure you in the print dialogue box. Refer to the measurements along each edge to ensure you
have printed correctly. have printed correctly.

www.inspirationsstudios.com
Inspirations issue 106 · Copyright reserved ©2020 Inspirations Studios
This design is for private use only.
Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken
reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the
contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control
over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward results.
www.inspirationsstudios.com
Inspirations issue 106 · Copyright reserved ©2020 Inspirations Studios
This design is for private use only.
Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken
reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warrant es of he
contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control
over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward resu ts

Into the Forest Dawn Chorus

PAT T E R N D O W N LO A D S • 5

W O R L D O F T E X T I L E S
Imagine
You may say I’m a dreamer
But I’m not the only one
I hope someday you’ll join us
And the world will be as one
i m a g i n e | john lennon
Stor y b y Ansie van der Walt
6 • I N S P I R AT I O N S
Yoshimasa Takakura, a third-
generation kimono maker from
Kurume, a small city in southern
Japan, dreams of using his cra
to create harmony and a world
as one.
The Imagine One World Kimono Project
was launched in 2014 with the aim to
create 206 unique kimonos – one for
each country in the world. The idea was
born while Takakura-san participated
in a fashion show in Paris in 2013.
His kimono, fusing images of flowers
by 18th century Japanese painter Ito
Jakuchu with art-nouveau designs, received praise and positive feedback
and he understood the ability of Japanese culture to respect others.
The future of the kimono is under threat. Not only do fewer people
wear kimonos today but the experienced artisans and kimono makers are
ageing and dying out. Very few young designers are taking up the art of
kimono making as the market is declining and they can’t see a future for
the craft.
Yoshimasa Takakura wants to reverse this trend. “I want people to be
proud of this heritage that was cultivated in this country. I hope to encourage
everyone in Japan to preserve this art, not just now but fifty or even a
hundred years in the future.”
Inspired by the last Olympic Games held in Japan in 1964,
where women dressed in traditional kimonos performed the medal
presentations, Takakura’s ambition is to create kimonos representing
each country in the world to be worn during the opening ceremony of the
2020 Olympic Games in Tokyo.
In November 2014 Takakura-san held a small show in Tokyo where
he introduced the first six kimonos. He presented his idea to people in
Japan and overseas ranging from governments and corporations to the
public and the media, inviting them to become part of this challenge by
contributing funds and other resources. The Imagine One World Kimono
Project started gaining momentum.
Over the next few years Takakura-san scoured the country to find
masters of their craft. Kimono makers, designers, weavers and other
artisans offered their services and expertise. One of these was Kisaburo
Ogawa, a master of kenjo hataka-ori, a traditional style of silk weaving
based on Buddhist principles. It usually includes continuous stripes in
only five colours, creating a simple yet luxurious product.
Ogawa-san specialises in making obi sashes and is one of only ten
national living treasures. He was commissioned to design an obi for the
Canadian kimono. After long deliberations and research, he used the
colours of the Canadian flag and included refined designs to represent
Niagara Falls and the aurora borealis, or northern lights. “I kept the
foundation but created something new” Ogawa-san said. “I accepted the
challenge to move forward. I am really satisfied – it was worth making.”
“To propel culture forward it is important to do things you have never
experienced. By taking on something they have never done, artisans give
birth to new designs. Stepping up to the challenge also points them in a
new direction of styles and skills.” Yoshimasa Takakura believes that when
people of tradition look towards the future, it has deep and important
value for everyone involved in the kimono world.
The Indonesia kimono is a perfect example of how this project
breaks new ground in cultural co-operation, skill-transfer and design
development. Shigeo Okajima, president of one of the oldest kimono
companies in Japan was tasked with creating this masterpiece. Okajima-
san is known for his use of kyo-yuzen, a dyeing technique similar to batik
but using glue instead of wax for outlining the designs prior to painting.
 The production costs are the same for each kimono regardless
of the size of the country, and part of the process of creating
each piece is to get confirmation and support on the design from
ambassadors of each country.
Yoshimasa Takakura’s message to the models before they
went on stage at the halfway celebrations were simple: “The world
is filled with beautiful things, many of which appear in these kimonos.
When you go on stage, I’d like you to hold the wishes and hopes of
the people of these countries in your hearts. Joining hands at the end
of the show will be the moment the world unites. It is my dream, the
goal I am determined to reach.”
At the opening ceremony of the Olympic Games in Tokyo later
this year, the world will see 206 kimonos. They will represent
each country on earth. They will represent the dream of one man
who believes in his craft so dearly that he is willing to change the
world to save it. They will also represent artisans, craftspeople,
designers and makers from every country in the world, breaking
As the glue sits on top of the fabric, this style of dying usually only barriers and building bridges, using ancient techniques to create
uses soft colours to prevent ink bleeding. a future.
For this kimono, Okajima-san approached batik master Iman “Like sports, I believe that the art world has the power to
from the town of Pekalongan in Indonesia. Together they created transcend borders.”
a design incorporating the red and white colours of the Indonesian
flag, the multi-island geography of Indonesia and traditional
Javanese motifs. Iman and his team applied the wax. It’s usually
done on cotton and they had to adapt their technique to work on
kimono silk. “You constantly need to be careful about the condition
of the wax when you apply on silk.” The silk was then sent back to
Kyoto to be painted in the Japanese style. Here Okajima-san’s
team had their first opportunity to work with rich, dark colours
without the fear of ink-bleeding.
This collaboration allowed both artisans to break new ground,
to broaden their skill repertoire, and expand their way of thinking
about their own traditional craft. As Iman said, “this collaboration
opened a new world to me. I would like to keep on working with
Okajima-san.”
In 2018, four years after they started, the Imagine One World
Kimono Project reached their halfway mark with 100 kimonos
completed. A big reveal show was held in Tokyo to celebrate their
achievement but also to spread the word and gain more support
for the second half of the project. It took them four years to reach
halfway, but they only had two years left before the deadline of
the 2020 Olympics.
As the word spread around the world, more and more
designers came forward offering help and a willingness to become
involved. They also gained more support from individual countries
and businesses that were willing to provide skills, materials and Website: To see more of the kimonos, go to
financial support. https://piow.jp/ www.facebook.com/imagineoneworldkimonoproject/

WORLD OF TEXTILES • 7
 Stor y b y Ansie van der Walt

“I think the stories of people who are in the

shadows of society have more to teach us
about our world than the great and the good.
People who have had to struggle because of
political oppression, mental fragility, poverty
or disenfranchisement often have both
extraordinary strength and tenderness - the
stoicism to survive in physical and emotional
hardship and an empathy for those whose
journey through life has been difficult. Given
the opportunity to visually and texturally
express what they have experienced can result
in surprisingly poignant textiles.”

C O M M U N I T Y

T H R E A DS OF LIF E
Clare Hunter is a community artist,
curator and banner maker from Glasgow,
Scotland where in 1986, she set up
NeedleWorks. Here she works with people
from all ages and cultures, using sewing
as a way to celebrate local history,
document community experiences and
share personal concerns through the
creation of wall hangings and banners.
Clare’s stitching journey started with
her mother who taught her to embroider
as a young girl. “I loved the rhythm and
the feel of it in my hands. Throughout my
teenage years I carried on embroidering
but also mastered the sewing machine
and made most of my clothes from cheap
remnants.”
When Clare began working in theatre,
she helped to design and make the
costumes for these mostly cash-strapped
companies. Later, when she started
working as a community artist, it just
seemed natural to use her needlework
skills for projects ranging from puppetry
with children to creative workshops
with adults. “In the 1980s I went to a mass
demonstration at Greenham Common Peace
Camp and saw there how women were using
the fabrics from home – old sheets, tea
towels, the cast-off clothing of their children
– to create banners that emphasised their
role as protectors of family and community
and it made me more aware of the potential
of sewing as a social and political medium.”
In 1984, when Clare was asked to
organise a community project in England
to encourage local people to become
more involved with their May Day parade,
she decided on a banner-making project.
“It was the year of the Miners’ Strike and
I began, voluntarily, to make banners
for the striking miners. I realised that
banners offered a portable and powerful
form of public art where people, especially
those whose voices were rarely heard,
could express their concerns, share their
histories, celebrate their sense of place
and possibility.”
Through NeedleWorks, Clare learned
that giving people the opportunity to
visually and texturally express what
they have experienced can result in
surprisingly poignant textiles. “One only
has to look at the early panels made to
commemorate those who died of AIDS in
early 1980s America as part of the Names
Memorial Project to see how, in the hands of
mainly men unused to sewing, arresting and
imaginative ways were found to animate
loved ones in cloth and thread. Similarly,
during Pinochet’s regime in Chile, it was
the poorest of women in the shanty towns
who recycled fabric to create small sewn
documentaries telling of their country’s
terror and deprivation. Making patchwork
pictures, stitched images of loss, they
smuggled it out of their silenced country to
alert the world to what was happening.”
Clare’s book Threads of Life – A History
of the World Through the Eye of a Needle,
published in 2019 (see review on pg. 8),
is a narrative of the role needlework,

8 • I N S P I R AT I O N S
sewing, embroidery and textiles have
played in political and cultural events
around the world and through the ages.
Over the centuries the status and
economic value of women’s needlework
became demoted until it was seen as
something irrelevant to society, merely
a form of female decorative diversion. In
writing Threads of Life, Clare unearthed
many examples, in every century, of
people – men as well as women - sewing
textiles of social meaning. “The rich cultural
language expressed through needlework of
so many communities – especially those who
have been oppressed or enslaved, and the
language of women without the means to
write down their thoughts and experiences -
has been wilfully eroded by those who have
chosen to silence them.”
Clare found that in countries which
suffered social and political loss, refugees
and women lacking social freedom
are taking up sewing as a way to make
an income and gain a modicum of
independence, to have a voice. It is these
women who are changing the status
of needlework by demonstrating how
important it and its traditions can be to a
community’s well-being.
“As people become more conscious
of our need to look after our world there
is an increasing use of recycled fabrics
as a political act, and as people resist
the technological push to turn us into
algorithms, they are expressing their
individuality and ingenuity through
crafting clothes and sewn gifts which are
unique, which take time to make, which
speak of their hearts as well as their heads
and hands.”
Banner making is still one of
NeedleWorks’ main objectives. “It is a
collective way of being distinct about
who you are and what you stand for. They
are proclamations of solidarity and care.
Designing a banner is a group affair.”
Clare sits down with a group of
people and they talk about how best to
encapsulate their collective identity and
purpose: how best to capture these in the
colours, images and slogans they choose.
If the banner is to be taken on rallies, as
opposed to hung on a wall, the design has
to allow an onlooker to take in its meaning
at a glance as the banner passes by. Too
much clutter and its message will be lost.
Once the group’s identity and concerns
have been distilled into a simple visual
statement, they gather the materials and
start to trace and cut out the lettering and
the different images.
“The good thing about appliqué, the
technique I predominantly use, is that
even those who have never sewn before or
don’t want to sew, can participate in the
banner-making because often the most
labour-intensive work is in the tracing and
cutting out. Once this is done, everything
is tacked down by the group and then I,
or someone in the group who is good at
machine-sewing, sews it together. There
might also be more embroidered detail done
during or afterwards by the group with
individuals taking responsibility for specific
pieces. What is important is that the process
is sociable and rewarding, accessible and
inclusive. When groups see their handiwork
being admired by others they are always
surprised by their own capabilities and that
strengthens their confidence and sense of
worth.”
Whether at work as a community
artist, or working on her next research
project, textiles and needlework are
always at the centre of Clare’s life. “Sewing
is part of who I am. I am not a textile artist,
so I don’t exhibit my own work. While I do
work to commission the design evolves as a
collective act, and with community textiles.
I am there as a creative translator to help
a community effectively transmit what
matters to them in fabric and thread. I would
like to think that my book Threads of Life
is my artistic contribution to the world of
needlework and that, through my creative
writing, I have managed to convey the value
I put on sewing as a way to voice my own
humanity and the humanity of others.”
> Clare’s website: www.sewingmatters.co.uk
CO M M U N I T Y • 9
 C U T T I N G
BETWEEN THE COVERS
Threads of Life–
A History of the World Through
the Eye of a Needle
Clare Hunter | Sceptre 2019 | Soft Cover 306pg
ISBN 978-1-473-68792-9 | RRP $32.99
A needlework book without pictures may seem an unusual
and unappealing idea but this engrossing paperback is
so richly illustrated with wonderful stories that you will
hardly notice.
Clare Hunter has spent
much of her life deeply
immersed in textiles and
her community, helping
people express social and
political concerns through
banners and wall hangings.
Recognising the power of
stitch to give voice to those
who would otherwise be
unheard and the value of
needlework in recording
historical events, both large
and small, Clare has gathered
a fascinating collection of tales from around the world
and across time.
Collected in chapters with titles such as Captivity,
Identity, Connection, Protest, Loss and Community,
these stories reveal the ways that fabric and stitch can
and have been used as a vital tool by individuals and
groups to commemorate, celebrate, record, sustain,
protect and mourn. Reading through the pages is an
emotional journey and Clare provides a unique insight
into events, some, with worldwide impact, others
extremely intimate and personal, and their human
responses. There are the early 20th century banners,
richly appliquéd and embroidered, carried by suffragettes
rallying to gain the vote for women, the small, white
handkerchief embroidered with the seven names of
young girls abducted to serve as ‘comfort women’ for
Japanese officers during the Second World War, and
the billet books containing scraps of fabric and other
mementos left with each child by despairing mothers at
the London Foundling Hospital in the 18th century.
There is profound sadness and anguish in many of
the stories but there are also tales of beauty, success,
exquisite skill, dedication and joy, each one carefully
and skillfully wrapped in its historical context. All
give support to the power of needle and thread and
the innate, human need to tell our story, not with the
geographical restrictions of words but the universal
language of stitch.
This is a fabulous book, well researched and
beautifully written, that is an absolute joy to read.
10 • I N S P I R AT I O N S
E D G E
In a Wheat Field
Elisabetta Sforza | Self-published 2019
Soft Cover 32pg | ISBN 978-88-943526-1-0 | RRP €12.00
Sometimes, you just want to stitch something pretty and uncomplicated to
embellish a gift or an item for your home.
Elisabetta Sforza has taken a handful of
stranded cottons and textured stitches
to embroider a dream of summer
wildflowers in a wheat field into her
latest floral alphabet. The designs include
golden stalks of wheat, with bold, red
poppies, delicate blue cornflowers and
purple bellflowers, clusters of white
daisies and blue trailing ribbons.
Although the motifs can be worked
alone, they are enchanting worked in
combination for beautifully embroidered
letters, garlands, hearts or circlets. Each
of these can be found as an embroidery
design in the back of the book, with
placement for the motifs indicated in each line drawing. The letters are
all uppercase and 11cm (4⅜") high.
In the front of the book, each motif is introduced with a line
drawing along with instructions, in Italian and English, for the order
of stitching, illustrated by photographs of stitched samples. DMC
stranded cotton has been used throughout and the colours for each
motif are given. Especially helpful are the photographs of a letter ‘E’ in
progress throughout the pages, providing an excellent guide to building
up a letter using the wheat field theme. To begin, ears of wheat are
embroidered using bullion
knots. Poppies are added
with blanket stitch for
background petals and
cast-on stitch to raise
petals from the surface.
Needlewoven picots
give dimension to the
cornflowers which
come next, followed by
bellflowers using bullions
and padded satin stitch
along with fly stitch leaves.
Finally, bullion loop daisies are added, and French knots are scattered
decoratively to complete the design. The gorgeous result will have you
imagining all the ways you can make use of such delightful stitching.
This book can be ordered from Elisabetta:
elisabettaricami@gmail.com
Elisabetta has To be in the running to win a copy send your name and
generously address by email to:
donated three susan@inspirationsstudios.com or by mail to:
copies of her In A Wheat Field Book Competition, P.O. Box 10177
book. Adelaide Business Hub, 5000 South Australia
Entries close May 31st, 2020
 I N P R O F I L E

Words in
Stitch
“As children, we were good at
making our own toys. We made our
own dioramas out of cardboard boxes
pretending that they were dollhouses.
That sort of resourcefulness, using
what is available, has been a constant
in our work.”

Sydney-based twins and design duo,

Maricor and Maricar Manalo were born
in the Philippines but have called Australia
home since they were two years old.
“We had this crazy 1970s house, where there
was different wallpaper in every room. The
carpet was a crazy floral mishmash. We used
to look at all the patterns and tried to see
different things. It made us visualise things a
bit differently – we saw things in patterns.”

They both completed a Visual

Communication degree at the University
of Technology in Sydney, studying graphic
design, animation, photography and
illustration. At this stage they had no
knowledge or experience of embroidery
and had no idea that this would be their
future.

S T O R Y B Y A N S I E VA N D E R WA LT

I N P R O F I L E • 11
 It was early in their career as graphic
designers that they had the opportunity
to work on a music video for the band
Architecture in Helsinki for their new
song Like it or not. Their boss at the time
suggested that they make an animated
video using embroidered graphics. They
jumped at the challenge and did a self-
taught crash course in embroidery using
books and YouTube videos. “We learned
how to embroider while we were designing
the characters! The quick turnaround for
the video almost destroyed us and we didn’t
pick up a needle and thread for the next
three years.”
It was only when the two sisters
started their own studio, Maricor/Maricar,
that they began focusing on handcrafted
and bespoke embroidered designs and
illustrations for the publishing and
advertising world. They were already
exploring lines and patterns in their
graphic work and could now combine
it with their other interest, lettering and
typography, executed in needle
and thread.
12 • I N S P I R AT I O N S
Their careers started in the digital age, All Maricor and Maricar’s work starts
but Maricor and Maricar were the ones out as sketches and, depending on the
in the office still playing with the copier, style, they will either vectorise it or use
photocopying stuff and ripping things up. watercolours to create the gradient
“We illustrate, we use paintbrush and ink. colour mashups. The design is then
That is our background – a love of analogue.” traced onto the fabric, usually cotton
“Because we were self-taught, we were plain weave although they have used
okay with making mistakes and not linen twill and denim for special projects.
following the perfect tec ue.” According “Our favourite stage of the process is
to Maricor, it is the playfulness of choosing the matching cotton thread.”
embroidery that first inspired them to
work with it; now it is the colour and
tactility that motivates them to keep on
experimenting and trying out new ideas
and designs.
They started experim menting
with embroidered typography and
lettering, a personal favo ourite.
Their first commercially
commissioned work wass
the words Go Play in their
signature patterned style for
ESPN Magazine. It captured
the sort of joyful energy
and whimsy that they lik ke to
communicate in their wo ork.
 These days, the sisters
each work at their own home
office, fitting projects and
stitching around their young
families’ needs. “We work
remotely but share everything
through apps like Google
Drive and we are constantly
in contact, asking advice and
feedback on designs. We typically both
provide initial concepts to present to the
client. Whoever’s design gets chosen then
becomes the lead for the project and will
execute the embroidery. For bigger projects
with multiple elements, we’ll split the
work. Only once or twice have we worked
simultaneously on a large piece, but there’s
too much risk of rogue needles in the eye!”
Maricor and Maricar have been
doing everything together since they
were in the womb. They went to the
same school, studied the same course at
university, and entered the workforce at
the same agency. Now they are business
and creative partners with their own
distinct style of commercial design
work. “We had each other as
cheerleaders when we needed
a reminder not to give up,”
Maricar says. “In terms of
working well together, I think
we would have always ended
up working side by side. We
joke that we’ve been joined at
the hip, metaphorical Siamese
twins. Our different strengths complement
each other but we also have a shorthand
way of discussing ideas, we get each other’s
references and riff off each other.”
It has been a dream since high school
to be book cover designers, so working
on these projects as illustrators and
embroiderers brings the twins great joy.
One of these dream projects was the
cover for Clare Hunter’s book Threads
of Life (see pg. 10). “We were approached
by book designer Will Speed to create the
cover image. Will gave us a pretty clear
brief to work from as he had in mind a globe
motif inspired by pieces from our portfolio
that are based on patterns and colourful
stitches. The idea was to incorporate little
icons into the pattern that related to the
contents of the book. Will liaised with
the author on which icons she would like
featured.”
Their commercial clients include,
British Council Australia, Hong Kong
Airport, TOMS Shoes and magazines,
Wired UK, Esquire UK, ESPN and GOOD
and they are currently working on a
collaboration with a home furnishing
brand to be launched later in 2020. When
they are not working on commissions,
the sisters enjoy working on personal
projects, trying out new stitches and
techniques and just having fun.
The two little girls who saw
imaginary worlds in carpet patterns are
now established commercial designers,
yet they don’t refer to themselves as
illustrators, designers or artists, but
rather as makers of things. Just like their
childhood dioramas, they used what
they had and built a career that can only
belong to them.
> Website: https://maricormaricar.com/
I N P R O F I L E • 13
14 • I N S P I R AT I O N S
 Pomegranate
This glowing, lifelike pomegranate is worked
using a Chinese technique referred to as
Random Stitch Embroidery.

The Chinese name, Luan Zhen Xiu, translates to ‘chaotic

needle embroidery’, but the straight stitches in different
colours, crossed and layered in a planned, strategic and
structured manner, are worked in a way contrary to that
implied by the name. Visual texture of any nature can be
created, and the desired colour shading is produced with
carefully considered layers of stitching.

before you this design

begin uses
We recommend that you Straight stitch
read the complete article
See the pattern download
for the embroidery design The finished design
All embroidery is worked measures
with ONE strand 6cm x 5cm wide
of thread unless specified (2 3/8" x 2").

technique r a n d o m s t i t c h e m b r o i d e r y | by M a r g a r e t L e e of Australia
 I

requirements A embroidery
J Refer to the close-up photograph for colour placement.
Fabric
20cm (8") square of ivory B Use the no. 12 crewel needle for all embroidery.
silk taffeta All embroidery is worked in the frame.
K
Supplies
C
Slate frame to fit fabric
Lacing thread L
R A NDOM STITCH EMBROIDERY
Tracing paper D The following is a summary of the key features of this style
Fine black pen M of embroidery:
0.3mm HB mechanical • The embroidery is usually multi-coloured.
E
pencil
• The embroidery can be stitched in single or multiple
Needles N
layers.
No. 12 crewel F • Different coloured threads may be used in combination
Threads in the same needle. These are strategically applied and
O
Chinese filament silk subject to application guidelines.
A = salmon G
• Colour of the two crossed stitches can be different.
B = vy lt mauve P This is usually deliberate in areas where colours
C = lt chocolate
H
transition.
D = chocolate
E = vy dk scarlet • Stitches are worked in sets of pairs or triplets with
F = dk scarlet the occasional single stitch where necessary to realign
G = scarlet L = lt rose pink contours and relative stitch structure overall. All
H = lt scarlet M = vy lt rose pink stitches within each set of pairs or triplets cross one
I = vy lt scarlet N = lt terracotta another. *For this project only pairs are used.
J = ultra vy lt scarlet O = terracotta
• While stitches cross one another, care must be taken
K = rose pink P = dk terracotta
that they do not produce a netlike effect or line up in
any way.
• Stitch lengths are varied and determined by colour
preparation for embroidery requirements for the completed project.
• Perpendicular crossed stitches should be avoided.
P R E PA R I NG T H E FA B R IC
• As each layer is completed, stitches of the next layer
Neaten the edges of the silk with a machine zigzag or are worked in the same manner and will cross those of
overlock stitch to prevent fraying. the previous layer. Stitches must never share needle
holes.
TR A NSFER R ING THE DESIG N
• Crossing a stitch over a cross should be avoided.
Using the black pen, trace the pomegranate shape, contour
lines and placement marks onto the tracing paper. Centre • The direction of the random stitches contributes to the
the tracing under the silk, aligning the placement marks form and shape of design elements so where definite
with the straight grain and lightly trace the design and contour lines apply, these must be followed.
contour lines with the mechanical pencil. • Colour choices must present a logical and harmonious
Mount the silk in the frame ensuring that the surface is blend.
drum tight. • The background colour of the fabric may show through
between stitches depending on the interpretation of
the design by the embroiderer.

TO-ST
Y-
D

IT
REA

CH KIT
•

A
P

GE 93 •

16 • I N S P I R AT I O N S
• Threads can be thick or thin and stitches can be dense
or spaced depending on the requirements of the image
and how stitching progresses. An even, balanced
outcome must be presented. If this is not achieved, the
embroidery may look as if the stitches have been piled
on indiscriminately or result in odd lines or colours that
distort movement and balance.
note: When used in relation to random stitch, the
terms dense and density refer to the spacing between
the stitches rather than the layers of stitches.
• With each layer the thread thickness is generally
reduced. This allows the colours of the first layer to
show through and the finer threads facilitate both the
blending of colours between layers and the creation of
a smooth, even surface layer of stitches as the gaps are
closed. Exceptions can apply.
PR AC TIC A L G UIDEL INES FOR R A N DOM STI TCH EM BROIDE RY
As with all stitch techniques of Chinese embroidery there are
guidelines which must be followed and concepts of which the
embroiderer must constantly be aware.
Preparation
1. Before working a stitch, the first step should be the
analysis of the image to be worked and applicable notes
made of the following:
• Mood and characteristic of the image and overall
colour mood.
• Design elements and characteristics of their form
• Design elements and any special growth or design
lines or patterns.
• Perspective of design elements.
• Any other considerations.
This embroidery is worked from m a photograph of a
pomegranate by Oleksandr Perepelytsia. Firstly, let us
analyse the character of the im
mage
and other pertinent points thaat
will influence decisions that will
w be
made for this embroidery.
• The pomegranate is almo ost
round in shape and distin nctive
areas of light and shade must
be used to create shape and
form. The light source iss from
the top right therefore there is
a shadow cast at the baase that
extends to the left.
• There is a prominent ccalyx
e dried
and nestled within are
stamens. The calyx allludes to
the toughness of the outer skin.
• Thread colours generally begin with the darkest in the
base layer, becoming lighter as the layers progress.
*Exceptions can apply and in the pomegranate design
the variegated colours are produced by using a lighter
colour as the undertone.
• Stitching progresses in a planned and systematic
manner based on an analysis of the overall design and its
elements.
The success of this style of embroidery can be summarized
into three core fundamentals that must be fully understood
and well implemented, individually and collectively. Success
is dependent on how well the embroiderer:
1. Understands and executes the individual random
stitches relative to the design and each other.
2. Combines and organises colours for each of the layers to
achieve a harmonious blending as well as good artistic
form, dimension and perspective.
3. Understands and implements the principles of thread
thickness, length and density.
• The skin is tough and leathery in texture yet shiny.
• The colouring of pomegranates varies but is primarily
yellow overlaid with shades varying from light to
deep pink through to rich red, even purple. The
colours combine to create a variegated effect.
• The image used exhibits an orange-red hue with a
relatively deep undertone.
2. Determine a colour scheme and select colours
• When modifying colours in the original image, the
colour choices must blend logically and harmoniously
or the embroidery will end up looking flat as the form
or dimension of the design element is disrupted by
the disharmony of colours
• Margaret has chosen a different shade of red to that
shown in the photograph. Any changes of colour
of one element necessitate changing other colours
to mai ain co armony. Sixteen colours were
ect:
chosen to work this proje
> Scarlet red in four graduated mid-
tones plus one very light and very
dark tone (E, F, G, H, I and J).
> Three graduated pink tones with the
darkest pink similar in value to the
lightest mid-tone red (K, L and M).
> Three graduated orange-yellow
colours with the lightest similar in
value to the lightest mid-tone red
(N, O and P).
> A shade of salmon similar in value
to the middle shade of pink (A).
> Two shades of brown (C and D).
> Light mauve (B).
P O M E G R A N AT E • 17
 Planning and selecting threads
1. Decisions regarding thread thickness and density of
stitching are essential considerations and the two are
always discussed together as they are interdependent.
These two elements must be appropriate to one another
for each layer. If the balance is incorrect the embroidery
will lose its smoothness and have uneven areas of
‘potholes’ or ‘pile-ups’.
2. The thickness of thread used will be totally dependent
on the requirements of the image and can range from
16-count to ½-count. There may be occasions when
threads fall outside these parameters e.g. in portraits
thread size may go down to ¼-count and in large
landscapes may exceed 16-count.

P R E PA R I NG T H R E A D
Each whole silk thread consists of two clusters of silk filaments softly twisted together. Each thread is deemed to be 16-count and
each cluster 8-count. The clusters can be further divided into progressively smaller counts. For example, for a 4-count thread, divide
the cluster in half and for a 2-count thread, divide the cluster into quarters, and so forth.

1. Identify the two clusters from 2. Separate the clusters. 3. Hold the end of one cluster and 4. You now have two 8-count
one end of the thread. pull it upwards, away from the clusters ready for use.
thread.

DI V IDING THE 8 - COUN T CLUSTER IN TO SM ALLER COUN TS

1-count

2-count

3-count

4-count
1. Spread the silk counts at one 2. Using the fingers of your right
end of the thread and identify the hand, spread the divided threads.
5-count number of counts required. At the same time pull the other end
of the thread between thumb and
third finger of your left hand and,
under tension, roll the thread in a
6-count
clockwise direction. The counts of
thread will continue to separate.
3. Use the little finger of your left
hand to assist with the separation
as you roll. While this may initially
feel awkward, a few practise runs
will set you on track. Continue to
separate down to lower counts as
required, in a similar fashion.

7-count

The thread counts given in the project

8-count instructions all relate to Chinese silk and this
table indicates the thickness of each count.
These threads are shown actual size and
16-count provide a guide to determining the correct
thread thickness if using an alternate thread.

18 • I N S P I R AT I O N S
Layering WOR K I NG PA I R E D S T I TC H E S
Three layers are usually worked but this can increase for more intricate 1. Point of crossing
and delicate images with multiple colour blends, or can be reduced for • Pairs of stitches can cross at any
small elements with minimal colour blends or for an open, wispy effect. point which will be determined
1. The first layer of stitching lays the foundation colours which should by colour and contour. A stronger
also establish areas of light and dark, setting the broad base colours. concentration of colour is created
2. The second layer modulates the colours in the first layer with nearer the crossing point.
different tones or lighter and/or darker tones to define form and add • The longer the stitches, the greater
dimension. If more layers are required, the additional ones continue amount of space is exposed from
this modulation process. the crossing point. This allows more
3. The last layer fine tunes the image with final touch-ups of colours and stitches to be introduced
highlights, accents and final colour modulation. into the space.
>In this project either three or two layers of stitching are worked. 2. Angle of crossing

> Thread sizes for the three layers are either 5, 3 and 2-counts or • The angle of stitch crossing will
4, 3 and 2-counts for each successive layer. determine the space between
stitches. The more acute the angle,
> In areas where two layers are worked, 4 and 2-counts are used.
the smaller the space.

P O M E G R A N AT E • 19
 • The smaller the space between two stitches, the
more colour will be deposited in the position.
• The angle of crossing will also affect movement.
Angles closer to 90 degrees will create less
movement than stitches that cross at a more acute
angle.
3. Direction of stitches
The orientation of the stitched pairs has a significant
influence on both form and colour and is used to
advantage to enhance the aesthetic quality of the
embroidery. It is useful to note that the orientation of
stitches is more evident when the angle of crossing is
more acute. These stitches give stronger colours and are
most suitable for designs with clear contours. When the
angle of crossing is less acute the stitches appear less
directional.
The pairs of stitches can be vertical, horizontal, diagonal,
radiating or converging.

Horizontal random stitch

The angles of the crossing and length of individual
stitches can be varied and the stitches are oriented
across the axis of the design element. This
stitch creates strong movement lines within an
embroidery.

Diagonal random stitch

The angles of the
crossing and length of
Radiating and converging random stitch
individual stitches can
Vertical random stitch be varied and stitches The angles of these stitches are generally
The orientation of are oriented diagonally more acute and the orientation of the
the stitch is vertical across the axis of the stitches is determined by the design element.
to the design. The design element. This The length of individual stitches can be
angles of the stitch stitch creates strong varied.
crossing are usually movement lines within
more acute. an embroidery.

OR DE R OF WOR K
Layer One
The stitches should follow the contours of the shape and
be 6mm–9mm (1/4" – 3/8") long, the length being determined
by the tightness of the curve. The variegated colour of the
pomegranate skin dictates that the crossing angle of the
stitches cannot be too acute in order for the variegation of
the colours to emerge.
M ain body
5-count threads
Work the lightest areas using L. Stitch the medium pink areas
with K and I, radiating the stitches from the base of the calyx.
Add in the yellow and pink undertones using A, L and N. Use
H and P to blend from the light colours and fill the remaining
area with G and F.
C aly x throat
5-count threads in the area that the calyx joins the main body and
4-count threads towards the tips.

20 • I N S P I R AT I O N S
 Fill the throat, blending from the darker area on the left to
the lighter area on the right using G, H and K, working the
stitches more closely than the body and radiating where the
base of the throat meets the body.
Inner c aly x and tips
4-count threads unless specified.
Where the outer skin joins the throat of the calyx use N at
the tip and I to blend the colours at the throat. Work the
inner section blending from N at the tips to A then H and G at
the centre. Work the edges of the calyx with F using 3-count.
Shadow
3-count threads
Beginning at the base of the pomegranate with the darkest
colour and shading to the lightest, lay the foundation for the
shadow using D, L and B.
Layer 1
Layer two
This layer modulates the colours established in layer one.
• The pairs of crossed stitches fit between the layer one
stitches and should only leave enough space for the
subsequent layer.
• Stitches follow the same contour.
• Legs of the crosses may cross legs of the previous layer
but avoid crossing a cross with a cross.
Colour nuances are created through careful colour selection.
All colours are used with the exception of B, E and J. Colours
can be intensified by applying darker values or lightened by
applying lighter values.
Work the main body and the calyx throat with 3-count
threads. The tips and edges of the calyx are completed with
the second layer and no spaces should remain. Work the base
shadow with C and D, taking care not to work too far into the
mauve stitches.
Layer three
This layer completes the final shading and highlights and all
Layer 2 colours are used.
2-count threads are used unless specified.
• Stitch length is marginally shorter and crosses are wider
where the undertone of the variegation shows through.
• Add lighter colours to enhance highlights and darker
colours to deepen shadows.
• The variegated colouring of the pomegranate is refined.
The space between the legs of the crossed pairs, the
stitch angle and stitch placement are central to this. The
colouring is enhanced by using darker threads that will
isolate the undertone colours within the spaces between
the stitches.
Once the main body is complete, work partial outlines on the
calyx tips using 1-count of G or F. Using 3-count of E, stitch a
small circle of stamens in a diagonal direction with two cross
stitches. Add a second layer using 2-count of O, working in
the same direction to complete each stamen. Complete the
base shadow using 2-count threads of H and I, extending the
outer limit of the shadow, if necessary, with 1-count of B to
fade the shadow into the background fabric.

Layer 3

P O M E G R A N AT E • 21
Q | Stitched or Painted?
A | Random Stitch Embroidery

Learn the most

remarkable techniques
in Margaret Lee’s
Brand New Book
‘Chinese Embroidery 2
Intermediate Level’

the art of
chinese
embroidery
2
intermediate level

Now available:
inspirationsstudios.com margaret lee
 Australia’s specialist
needlework shop
Your One Stop Shop for All Hand Embroidery
Needs including Advice and Classes.
 122 MCILWRAITH AVE, NORMAN PARK QLD, 417 0
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 www.allthreads.com.au  +61 (07) 3398 5540 Fabric Needlework Supplies Worldwide Shipping
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 @allthreadsembroidery  allthreadsembroidery

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I N S P I R AT I O N S • 23
 Pane
e di Casα

24 • I N S P I R AT I O N S
 Few things are more enticing than a beautiful loaf,
fresh from the oven, crunchy and golden. Store your daily bread, or anything else you desire, in this
stylish bag, embellished with golden stalks of wheat, vibrant poppies and bright blue cornflowers.
Worked onto natural linen with stranded cotton threads, the bag is stitched in one piece, ingeniously
joined at the sides with bullion knots and secured at the upper edge with two-colour twisted cords.

technique s u r f a c e e m b r o i d e r y | by E l i s a b e t t a Sf o r z a of Italy
 before you
begin
We recommend that you read
the complete article
See the pattern download for
the embroidery designs
All embroidery is worked with
TWO strands of thread
unless specified
this design
uses
Bullion knot | Bullion loop
Cast-on stitch | Fly stitch
Four-sided stitch
French knot
Long and short blanket stitch
Needlewoven picot
Padded satin stitch
Stem stitch | Straight stitch
The finished design
measures 35.5cm x 24cm
wide (14" x 9 1/2").
TO-ST
Y-
D
IT
REA
CH KIT
•
A
P
GE 93 •
26 • I N S P I R AT I O N S
requirements
Fabric
80cm x 30cm wide (31" x 12")
piece of greggio (natural)
Graziano linen
Supplies
18cm (7") embroidery hoop
Sewing thread to match preparation for embroidery
fabric
Long glass-head pin P R E PA R I NG T H E FA B R IC
Tracing paper Measure out and mark a 74cm x 28cm wide (29 ⅛" x 11")
rectangle on the linen. Draw a thread along each side at the
Fine black pen
marked point and trim away the excess fabric. Measure in
Heat-soluble fabric marker
Needles
2cm (¾") from each side and withdraw two threads. Count in
six threads along each side and withdraw two threads.
No. 20 chenille
No. 8 crewel WOR K I NG T HE HE M
No. 8 milliner’s Using A, work four-sided stitch over six threads along the
No. 10 sharp withdrawn thread lines. Measure in 1cm (⅜") from the cut
No. 26 tapestry edge and withdraw a thread along each side. Cut along the
Threads withdrawn thread lines on each side.
DMC no. 25 broder spécial
A = 842 vy lt beige-brown
note: When working the rolled hem, keep a small
DMC stranded cotton
cup with wet cotton wool at hand.
B = 21 lt alizarin
C = 22 alizarin
D = 370 med verdigris
E = 580 dk moss green To form the rolled hem, moisten the fingers of your non-
F = 680 dk old gold dominant hand and rub the fabric to the wrong side until it
G = 931 med antique blue curls into a firm roll. Work a small section at a time. Slipstitch
H = 932 lt antique blue the hem in place close to the edge of the four-sided stitch
I = 3799 vy dk pewter grey with the matching sewing thread.

TR A NSFER R ING THE
DESIG NS
Fold the hemmed linen in half across
the width and finger press. Using
the sewing thread, work a line of
tacking along the foldline, taking care
to ensure that you stitch along the
grainline (diag 1).
Fold one half of the linen in half down
the length and finger press. Work a
line of tacking down the foldline in
the same manner as before. Press the
linen to remove the foldline. This will
be the front of the bag. On each short
edge of the linen, measure in 2cm (¾")
and mark with pins across the width.
Measure in a further 5cm (2") and
repeat. Work a line of tacking across
each marked line in the same manner
as before. The upper lines mark the placement of the centre
of the border wheat stems and the lower lines mark the
placement of the top of the cord holders.
Using the black pen, trace the large embroidery design and
placement marks onto tracing paper. Tape the tracing to
a lightbox or window. Position the linen over the tracing,
aligning the base of the blue bow with the tacked line and the
placement marks with the straight grain. Transfer the design
using the heat-soluble fabric marker.
Trace the wheat stalks onto tracing paper using the black
pen. Tape the tracing to a lightbox or window. Position one
short end of the linen over the tracing, aligning the upper
tacked line with the centre of the design. Transfer the design
with the heat-soluble fabric marker. Repeat for the remaining
short end. Remove all tacking except the row marking the
base foldline and the row marking the placement for the
cord holders.
embroidery
See pages 29–31 for step-by-step instructions for working a
bullion knot, cast-on stitch, needlewoven picot and two-colour
twisted cord.
Refer to the close-up photograph for colour placement.
Use the milliner’s needle for the bullion knots and loops,
cast-on stitch and French knots, the tapestry needle for the
four-sided stitch, the crewel needle for all other embroidery,
the chenille needle for working the tassels and the sharp for
working the rolled hem.
OR DE R OF WOR K
Large design
Poppies
Flowers
Using C, fill the background petals
with long and short blanket stitch,
angling the stitches towards the centre
of the base (diag 2).
Stitch the outer petals with cast-on stitch
using the same thread and working 10–16
cast-ons. Embroider each flower centre with
one two-wrap French knot using E and several
single-wrap French knots using I.
Buds
Stitch the upper buds with four cast-on stitches using B
and C, working 8–10 cast-ons in each stitch. Using the same
threads, work the lower buds with three cast-on stitches in
the same manner. Work a 10-wrap bullion knot on each side
at the base of each bud with E to form the calyx.
Stems and leaves
Using E, embroider the stems with stem stitch and the leaves
above the lower flowers with fly stitch.
Cornflowers
Flowers
Work the petals with needlewoven picots using G and H.
Stitch the top petals first with H then pin them back out
of the way and work the darker petals with G. Embroider a
calyx at the base of the petals with padded satin stitch using
D. Work the padding with straight stitches down the shape
then cover with satin stitch worked across the shape.
Stems
Using D work the stems with stem stitch.
PA N E D I C A S A • 27
 Whe at
Ears
Stitch each ear with two 8-wrap
bullion knots worked into the same
holes at each end and using F (diag 3).
Using the same thread work the connecting
stem and ear tips with straight stitch.
Stems
Work the stems to the upper stalks first with stem stitch and
F. Work the lower stalks in the same manner, stitching over
28 • I N S P I R AT I O N S
the poppy, cornflower and upper wheat stems where
necessary.
Bow
Using H, stitch the bow knot with three 22-wrap bullion knots,
side by side. Work each ribbon loop with a 65-wrap bullion loop.
If desired, catch the top of the loop down with a couching stitch
using one strand of the same thread.
Border design
Whe at
Work the stalks of wheat in the same manner as the large design.
Cord holders
Using the heat-soluble marker, measure
and mark the positions for six holders
along the tacked line on each short
edge of the linen. The holders should be
approximately 4cm (1½") apart. Using
H, work two, 22-wrap bullions in the
form of a cross at each marked position.
Remove the tacking.
Finishing
Press the embroidery, face down, into
a soft cloth. With wrong sides together
and matching the hemmed edges, fold
the linen in half along the remaining
tacked line. Pin together down each side.
At each side, measure down 9cm (3½")
from the upper edge and mark with a pin.
Beginning at this point, working at 2cm
(¾") intervals and using H, work 18-wrap
bullion knots through the outer edges
of the four-sided stitch to join the sides.
Run the thread through the rolled hem
between the knots.
To create each tassel, secure a length of
six strands of F or C in the hemmed edge.
Working through both edges of the hemmed
fabric, make four, 2.5cm (1") loops (diag 4).
Wind the thread firmly around the loops
close to the fabric to form the tassel neck diag 4
then secure the thread (diag 5).
Make a 1m (40") length of two-colour
twisted cord using 3m (3yd 10") of six
strands of F and C. Fold the cord in half and
mark the centre. Work a firm knot on each
side of the centre mark and cut the cord in
half. Beginning at one side, thread one half
of the cord through the holders around the
bag. Knot the cord together 3cm (1⅛") from
the ends. Trim 5mm (3/16") from the ends
and gently comb out the thread strands.
Repeat with the remaining piece of cord, diag 5
beginning on the second side of the bag.

BULLION K NOT

The distance from A to B is the length of the finished bullion knot.

To form a straight knot the number of wraps must cover this distance plus an extra 1–2 wraps.

A B

1 Bring the thread to the front

at A. Take the needle from B
to A and leave in the fabric.
2 Wrap the thread clockwise
around the needle. Pull the
wrap firmly down onto the
3 Work the required number
of wraps. Pack them down
evenly as you wrap.
4 Keeping tension on the
wraps with the left thumb,
ease the needle through the
fabric. fabric and wraps.

A A

B
B

5 Pull the thread, tugging it

gently away from you all the
way through.
6 Bring the thread towards
you and the knot will lay
back towards B.
7 To ensure all the wraps
are even, gently stroke
and manipulate them with
8 Take the thread to the back
at B and secure.

the needle while maintaining

tension on the thread.

PA N E D I C A S A • 29
 N E E DL E WOV E N
PICOT
Picots are ideal for creating
petals, sepals and small feathers.
This picot is only attached to the
fabric at the base. Ensure you
have enough thread to finish each
picot as it is difficult to join
in a new thread.
4 Take the thread around the
pin and begin weaving from
right to left: under, over, under.
8 Take the thread to the back
at the base of the picot and
secure. Remove the pin.
3 Rotate your finger towards
you, keeping the thread taut.
30 • I N S P I R AT I O N S
1 Insert a pin at the position
for the picot.
5 Pull the thread firmly up
against the pin. Weave from
left to right: over, under, over.
C A S T- O N S T I T C H
Similar in appearance to a
blanket stitch bar, cast-on
stitch can be used to form
dainty flowers in the same
way as bullion knots. This
stitch is best worked with a
milliner’s needle.
4 Place your finger tip on the
point of the needle.
A C B
2 Emerge at A at the base of
the picot. 3 Wrap the thread around the
pin, take it to the back at B
and emerge at C.
6 Continue weaving back and
forth in this manner, pushing
the thread towards the top of
7 Continue weaving until
the foundation threads are
completely covered and the
the picot as you make each pass. weaving is tightly packed.
A B
1 Bring the thread to the front
at A. Take the needle from B
to A, and leave in the fabric.
2 Slide one finger beneath
the thread as shown.
5 Slip the loop off your finger
and onto the needle and pull
tight.
6 Repeat for the required
number of cast-on stitches.
 B

7 Holding the cast-ons,

pull the needle through and
tighten the thread, allowing the
8 Pass the needle beneath the
stitch as shown. 9 Take the needle to the back
at B and secure.

stitch to flip to the right.

T WO - COLOU R T W IS T E D COR D
This method enables a cord with two distinct colours to be made.

1 Fold strands of one colour in half and

knot the ends together forming a loop.
Pass the strands of the second colour
2 Secure one end over a hook or a sewing
machine spool pin.

through the loop and knot the ends together.

3 Slide a wooden skewer or pencil behind

the opposite knotted end. Keeping the
threads taut, turn until the threads are very
tightly twisted.
4 Holding the twisted threads at the
point where the colours join, bring the
two knotted ends together and hold firmly,
ensuring that tension is maintained.

5 Holding the threads firmly 5cm (2")

above the colour join, release the end
and allow the threads to twist.
6 Continue to release short sections
of the threads until all of the cord is
twisted. Knot the ends together.

PA N E D I C A S A • 31
32 • I N S P I R AT I O N S
 Coquette
The tufted coquette (lophornus
ornatus), is a tiny, brightly coloured
hummingbird native to South America.

Measuring around only 7cm (2 ¾") in length, it can easily

be mistaken for a large bee when gathering nectar from
flowers. Its dazzlingly hued plumage, stunning crested
head and striking, spotted collar tufts are perfectly
captured in this superb study, worked with stranded
cotton and silk filament threads onto cotton percale.

technique t h r e a d p a i n t i n g | by R e n e t t e Ku m m of South Africa

 before you begin
We recommend that you read the complete article
See the pattern download for the embroidery design
All embroidery is worked with ONE strand of thread
unless specified
this design uses
Bullion knot | Long and short stitch | Satin stitch
Split stitch | Straight stitch
The finished design measures 9cm x 6.5cm wide (3 1/2" x 2 5/8").

requirements
Fabric Threads
35cm x 25cm wide DMC stranded cotton
(13¾" x 10") piece of pale A = 7 driftwood
grey cotton percale B = 28 med lt eggplant
C = 29 eggplant
35cm x 25cm wide
D = 30 med lt blueberry
(13¾" x 10") piece of
E = 31 blueberry
lightweight calico (muslin)
F = 32 dk blueberry
Supplies
G = 154 vy dk grape
Stretcher bars to fit fabric or H = 166 med chartreuse
15cm (6") embroidery hoop I = 310 black
Thumbtacks (stretcher bars) J = 319 dk pistachio green
K = 350 med coral
Tracing paper
L = 352 lt coral
Fine black pen
M = 433 med brown
Fine heat-soluble fabric N = 451 dk shell grey
marker O = 535 lt charcoal
Needles P = 550 vy dk violet
T = 645 vy dk beaver grey AO = 3856 vy lt mahogany
U = 676 lt old gold AP = 3866 stone
V = 720 dk orange spice Pipers Silks silk floss
W = 721 med orange spice AQ = peach
X = 722 lt orange spice AR = chilli
Y = 730 vy dk olive green AS = dark green
Z = 732 olive green AT = grass green
AA = 733 med olive green AU = grey
AB = 734 lt olive green
AV = olive
AC = 822 lt beige-grey AW = mulberry
AD = 830 dk golden olive AX = slate green
AE = 831 med golden olive AY = soft beige
AF = 833 lt golden olive AZ = white
AG = 834 vy lt golden olive
AH = 907 lt parrot green
AI = 977 lt golden brown
AJ = 3346 hunter green TO-ST
Y-
AK = 3371 black-brown

IT
REA

CH KIT
Q = 611 dk taupe AL = 3782 lt French grey
No. 10 crewel
AM = 3799 vy dk pewter grey

•
No. 12 crewel R = 612 med taupe A

P
GE 93 •
S = 644 med beige-grey AN = 3825 vy lt orange spice
No. 10 sharp

Note: Renette uses preparation for embroidery

the calico as a fabric
P R E PA R I NG T H E FA B R IC S
guard to keep her work
Neaten the raw edges of the cotton percale and calico with a
clean. Position the
machine zigzag or overlock stitch to prevent fraying.
calico over the cotton
percale and mount both TR A NSFER R ING THE DESIG N
fabrics in the hoop or Using the black pen, trace the embroidery design and
frame. Carefully cut placement marks onto the tracing paper. Using a lightbox or
away the calico from window, centre the cotton percale over the tracing, ensuring
the design area. the placement marks are aligned with the straight grain.
Transfer the design using the heat-soluble fabric marker.

embroidery
Refer to the close-up photograph for colour placement.
Use the no. 10 crewel needle for the stranded cotton, the no.
12 crewel for the silk floss and the no. 10 sharp for the bullion
knots.
All embroidery is worked in the frame or hoop.

34 • I N S P I R AT I O N S
 19
OR DE R OF WOR K 13
18
12
Wing 17 11
B, C, D, E, F, G, I and P 16 15
9
Outline the feathers with split stitch 14 10
using I. Fill each feather with long and 8
short stitch beginning with the lighter
shades and finishing with the darker, 7
working within the split stitch outline
as indicated (fig 1).
6

1
5
2

3
WING
4
4
TAIL
3
2
1
Use the following chart and the close-
up photograph as a guide to colour
placement:

FEATHER NUMBER THREAD COLOURS

1 P, G
Use the following chart and the close-
2 C, P, G
up photograph as a guide to colour
3 E, C, F, G placement:
4 D, B, E, C, P
FEATHER NUMBER THREAD COLOURS
5, 6, 7, 8, 9 D, B, F
1 W, X
10, 11, 12, 13 G, P
2, 3 J, AB, AA, Z, Y
14 C, E
4 Z, AA, AB
15, 16 G, E
17, 18 C, G Rump
19 G, E S, AI

Tail Fill the rump beginning at the base with

S and blending into AI (fig 3). Work the feathers with long and
J, W, X, Y, Z, AA, AB
short stitch beginning with the lighter
Outline the feathers with split stitch shades (figs 5a & 5b).
using J. Fill each feather with long and
short stitch beginning with the lighter
shades (fig 2).

Lower Back
U, AD, AE, AF, AG, AU
Using AD and long and short stitch,
work the background as indicated (fig 4).

CO Q U E T T E • 35
36 • I N S P I R AT I O N S
 Stitch the small darker feathers with Work the nape of the neck and under
long and short stitch using AC, AL the eye in long and short stitch using
and R. Add stitches with N only in the the same colours (fig 11).
feathers above the white band (fig 8).

Work back over the feathers with

straight stitches using AU to add depth
and definition (fig 6)

Add straight stitches with AU and AX

Work the remaining small feathers to add depth and definition (fig 12).
above the band in the same manner
using Y and Z and adding straight stitch
highlights with AA (fig 9).

Centre back
N, R, S, Y, Z, AA, AC, AL, AP, AU, AZ
Work the white band at the centre Wing covert
back with long and short stitch using AA, AB, AX
AC and AP for the lighter areas (fig 7).
Upper back and neck Outline the green feathers above the
wing with split stitch using AA. Fill the
H, Y, Z, AA, AB, AD, AH, AU, AX
feathers with long and short stitch
Work the feathers in long and short using AA and AB, adding straight
stitch beginning with the darker shades stitches with AX (fig 13).
and using AD, Y, Z, AA and AB. Add
staggered straight stitches over the
feathers using H and AH (fig 10).

Blend the band into the lower back

with straight stitches using the same
threads and adding stitches with S, AU
and AZ.

CO Q U E T T E • 37
 Head tuft Work straight stitch highlights with H Work rows of staggered straight
V, W, X, AN, AO, AQ, AR and add stitches with AS to add depth stitches using AT and add straight
and definition (fig 17). stitches with AV (fig 19).
Fill the tuft with long and short stitch,
working from the outside with the
lightest colour to the darkest colour at
the base (fig 14).

Add straight stitches with AQ and AR

(fig 15).
Face and throat Work the face in the same manner
J, AT, AV using the same threads.
Fill the throat with long and short stitch Collar tuft
using J (fig 18). V, W, X, AN, AO, AT, AV, AW, AY
Using the photographs as a guide, fill
the area with long and short stitch
using V, W, X, AN and AO (fig 20).

Belly
H, Y, Z, AA, AB, AS
Beginning with Y and working to
the lighter shades, fill the belly with
staggered rows of long and short stitch
using Y, Z, AA and AB (fig 16).

Work each spot with satin stitch using

AT, adding straight stitches on one side
using AV.

38 • I N S P I R AT I O N S
Add straight stitches with AW at
the base of the feathers to create
definition and with AY over the
feathers to create highlights (fig 21).
Branch
A, Q, AJ, AL
Work the branch with long and short
stitch using the photograph as a guide
to colour and stitch placement (fig 22).
Toes Fill the upper two-thirds with satin
O, T, AM stitch using AK and the lower third in
the same manner using M (fig 24).
Outline the toes with split stitch using
O. Pad each toe with straight stitch,
working parallel to the outline and
using the same thread. Cover the
padding and outline with satin stitch
using O and working perpendicular to
the outline. Add straight stitches as
indicated with T. Work each claw with a
bullion knot using AM.
Eye
J, M, X, AK, AP, AZ
Outline the upper half of the eye with
split stitch using AK and the lower half
in the same manner using AP (fig 23). Work the highlight with two small
straight stitches using AZ. Stitch the
area along the upper edge of the eye
with tiny straight stitches using J and X.
Beak
I, K, L, AM
Fill the upper half of the beak with long
and short stitch using L and the lower
half in the same manner using K. Work
the tip of the beak with straight stitch
using AM, adding stitches with I on
the lower edge. Stitch the shadow line
along the top of the upper beak with
long, overlapping straight stitches using
AM (fig 25).
CO Q U E T T E • 39
 Dainty in dimension, this
finely worked Hardanger mat
is stitched onto a high-count,
white linen with fine cotton
threads in the manner of
more traditional embroidery
of this type.

technique h a r d a n ge r | by D i K i r c h n e r of Australia

40 • I N S P I R AT I O N S
 preparation for
Delicate embroidery

Stitches
Developed in the Hardanger region of
Norway, this technique is thought to have its
origins in Persia and Asia, as do many other
styles of European whitework. Geometric
blocks of satin stitch surround areas of
cutwork filled with intricately stitched
patterns that closely resemble lace and large
corner motifs, forming rosettes, complete
this exquisite piece.
before you begin
We recommend that you read the complete article
See the pattern download for the embroidery chart
All embroidery is worked with ONE strand of thread
P R E PA R I NG T H E FA B R IC
Neaten the raw edges of the linen with
an overlock or machine zigzag stitch to
prevent fraying.
Fold the linen to find the centre of the
square and mark with a pin. Using the
sewing thread in the no. 24 tapestry
needle, work lines of tacking over and
under four threads to mark the vertical
and horizontal centres of the design area
in the following manner. Count two fabric
threads from the marked point to the
right. From this point, leaving a long tail,
and working to the right, tack over and
under forty-three groups of four threads.
Repeat, beginning two threads above the
marked point, to mark the upper half of
the vertical centre line.
Beginning two fabric threads from the
marked centre and using the long tails,
tack the second half of each line, working
over and under forty-three groups of
four threads. There should be eighty-
seven groups of four threads along each
line of tacking (diag 1).

87 groups of 4
348 threads
this design uses
Blanket stitch | Dove’s eye stitch | Kloster blocks
Needleweaving | Picots | Satin stitch | Square eyelet
348 threads
Square filet 87 groups of 4

requirements
Fabric Threads
30cm (12") square of DMC no. 25 broder
white 38-count linen spécial
Supplies A = blanc
embroidery
See pages 45–47 for step-by-step
25cm (10") embroidery DMC no. 80 cordonnet
B = blanc instructions for working dove’s eye stitch,
hoop
kloster blocks, picots, square filet, square
Light-coloured sewing eyelets and rosette squares.
thread
TO-ST Refer to the chart and close-up
Dressmaker’s awl Y-
photograph for stitch placement.
D

IT
REA

CH KIT

Fine, sharp scissors

Use the no. 22 tapestry needle for the
•

Needles A broder spécial (A) and the no. 24 tapestry

P

GE 93 •
No. 22 tapestry needle for the cordonnet (B).
No. 24 tapestry
Use the hoop as required.

The finished design measures 16cm (6 1/4") square.

41
42 • I N S P I R AT I O N S
OR DE R OF WOR K Remove the cut threads leaving a rectangular grid with
columns and rows of four fabric threads.
Surface embroidery
Kloster blocks
Beginning from the centre, note: Turn the work as needed so that the scissors are
count forty-two fabric held to the left of a kloster block. Doing so helps avoid long
threads to the right and down fabric thread ends.
two fabric threads and mark
with a pin. This marks the
starting point for the kloster START HERE Cut from the corner out, cutting all four threads across the
block on the first corner of end of a block at once.
the innermost square of stitching (diag 2). Carefully cut the four fabric threads in each corner of the
Using A and beginning with a waste knot, emerge at the inner border rosette squares. Remove the cut threads,
marked position. Referring to the step-by-step instructions, leaving four centre vertical and horizontal fabric threads.
stitch the first kloster block, working from left to right over Needlewoven bars
the block and moving upwards. Using B and beginning with a waste knot, secure the thread
Following the chart, work ten more blocks along the first under the stitching on the wrong side and emerge in a corner
side of the square. After a few blocks have been worked, end square of one rectangle grid. Weave over the first group
off the starting thread tail under the stitching on the wrong of four fabric threads, working over and under two fabric
side of the work. Embroider eleven kloster blocks along the threads and taking the needle to the back at the centre of the
remaining sides of the square to complete the innermost row. bar each time. Ensure the weaving is firm. After four passes
There are eight kloster block rows in total, two on each side on each side of the bar, add a picot at the indicated position
of the inner and outer borders. Following the chart, stitch the along the outside edge. Complete the bar with four more
remaining rows of kloster blocks, omitting the edges of the passes on each side.
rosette squares at each corner. Carry the thread under the work to the next group of four
threads and work a needlewoven bar, adding a picot at
the centre of the outer edge as before. Continue working
hint: As you work, check that the blocks across the needlewoven bars in a zigzag pattern along the side of
cutwork areas are aligned. the rectangular area. Rotate the work to complete the
needlewoven bars and picots along the remaining side of the
rectangle in the same manner.
Rose t te squares Square filets
A rosette motif is worked Using B and referring to the instructions on page 44, work
at each corner of the a square filet in each of the five squares formed by the
inner and outer borders. needlewoven bars along the centre of the rectangle.
Following the chart Repeat the needlewoven bars with picots and square filets
and using A, embroider along the remaining sides of the inner border.
the satin stitch edge Rosette squares
surrounding each rosette.
Following the instructions on page 45, complete the rosette
To work each side, begin
square at each corner of the inner border using B.
with four stitches over four
threads followed by five Ensuring all threads are secure, trim away any waste knots.
stitches over eight threads Centre border
and ending with four stitches over four threads (diag 3). Referring to the white squares on the chart, carefully cut and
Bl anke t stitch edging remove the fabric threads from between the kloster blocks in
Using A and beginning at an inner point of the edging, the same manner as before.
embroider blanket stitch around the edge of the design. Wrapped bars and dove’s eye stitch
At each outer corner, work four stitches around the point The wrapped bars and dove’s eye stitch are all worked using B.
between the blocks of five stitches.
Outer row – wrapped bars
Eyele ts
The first row of wrapped bars is worked along the outer
Embroider square eyelets at the marked positions along the edge of the centre border. Emerging in a corner square, cover
bands of kloster blocks using A. the outer two threads of the first group of four threads with
Cutwork 8–9 wraps.

Inner border
Using fine, sharp scissors and referring to the small, white hint: Only work enough wraps to cover the bar.
square areas on the chart, carefully cut the threads across Too many wraps will cause the bar to bow.
the inner ends of the inner two rows of kloster blocks.

D E L I C AT E S T I TC H E S • 43
 Continue wrapping bars around the border in a zigzag in
the same manner as the outer row of wrapped bars. When
ending a thread, enclose the thread tail in a wrapped bar,
ensuring the wraps are tight.
Middle row – dove’s eye
stitch
Secure the thread beneath
the kloster blocks along
the inner edge of the
border and emerge behind
the work at the indicated
point (fig 4).
Carry the thread behind
the bars and emerge in the
fabric square between the fig 4
first and second squares
of the middle row. Work
a back stitch over one
fabric thread and wrap
back along the bar of the
second square, enclosing
the thread tail. This will
Continue wrapping the outer two fabric threads of the thread
complete the third side of
groups along the outer edge, moving in a zigzag around the
wrapping for the square of
border, until reaching the beginning point. To change threads,
the dove’s eye stitch (fig 5).
run the old and new threads under the adjacent kloster
blocks on the wrong side of the work to secure. Wrap halfway along
fig 5
the fourth side of the
Outer row - dove’s eye stitch
square. Work a dove’s eye
Using a waste knot, anchor the thread beneath the adjacent stitch and complete the
kloster blocks and emerge within a corner square. Referring wrapping for the bar
to the chart, work the outer row of dove’s eye stitch. Carry (fig 6).
the thread between squares under the kloster blocks on the
Carry the thread beneath
wrong side of the work.
the adjacent fabric square
Middle row – wrapped bars and complete the wrapped
Anchor the thread beneath bars and dove’s eye stitch
the kloster blocks along for the next square.
the outer edge of the Continue in the same
manner around the border. fig 6
border and emerge at the
point indicated (fig 1). Inner row – dove’s eye stitch
Carry the thread Embroider the dove’s eyes and bars in a similar manner to the
diagonally beneath the outer row.
bars to emerge at the
Inner row – wrapped bars
indicated point (fig 2). fig 1
Wrap the bars along the inner edge of the centre border in
the same manner as the outer row.
Ensure all threads are secure and trim away waste knots.
Outer border
Cut the threads between the kloster blocks and embroider
the needlewoven bars with picots, square filets and rosette
squares in the same manner as the inner border.
Finishing
Carefully cut along the outer edge of the blanket stitch
border to remove the excess fabric. Press the piece from the
fig 2 fig 3
wrong side.
Work a back stitch over one fabric thread. Wrap the inner
two fabric threads of the square, enclosing the thread tail
carried beneath the bar (fig 3).

44 • I N S P I R AT I O N S
DOV E ’S E Y E S T I TCH

This is a pretty filling for open squares in Hardanger designs. It can be worked with needlewoven or wrapped bars.
For this project, the grid with dove’s eye stitch has wrapped bars worked over two fabric threads. Dove’s eyes can be worked in a
clockwise or counter-clockwise direction, however it is best to work in the same direction throughout the project.

1 Wrap three and a half sides

of a square to be filled,
emerging in the square.
2 Take the needle under the
centre of the adjacent bar
from the outer edge to the
inner. The thread loop is under
the needle tip.
3 Pull the thread through.
Take the needle under the
next bar in the same manner.
4 Work the third loop over
the next bar in the same
manner.
The thread loop is under the
needle tip.

5 Pull the thread through.

Take the needle under the
first loop, between the first and
6 Pull the thread through
and take the needle over
the first bar at the centre,
7 Pull the thread through and,
if needed, adjust the loops
using the needle.
8 Complete the wrapping for
square.

second sides of the square. re-emerging in the square.

K LOSTE R BLOCKS

Kloster blocks form the basis of Hardanger embroidery.

Each block consists of five satin stitches worked over a
grid of four by four fabric threads. When moving
in a diagonal line, each block is worked at a right
angle to the previous one. The corners of two
blocks share the same hole in the fabric.

C E
B D F
A

1 Emerge at A. Take the thread

from B to C. 2 Take the thread from D to E.
3 Continue in this manner
until five stitches have been
worked. Emerge at F and work
4 Continue in this manner
until five stitches have
been worked.
the first stitch of the next block.

D E L I C AT E S T I TC H E S • 45
 PICOT

Work a picot at the marked positions on the chart, at the midpoint along the outer edge of needlewoven bars.
For the weaving, take the thread to the back at the centre of the bar for each pass.

1 Needleweave the first half

of the bar, ending with the
thread on the picot side.
2 Working from the centre
of the bar, take the tip of
the needle under the bar to the
3 Take the thread under the
needle tip. 4 Wrap the thread over and
back under the needle tip.

outer edge.

5 Pull the needle and thread

through the wraps, pulling
towards the woven end of the
6 Take the thread to the other
side of the bar, pulling the
thread towards the unwoven
7 Pull the thread back towards
the beginning of the bar. 8 Complete the weaving for
the second half of the bar.

bar to tighten. end to help position the picot.

SQUA R E F IL ET

This Hardanger filling creates lacy squares that are larger than the shape within a dove’s eye stitch. For a design that is on point, the
squares become diamonds. The loops for the stitch begin and end in the corners of a square and can be worked in either a clockwise or
counter-clockwise direction. It is best to work them in the same manner across a design for a consistent appearance.
After working a filet, use the needle to adjust the size of the loops if needed.

1 Emerge at the centre of the

fabric threads at one corner.
Take the thread up through
2 Take the thread under the
loop and emerge through
the centre of the next corner.
3 Repeat step 2 for the next
side of the square. 4 To complete the filet, take
the thread under the last
loop, over the first loop and
the centre of the next corner, under the corner.
leaving a small loop.

46 • I N S P I R AT I O N S
SQUA R E EY EL ET
When worked between kloster blocks, the outer edge of a square eyelet shares the same holes in the fabric as the satin stitches. Move along one
fabric thread for each stitch, always working from the outer edge of the square to the centre, pulling the stitches firmly to open the eyelet.
1 Emerge at A, on the outer
edge of the eyelet, and take
the thread to the back at the
centre.
ROSET TE SQUA R E
This lace-like motif, reminiscent of a delicate flower, decorates the corners of the Hardanger mat. It consists of woven bars and divided
branches. Securing the thread tail behind the satin stitch, work the filling using B. The needleweaving is worked over two threads.
Work an extra weave or two than needed so that the bars curve slightly outwards, away from each other.
1 Beginning at the left-hand
side, weave over two threads
from the edge to the centre.
5 Wrap back along the branch
once or twice, ending with
the thread towards the centre.
Pull towards the corner to
adjust the branch tension, then
pull back towards the bar.
2 Emerge at B, one fabric
thread up from A, and take
the thread to the back at the
centre.
2 Moving clockwise to the
next group of threads,
weave over two threads from
the centre to the edge.
6 Bring the thread up through
the centre of the bar to the
right of the corner. Wrap back
to the main branch.
3 As you continue working
the eyelet, maintain a firm
tension and use a dressmaker’s
awl to help open the centre hole.
3 Repeat steps 1 and 2 around
the square.
7 Wrap back to the corner and
emerge at the beginning
point. Work a tiny back stitch to
anchor the thread.
4 Continue in the same
manner around the eyelet,
until every hole in the fabric
around the outer edge of the
square has been used.
4 Divided branch. Emerge
at one corner, two fabric
threads away from the edge.
Bring the thread up through the
centre of the bar to the left of
the corner.
8 Moving under the satin
stitch edge, work divided
branches in the remaining
corners following steps 4-7.
D E L I C AT E S T I TC H E S • 47
 Robin Hood
Kings, queens, biblical and allegorical figures were often the focus
of the amazing pieces of raised embroidery worked in the 17th century.
Today, interest has turned away from this subject matter but the figure remains
a fascinating and challenging area of study for embroiderers.

An
n excellent introduction
to figurative stumpwork
an
nd all it entails, this
daashing fellow, complete
with bow and arrow,
rep
presents the much-
lovved figure of the English
ou
utlaw, Robin Hood, and
inccorporates wrapped
wire hands and a stitched
an
nd moulded head in the
traaditional style.

technique s t u m pwo r k | by K ay a n d M i c h a e l D e n n i s of the UK

48 • I N S P I R AT I O N S
before you begin
We recommend that you read the complete article
See the pattern download for the embroidery design
and templates
All embroidery is worked with ONE strand of thread
unless specified

this design uses

Blanket stitch | Bullion knot
Corded detached blanket stitch | Detached chain
Fishbone stitch | French knot | Ghiordes knot | Satin stitch
Split back stitch | Straight stitch | Up and down stitch
Wrapping

requirements
Fabric
30cm x 80cm wide
(12" x 29½") piece of
lightweight calico (muslin)
12.5cm x 37.5cm wide
(5" x 15") piece of medium
weight calico (muslin)
20cm (8") square of white
silk cotton
Supplies
20cm (8") square of fawn
wool felt
10cm (4") square of dark
green glove leather
10cm (4") embroidery
hoop
15cm (6") embroidery
hoop
Round toothpick or
cocktail stick
preparation for embroidery
Satay stick P R E PA R I NG T H E FA B R IC S
Fine sandpaper From the piece of lightweight calico cut two, 30cm (12") squares,
Two small feathers one 15cm (6") square and one 10cm (4") square.
Colour one 30cm (12") square and the square of silk cotton with
Fine saw
12.5cm (5") square of clear the green fabric paint for the background and leaves
and the 10cm (4") square with the light tan fabric paint for the
adhesive film
head and neck. Allow to dry.
10cm (4") square of white
paper
TR A NSFER R ING THE DESIG NS
2cm x 12mm wide
Using the black pen, trace the design and placement marks onto
(¾" x ½") piece of thin card
tracing paper. Tape the tracing to a lightbox or window. Centre
Tracing paper the 30cm (12") coloured square of lightweight calico over the
Fine black pen tracing, aligning the placement marks with the straight grain,
Very fine permanent and transfer the design using the very fine permanent brown
brown pen pen. Place the fabric into the 25cm (10") embroidery hoop and
Needles tension until the surface is firm.

25cm (10") embroidery
hoop
Flesh-coloured sewing
thread
Contrasting sewing thread
Fibre-fill
35cm (14") lengths of
33 gauge green paper-
covered wire (4)
35cm (14") lengths of
33 gauge white paper-
covered wire (2)
Tweezers
Green fabric paint
Light tan fabric paint
Craft glue
No. 9 crewel
No. 9 sharp
No. 26 tapestry
Threads
DMC no. 12 perlé cotton
A = 738 vy lt tan
DMC stranded cotton
B = 469 avocado green
C = 611 dk taupe
D = 613 lt taupe
E = 680 dk old gold
F = 841 lt beige
G = 3011 dk khaki green
Gloriana stranded silk
H = 186 birch brown
TO-ST
Y-
D
Trace the leaf outline onto tracing paper with the black pen.
Using a lightbox or window if necessary, transfer the leaf
shaping onto the silk cotton eleven times with the permanent
brown pen. Place the silk cotton into the 15cm (6") embroidery
hoop and tension until the surface is firm.
Trace the head and neck
fabric shapes onto tracing
paper with the black pen.
Using a lightbox or window if
necessary and ensuring that
the vertical axis of the head
is on the bias of the fabric,
transfer the head and neck
shaping onto the coloured
10cm (4") square of calico
(diag 1).
Using the black pen, transfer the tunic, pants, under sleeves and

IT
REA

CH KIT

Super glue collar outlines onto the piece of white paper.

•

Fine paint brush A Transfer the tunic and leg felt shapes and the hat, boots and belt
P

GE 93 •
Dressmaker’s awl leather shapes onto tracing paper with the black pen.
 Tunic B E

embroidery Cut a 56cm (22") length off E

See pages 54–55 for step-by-step instructions for working the g
and fold in half. Beginning
C
fishbone stitch, corded detached blanket stitch, up and down at A and using the D
stitch and laying a cordonnet. contrasting sewing thread d,
Refer to the close-up photograph for colour placement. couch the doubled thread d
along the base, up the side of
Use the no. 26 tapestry needle for the needlelace, the no. 9
the tunic and around the sleeve
sharp needle for the bullion knots, appliquéing the needlelace
to B. Separate the two threads
and glove leather and the no. 9 crewel needle for all other
and take one under one th hread
embroidery.
at the underarm (C). Return
All embroidery except the face is worked in a hoop. the thread to B and continnue
A
couching both threads aro ound
OR DE R OF WOR K
the second sleeve to the
Tree opposite underarm (D). Separate the two
Trunk and br anches threads and take one under both threads at the neck edge (E).
Outline the long sides of the Return the thread to D and continue couching both threads
trunk and branches with split around to A. Complete the cordonnet following the step-by-
back stitch using two strands step instructions. Using E, fill the tunic in three sections with
A
of H. Beginning at A and using corded detached blanket stitch, using the cordonnet as a
the split back stitches as foundation. Begin each sleeve on the outer edge and the body
a foundation, work up and dow wn of the tunic on the left-hand side as indicated.
stitch down the length of the ttree to Once the needlelace is complete, work close blanket stitch
B (diag 2). over the cordonnet along the lower edge of the tunic and
Continue working rows of up aand down sleeves using E.
stitch to fill the trunk and bran
nches, finishing Under slee ves
on the left-hand side of the treee. Whip the Cut a 16cm (6¼") length of B and fold in half.
last row of stitches to the splitt back stitch B
Following the diagram, couch the cordonnet
outline using the same thread. around the shape using the contrasting sewing
Le aves thread (diag 6).
Cut eleven, 9cm (3½") lengths of green paper-covered wire. Beginning at the left-hand side, work corded
Leaving a 2.5cm (1") tail at each end, couch
h one length around detached blanket stitch across the shape using
one leaf shape using G, working the stitchhes 3mm ) apart. B. Work the second under sleeve in the same
Beginning at the tip and using the same thread, manner.
fill the shape with fishbone stitch, work king Trousers
satin stitches at the base of the leaf to fill Cut a 51cm (20") length of B and fold
f A C
the shape as necessary (diag 3). in half. Beginning at A and using
Using G, work close blanket stitch the contrasting sewing thread,
over the couched wire without couch the doubled thread along B
going through the fabric. Work the upper edge and around the
the remaining leaves in the same right-hand leg to B. Separate the
manner. threads and take one over both
threads at C. Return the thread
Clothing
to B and continue couching both
Fold the strip of threads around the left-hand leg
medium weight calico to A. Complete the cordonnet
into three, forming a following the step-by-step
pad 12.5cm (5") square. instructions. Using B, fill both
Centre the clothing legs with corded detached
tracing onto the pad. blanket stitch beginning on the
Peel away the backing left-hand side of each leg.
from the square of
adhesive film and Coll ar
centre over the tracing. Cut a 23cm (9") length of E and fold
Press firmly. Using in half. Following the diagram, couch
h
two strands of sewing the cordonnet around the shape
thread, tack the layers using the contrasting sewing thread
together around the outer edge of the tracing (diag 4). (diag 8).

50 • I N S P I R AT I O N S
 The finished design
measures 18cm x 14cm
wide (7⅛" x 5½").
 Beginning on the left-hand edge, fill the shape with corded thread until the calico seam allowance is at the back of the
detached blanket stitch using E. Work the second collar in head shape and secure the thread.
the same manner. Once the needlelace is complete, work
Body
close blanket stitch over the cordonnet along the front and
lower edge of each collar piece using E. Using E, fill the area at the inner edge of each sleeve on the
main design with satin stitch (diag 11).
Releasing the needlelace
Remove the tacking from around the outer edge of the tracing.
Carefully separate the layers of calico and snip the couching
stitches. Lift the pieces of needlelace away from the fabric
and remove any remaining couching threads with tweezers.
Head
Forming the shape
The head is constructed as a slip then attached to the ground
fabric. Secure a length of flesh-coloured sewing thread at the
base of the head. Work a line of small gathering stitches around
the head along the marked line. Leave the thread hanging. Cut Arms
out the head shape, 6mm (¼") outside the line of gathering.
Cut five, 5cm (2") lengths of white paper-covered wire.
Pull up the gathering thread to form a cup and fill the shape
Beginning 2.5cm (1") from the tip of one wire, wrap with D
with a small amount of fibre-fill. Continue pulling the gather-
until 3mm (⅛") from the end. Bend the wire back on itself
ing thread until a shape, approximately 2cm x 1.5cm (¾" x ⅝")
1cm (⅜") from the end and wrap over the doubled wire,
is formed. Secure the thread and trim away the excess.
leaving a small loop uncovered for the fingernail (diag 12).
Place the 15cm (6") square of calico into the 10cm (4") hoop
and tension until the surface is firm. Centre the head onto
the calico and stitch in place using the flesh-coloured sewing
thread and small stab stitches, bringing the needle to the
front under the edge of the head and taking it to the back
through the edge of the shape. Begin at the chin and work Work four more fingers in the same manner. Place four
up the right-hand side of the face to the ear position. Return fingers together in a natural manner and wrap together with
to the chin and stitch the second side of the face in the same D for 1.5mm–2mm (1/16") (diag 13).
manner. Return to the ear position on the first side and stitch
up a further 1cm (⅜"). Repeat on the second side leaving an
opening at the top of the head. Insert more fibre-fill until the
head is quite firm and complete the stabab stitching around the
top of the shape.
Working the fe atures Add in the thumb and wrap all the wires together for 1cm
Using the flesh-coloured sewing thread d, ⅜") (diag 14).
(⅜
form the nose by stitching a small pleat
down the centre of the head, passing the
needle back and forth through the pleaat
three or four times (diag 9).
Using D, stitch each eye with a detacheed
chain, working the anchoring stitch at
the inner eye. Embroider each pupil with Secure the thread and trim away the excess. Make the
two small satin stitches using C. Work a second arm in the same manner. Using the photograph as
straight stitch over each eye with C to a guide, position the arms over the main design and couch
form the eyebrows and work the moutth in place where the stitches will not be visible. Take care to
with a detached chain using F (diag 10). ensure that the thumb is uppermost on each hand. Position
each under sleeve over one arm and stab stitch in place along
Using D, work a bullion knot on each side
each side with G.
of the head for the ears, positioning each
one between the eye and the mouth. Using
U Neck
two strands of C and beginning at the top of the Cut a piece of thin card for the neck using the template. Cut
head, work the hair with straight stitch, taking care to ensure out the coloured neck fabric and cover the card, glueing the
that the stitches are worked only onto the padded shape. seam allowance in place on the back down each side. Allow to
Once the embroidery is complete, work a line of gathering dry. The upper and lower edges can be left unfolded. Position
3mm (⅛") out from the edge of the padded shape. Cut out the neck on the main design and stitch in place with the
3mm (⅛") out from the line of gathering. Pull up the gathering flesh-coloured sewing thread and small stab stitches.

52 • I N S P I R AT I O N S
Padding
Cut the three tunic and leg felt templates from the tracing
paper. Pin or tack the shapes to the felt and cut out.
Position the felt leg shape over the main design and stab
stitch in place around the outer edge using sewing thread.
Centre the small felt tunic shape over the body and stab
stitch in place in the same manner. Apply the medium then
large tunic shapes in the same manner.
Bow and arrow
Bow
Cut a 10cm (4") length of satay stick. Taper each end of
the stick with the sandpaper. Soak in hot water for half an
hour or until the stick is pliable. Hammer three nails into a
block of wood and position the stick as shown (diag 15).
Leave to dry. If the bow needs to be bent a little more,
re-soak the stick, move the centre nail down a little and
re-shape. Leave to dry. Mark a 12mm (½") section at the
centre of the bow. Using the super glue, secure
one end of a length of A at one end of the
section and wrap to the second line. Secure
with super glue. Cut a 20cm (8") length of A.
Make a small notch at each end of the bow in
line with the curve. Apply a small amount of
super glue to the notch at one end. Leaving a
4cm (1½") tail, glue the thread into the notch
and allow to dry. Wrap the tail around the
bow three times and secure with super glue.
Allow to dry. Trim away the excess tail. Apply a
small amount of super glue to the notch at the
remaining end. Stretch the thread down the
bow firmly and glue into the notch. Allow to dry.
Wrap the remaining tail around the bow three
times and secure with super glue (diag 16).
Allow to dry and trim away the excess.
Arrow
Measuring from the pointed
end, cut the toothpick to
measure 4cm (1½"). Cut 12mm
(½") from the end of one feather.
Run a line of super glue along
the feather shaft to strengthen
and allow to dry. Using the fine
saw, cut a 6mm (¼") slot at
the blunt end of the toothpick.
Apply a small amount of super
glue to the slot. Trim 4mm (3/16")
off the feather and slide it down
into the slot. Allow to dry. Trim
the feather to shape.
Applying the detached elements
Needlel ace
Position the trousers over the leg padding and
stab stitch in place around the outer edge using B.
Stitch the tunic in place in a similar manner using
E, leaving the lower tunic and sleeve edges free.
Attach the collar pieces in the same manner, leaving
the lower edges free.
He ad
Position the head and stab stitch in place around
the outer edge with the flesh-coloured sewing
thread. Using two strands of C, work additional
strands of hair along the join.
Hat, boots and belt
Using the hat, boots and belt tracing, check to
ensure that the shapes are the correct size. Adjust if
necessary. Tape the tracing, wrong side uppermost,
to the back of the piece of glove leather. Cut out.
Using a new needle and G, stab stitch the boots and
hat in place, leaving the top of the boots and hat
open. Apply a small amount of glue to the hat band
and position over the lower edge of the hat. Allow to
dry. Trim the remaining feather to the required size.
Dip the base of the remaining feather in the glue
and tuck under the upper edge of the hat. Allow to
dry. Stab stitch one short end of each belt piece
at one side of the body. Overlap the pieces at the
centre and glue in place. Allow to dry.
Le aves
Remove the fabric from the hoop and carefully cut
out each leaf. Secure a length of G on the wrong
side at the base of each leaf and wrap the wires for
6mm (¼") at the leaf base. Secure the thread but do
not trim away. Using the dressmaker’s awl, make
a hole through the base fabric at the position for
one leaf. Pass the wires and left thread through the
hole and adjust so that a small section of the stem
is visible. Using the left thread, secure the wires on
the back of the fabric. Attach the remaining leaves
in the same manner. Trim away any excess wire.
Bow and arrow
Position the bow and catch in place at the lower
end with the flesh-coloured sewing thread. Shape
the fingers around the bow. Position the arrow and
catch in place at the base of the feather with the
flesh-coloured sewing thread. Shape the fingers
around the shaft.
Finishing
Using one strand of B and G together in the needle,
work straight stitches of varying lengths at each
end of the marked ground. Using the same thread,
fill the area with French knots, varying the size of
the knots by changing the number of wraps. Using
two strands of G, work several Ghiordes knots at
the right-hand end of the ground. Using two strands
of B or G repeat at the left-hand end. Cut the loops
and trim the threads to the required length.
R O B I N H O O D • 53

FISHBONE STITCH
This is a versatile filling or line
stitch and can be worked with
the stitches close together or
spaced apart. It is particularly
useful for working leaves and
feathers.
H
4 Continue working in this
manner until the shape is
filled. Take the thread to the
back at H and secure.
3 Lay the thread across the
shape and slide the needle
under the cordonnet from right
to left twice on the opposite
side.
7 Wrap the thread twice
around the cordonnet on the
right-hand side as before.
54 • I N S P I R AT I O N S
C A
B F
1 Bring the thread to the front
at A. Take the needle to the
back at B and emerge at C.
COR DE D DE TAC H E D
BL ANKET STITCH
Detached stitches can be
worked onto a cordonnet to
create detached elements.
Use a fine tapestry needle to
avoid splitting the threads. We
worked the cordonnet onto card
and used contrasting threads
for clarity.
4 Take the needle behind
the first purl of the previous
row and the laid thread. Ensure
the thread is under the needle
tip.
8 Continue laying thread and
working blanket stitch in
this manner to fill the shape.
Wrap the thread twice around
the cordonnet at each side
between each row.
G
E
D
2 With the thread looped to
the left, take the thread
from D, just to the right of the
3 With the thread looped to
the right take the needle
from F, just to the left of the
centre line, to E. centre line, to G.
1 Leaving a thread tail, wrap
the thread once around the
left-hand side. Take it under the
2 At the opposite side, slide
the needle from right to left
under the cordonnet twice.
cordonnet and work blanket
stitch over the upper edge.
5 Pull the thread through.
Take the needle behind the
purl of the next stitch and the
6 Pull the thread through.
Continue in this manner,
working a blanket stitch into
laid thread, keeping the thread each purl of the previous row
under the needle tip. and over the laid thread.
9 Continue until the shape is
full. Using a new thread and
leaving a thread tail, neaten the
10 Turn the work over, cut
the couching threads
and remove the slip. Secure any
edge with blanket stitch. thread tails into the back of the
slip.
U P A N D DOW N S T I TCH
In this filling, the cording forms strong, directional lines and the looped stitches create texture. Rotate the work so that the outline
is along the upper edge. Where there is no outline for wrapping the thread, work a small stitch to anchor the thread.
1 Emerge at the left-hand side.
Work a blanket stitch over
the upper edge of the outline.
5 Continue in this manner to
the end of the row.
L AY I NG A
COR DONNET
A cordonnet is a couched
framework surrounding the shape
to be filled with needlelace. It
must be taut so that the correct
shape is maintained when the
filling stitch is worked. To ensure
that it remains taut, re-tension the
doubled thread after every few
couching stitches.
4 Take the tails of the doubled
thread through the looped
end.
2 Leaving a loop, take the
needle up under the
outline.
6 Wrap the outline to bring
the thread down a row and
carry it across to the left-hand
side. Wrap the outline to
position the thread.
1 2
Secure the sewing thread
and place a couching stitch
close to the looped end
5 Fold one tail back on itself
so that it overlaps the
cordonnet and couch it in place.
3 Take the needle down over
the outline and through the
loop. Pull firmly to form the
first pair of stitches.
7 Complete the second
row with pairs of stitches
worked over the loops from the
first row and the laid thread.
Begin couching the doubled
thread along the marked
line, keeping it taut.
6 Lay the second tail in the
opposite direction along the
cordonnet and couch in place.
4 Leave a space of one pair of
stitches and work another
pair of stitches following steps
1–3.
8 Continue in this manner,
repeating steps 6–7 until
the area is filled. Include the
lower outline in the last row.
3
Continue working in this
manner around the shape
ensuring that the stitches are
3mm (⅛") apart until 2cms (¾")
from the loop.
7 Secure the couching thread
and trim the excess thread
tails from the cordonnet.
R O B I N H O O D • 55
 Field
OF
Flowers
Elaborate blooms of carnation, tulip
and daisy are strewn across the centre
of this lovely Schwalm mat.

56 • I N S P I R AT I O N S
The monochromatic embroidery is stitched onto white
linen with broder spécial thread in three weights and
showcases a collection of beautiful filling stitches, worked
within the traditional framework of reverse chain and
coral stitches. The richness of the embroidered surface is
reflected in the ornate hem, finished with herringbone,
preparation for embroidery
P R E PA R I NG T H E FA B R IC
Neaten the raw edges of the linen with a machine zigzag
or overlock stitch to prevent fraying. Using a light-
coloured sewing thread and a tapestry needle, work
lines of tacking over and under four threads to mark the
vertical and horizontal centres of the fabric (diag 1).

double back and antique hem stitches.

before you begin

We recommend that you read the complete article
See the pattern download for the embroidery design
All embroidery is worked with ONE strand of thread

TR A NSFER R ING THE DESIG N

this design uses
Antique hem stitch | Blanket stitch | Blanket stitch scallop
Cobbler filling | Coral stitch | Cross stitch | Detached chain
Double back stitch | Four-sided stitch | Framed cross filling
French knot | Herringbone stitch | Honeycomb filling
Long-arm feather stitch | Little braid variation filling
Pulled satin stitch filling | Reverse chain stitch | Satin block filling
Satin stitch | Square double back stitch filling | Square eyelet
Straight stitch | Wing stitch filling
Using the black pen, trace the design and placement
marks onto the tissue paper. Aligning the centre marks,
position the tracing over the linen and pin securely in
place, using plenty of pins around the design. Using the
crewel needle and a different coloured thread for each
design element, tack along the design lines.
Once all tacking is complete, run the eye of the needle
along each design line to cut the paper. Carefully ease
the paper away from the stitching, using the tweezers to
remove any small pieces.

requirements embroidery
See pages 62–65 for step-by-step instructions for working
Fabric Threads
honeycomb filling, antique hem stitch, wing stitch filling,
40cm x 50cm wide (16" x 20") DMC no. 16 broder spécial
cobbler filling, framed cross filling, satin block filling, square
piece of white 32-count linen A = blanc (2)
double back stitch filling and little braid variation filling.
Supplies DMC no. 20 broder spécial
Refer to the close-up photograph for stitch placement.
Light-coloured sewing thread B = blanc (2)
Use the crewel needle for the coral stitch and the
in various colours DMC no. 25 broder spécial
tapestry needles for all remaining embroidery. Use the
Silk pins C = blanc
no. 26 tapestry needle for A and B and the no. 28 needle
12.5cm (5") embroidery hoop DMC no. 30 broder spécial for C and D.
D = blanc (2)
Blunt-nose tweezers Use the hoop as required when working the coral stitch
Tissue paper and fillings. Remove the tacked lines as you work along
Fine black pen TO-ST them, leaving the horizontal and vertical centre lines in
Y-
place. These will be used as a guide when preparing the
D

IT

Needles
REA

CH KIT

border and hem.

No. 7 crewel
•

A
No. 26 tapestry
P

GE 93 •
OR DE R OF WOR K
No. 28 tapestry
Tulip
Pe tal 1
The finished mat measures 34cm x 39.5cm wide Beginning at the tip of the left-hand petal, work down
(13⅜" x 15½"). the outer edge to the base with reverse chain stitch using
A, making each chain two-three fabric threads in length.

technique s c hw a l m e m b r o i d e r y | by D e b o r a h L ove of Australia

57
C A R N AT I O N

3
2
2

1
1 DAISY

3
2
4 1

4 1
2

TULIP
Embroider the inner edge in the same manner, working from Changing to B, embroider
7
tip to base. Repeat for the right-hand petal. groups of five staggered
Filling satin stitches along the 5
outer edge of each petal.
Using D, fill the petals with cobbler filling, beginning with 3
Stitch five groups for the
the left-hand petal and pulling the thread firmly to open out
right-hand petal and seven
holes in the fabric. Begin at the right-hand side in the widest
groups for the left-hand
part of the shape and work back and forth across the petal to
petal. Work the staggered
the base. When moving to the next row, run the thread under
stitches over approximately
the wrong side of the reverse chain stitch along the outline.
three, five and seven fabric threads, and space the groups
Maintaining the stitch pattern, fill the remaining area of the
two fabric threads apart (diag 2).
petal.
Repeat for the second petal.
Complete the horizontal rows for the right-hand petal,
ensuring the rows are aligned with those of the left-hand Filling
petal. Using D, fill each petal with pulled satin stitch filling in the
Embroider the vertical rows for each petal, working each row following manner. Beginning at the upper tip on the side
from the base to the tip. closest to the stem, work horizontal satin stitch over three
fabric threads to the base, pulling the thread firmly. Repeat
Pe tal 2 across the shape to fill the petal.
Using A, outline each petal with reverse chain stitch,
beginning near the tip beside the previous petal. Using the
same thread, work a second outline with coral stitch, working hint: If you work each row in the opposite direction,
the line beside the outside edge of the reverse chain stitch. reverse the direction in which you work the stitch, right to
Space the knots of the coral stitch a needle width apart. left or left to right, to maintain a consistent angle of the
Embroider detached chains around the upper sections of pulled stitches.
the petals using B, working each stitch from the coral stitch
outline and over six-eight fabric threads. Repeat for the
second petal. Stem
Pe tal 3 Embroider the stem outline with coral stitch using A. Change
Outline each petal with reverse chain stitch and work a to B and, beginning at the base of the flower, fill the stem
second outline with coral stitch using A. Begin at the base with cross stitch, completing each cross before moving to the
of each petal and work along the upper edge to the tip then next. Each cross should be worked over four threads.
back to the base. Using B and referring to the close-up
photograph, embroider a partial outline of herringbone stitch
along the outer edge of each petal. The width of the band of
hint: It is easier to keep the cross stitches at the same

stitching is approximately five fabric threads. Repeat for the angle while maintaining the approximate size than to count
second petal. the exact threads.

Filling
Working from the wrong side, create a grid for the filling
Carnation
by removing every fourth fabric thread horizontally and
vertically in the following manner. Use a tapestry needle Recep tacle
to pick up a horizontal fabric thread just below a petal Beginning on the left-hand side and using A, outline the
indentation. Cut the thread and use the needle to unweave shape with reverse chain stitch followed by coral stitch.
the tails back to the reverse chain stitch outline. Cut and Filling
remove the tails. Use the channel of the removed thread
Using D, embroider square double back stitch filling within
as the starting point to count three fabric threads above
the shape. Begin the first row in the upper left-hand section
or below. Remove the next thread. Continue in the same
from the position that will enable the longest diagonal row
manner, leaving three and removing one fabric thread for the
possible to be worked. Complete the filling above and below
remaining area of the petal.
the first row, stitching partial double back stitch squares as
Remove vertical fabric threads in the same manner, leaving needed.
three and removing one.
Pe tal 1
Working from the right side, fill the right-hand petal with
Outline each petal with reverse chain stitch and coral stitch
wing stitch filling using C, beginning on the lowest row of
using A. Changing to B, embroider blanket stitch along the
three fabric threads. Complete the left-hand petal working as
outer edge of each petal. Work the blanket stitch so that the
a mirror image to the right-hand petal.
‘legs’ face outwards.
Pe tal 4 In Schwalm embroidery, the German word for blanket stitch
Outline each petal with reverse chain stitch using A. worked in this manner is Wimpernstich – eyelash stitch.

F I E L D O F F LO W E R S • 59
 Filling
Using C, fill each petal with satin block filling, working the
filling horizontally and each satin stitch over three threads.
Keep the stitches to the tension of the linen so that holes are
not opened in the fabric.
Pe tal 2
Outline the petals in the same manner as before. Embroider
blanket stitch scallops along the outer edge of the coral stitch
using B.
Filling
Fill each petal with honeycomb filling using C, pulling the
thread firmly to open holes in the fabric.
Pe tal 3
Outline in the same manner as before. At the centre of each
scallop along the outer edge embroider three fanned straight
stitches using A. The centre stitch of each group is longer
than the outer stitches. Work a partial group of two stitches
at each corner of the petal. Stitch a two-wrap French knot at
the tip of each straight stitch using the same thread.
Filling
Rotate the work so that the scalloped edge is at the right-
hand side. Using B and beginning with a row across the
centre of the petal, fill the shape with framed cross filling.
Stem
Outline the stem with coral stitch using A. Beginning below
the receptacle and using the same thread, fill with close
herringbone stitch. Work the tendrils with coral stitch using
the same thread.
Daisy
Flower
Using A, outline the centre with reverse chain stitch. Using
the same thread, embroider the petals with detached chain,
keeping the stitches long and close together.
60 • I N S P I R AT I O N S
Filling
Using D, fill the daisy centre with offset rows of square
eyelets, with each eyelet six fabric threads wide. When
working each eyelet, emerge on the outer edge and take the
thread to the back at the centre, over three fabric threads.
Stem
Outline the stem with coral stitch using A, beginning at the
upper left-hand corner, working to the right-hand corner and
down the right-hand side. Embroider the left-hand side from
the flower to the base.
Large leaves
Using A and beginning at the tip, outline each half of each leaf
with reverse chain stitch. Using the same thread outline each
leaf again with coral stitch, beginning at the base and working
around the entire shape. Embroider the stem with coral
stitch using the same thread.
Filling
Prepare a grid in the same manner as petal 3 for the tulip,
cutting one and leaving three threads for both the horizontal
and vertical fabric threads. Using C, fill the grid for each leaf
with little braid variation filling.
Small leaves
Embroider each leaf with close long-arm feather stitch using
B. Connect each leaf to the stem with coral stitch using the
same thread.
Border
Remove the fabric from the hoop.
Withdr awing thre ads
Count out thirty-two fabric threads on each side from
the outermost point of the design and tack a line from edge
to edge using light-coloured sewing thread. Remove the
next four fabric threads in the following manner.
Working on one side, cut the first thread to the right-hand
side of the centre. Remove the shorter section of the cut
thread all the way to the right-hand edge of the fabric.
Unweave the remaining thread tail to the tacked line at the
left-hand side. Cut the second fabric thread to the left-hand
side of the centre. Remove the shorter section of the thread
all the way to the left-hand
edge of the fabric and unweave
the remainder to the tacked
line at the right-hand side.
Thread the fabric thread tail
at the right-hand side into a
tapestry needle and weave to
the edge of the fabric along the
channel left by the removed
thread (fig 1).
Repeat at the left-hand side with the remaining fabric thread
tail. Repeat this process to remove the remaining two fabric
threads on the first side. Remove two pairs of fabric threads
from the remaining sides in the same manner.
Antique hem stitch
Using D, and working from the wrong side, work antique hem
stitch over two threads, moving from left to right around the
inner edge of the withdrawn thread band. As you approach
a corner, count the threads and work a stitch over a bundle
of three threads if needed to compensate for an odd number
of fabric threads. Repeat around the outer edge of the
withdrawn thread band, ensuring you are working over the
same thread bundles as the previous row.
Four-sided stitch
Working from the right side, leave one fabric thread from
the outer row of antique hem stitch. Using B, embroider
four-sided stitch over four threads around the border. As you
approach a corner, count the threads and work a stitch over
a bundle of three or five threads if needed to compensate for
an odd number of fabric threads.
Satin stitch
Using B and working one thread from the four-sided stitch,
embroider satin stitch around the border following the stitch
pattern shown (diag 3).
7
6
7
5 towards you after each stitch.
4
3
To work the satin stitches, emerge at the staggered edge
and take the needle to the back at the straight edge of
the pattern. At each corner, work three radiating straight
stitches, beginning with the centre stitch over seven threads.
Hem
Prepar ation
On each side, count forty-seven fabric threads from the tip of
the longest satin stitches then remove the next three threads
to the corners where they meet. To remove the threads, cut at
the centre and unweave to each corner.
Count fourteen threads and remove the next thread to the
corners where they meet.
Count fourteen threads and tack a line along the grainline of
the fabric.
Count ten threads and tack a line along the grainline of the
fabric. Trim away any excess fabric.
Trim the withdrawn threads, leaving 1.5cm (⅝") tails. Leave
the thread tails on the wrong side of the fabric as they will be
incorporated into the hem later.
Herringbone stitch
Work from the right side from left to right with the inner edge
of the band of three withdrawn threads nearest you. The edge
of the hem is away from you. Using D, embroider herringbone
stitch over two threads along the inner edge of the withdrawn
thread band in the following manner. Begin at the left-hand
corner of one side and work the first stitch, picking up a
bundle of two threads.
Work the next inner stitch
over one fabric thread and
the next outer stitch over
a bundle of two threads
(fig 2).
This is to offset the
inner and outer edges of
the herringbone stitch.
fig 2
Complete the edge
working over two threads
and two thread bundles,
ensuring that the inner
and outer edges of the
herringbone stitch are
offset and pulling the
thread firmly to bundle the
threads together and open
fig 3
holes in the fabric (fig 3).
Double back stitch
Working along the channel made by withdrawing the single
thread and using C, embroider double back stitch over four
fabric threads around the hem. Pull the thread firmly and
When complete, fold the hem to the wrong side along
the double back stitch line and press. Fold under along
the remaining tacked line, tucking the outer edge and the
withdrawn thread tails inside the hem. The last fold should
just touch the space of the withdrawn thread band at the
outer edge of the herringbone stitch. Tack the edges in place,
mitreing each corner as you go. Ladder stitch the mitres
closed using the white sewing thread.
Antique hem stitch
Using D and working from the wrong side, secure the hem with
antique hem stitch over two threads, using the thread bundles
created by the herringbone stitch. At the withdrawn thread
corners, overcast the edges, ensuring the withdrawn thread
tails are tucked neatly inside. Remove any remaining tacking.
F I E L D O F F LO W E R S • 61
 HON E YCOM B
FILLING
Pull the horizontal stitches
firmly so that the bundles
of vertical fabric threads are
pulled together. In this project
there are no withdrawn threads
as shown here.
F E
4 Pull the thread taut,
wrapping the fabric thread
bundle. Take the needle under
three threads, from E to F, on
the first line.
8 1
Work the third and
subsequent rows in the
same manner to fill the shape.
3 Slide the needle down
behind the hem and emerge
two threads down from the fold
at the centre of the next group
of threads to be worked.
62 • I N S P I R AT I O N S
D C D C
A B
1 Emerge at A. Take the needle
to the back at B, three
threads to the right. Re-emerge
2 Pull the thread taut. Take the
needle to the back at C, three
threads above A. Emerge at D,
3 Pull the thread through.
Take the needle from C to D
a second time.
at A. three threads to the left of C.
G
F E
5 Take the needle from E to F a
second time. Pull the thread
taut and continue the stitch
6 Turn the work upside down
and emerge at G. 7 Work the next row in a
similar manner, omitting
the horizontal wrapping thread
sequence to the end of the row. where the two rows meet.
A NTIQUE HEM
STITCH
Antique hem stitch is worked
from the wrong side and, on A
a folded hem edge, produces
a very neat finish as only
the horizontal stitches that
2
hold the bundles of threads Secure the thread under the Take the needle behind the
together are visible from the hem fold with one or two desired number of threads,
right side of the fabric. split back stitches. Emerge near from right to left. Pull through.
the fold at A.
4 Pull the working thread
tight to gather the bundle
together at the base.
5 Continue working in this
manner along the row. 6 Right side of work.
W I NG S T I T C H
F I L L I NG
Aptly named, this filling stitch
consists of groups of fanned
stitches. To prepare the fabric
withdraw every fourth thread
both vertically and horizontally.
D E
4 Take the thread to the back
at D and re-emerge at A.
F
8 Row 2. Bring the thread to
the front at F.
12
space.
Continue working
diagonal rows to fill the
A B
1 2
Row 1. Bring the thread
to the front at A. Take the
thread to the back at B and
re-emerge at A.
5 Work two more stitches
moving across one thread
with each stitch.
G
F
9 Take the thread to the back
at G and re-emerge at F.
COBBLER FILLING
Pairs of pulled stitches worked
in intersecting rows and
columns open holes in the linen
to create a pretty, square lace
pattern. Each stitch is worked
over four threads. Begin the
first row at the widest point of
the shape and work the rows
back and forth. Work each
column from the lower edge
upwards.
C
A
3
Take the thread to the back Work two more stitches
at C and re-emerge at A. moving up one thread with
each stitch. Re-emerge at A.
6 Bring the thread to the front
at E, three threads across
from the tip of the last stitch.
7 Repeat the stitch sequence.
Continue working in this
manner along the diagonal row.
H
10 Work three more stiches
moving across and three
stitches moving down.
11 Emerge at H and work a
second block.
1 Rows. Beginning at the
right-hand side, work a pair
of vertical stitches, leaving two
2 Leaving four threads
between each pair, work
vertical stitch pairs to the end
fabric threads between each of the row.
stitch.
F I E L D O F F LO W E R S • 63
 3 Leaving two threads, work
the second row from left to
right, ensuring the stitches are
4 Work rows until the area is
filled, maintaining the back
and forth pattern.
5 Columns. Beginning at the
lower edge, work pairs of
horizontal stitches that are
6 Leaving two threads
between columns, continue
in the same manner to fill the
aligned with those in the first two threads apart in the space space.
row. between the previous rows.

F R A ME D CROSS
FILLING

The satin stitches pull the fabric

threads, leaving fine crosses
framed by squares.
Each stitch is worked over four
fabric threads.
1 Horizontal rows. Work pairs
of vertical satin stitches
across the first row, leaving four
2 Leave one horizontal
fabric thread. Work pairs
of vertical satin stitches back
3 Continue to fill the upper
section, leaving one fabric
thread between each row.
fabric threads between each across the row, aligning the
pair. stitches.

S AT I N BLOCK
FILLING

This stitch creates a surface

of smooth, offset blocks that
overlap one another at the upper
and lower edges. The rows can
be worked in either direction,

4 5
Fill the lower section in the Vertical rows. Working from
same manner. the upper to lower edge,
stitch pairs of horizontal satin
stitches between the previous
stitches.
6
Continue working pairs of
horizontal satin stitches
down the remaining rows to
complete the filling.
and the size of the blocks can
be increased. In this project, the
blocks are worked with three
stitches over three threads.

E
A
C E G
B D F

1 Emerge at A. Take the thread

to the back at B and emerge
at C.
2 Take the thread to the back
at D and emerge at E. 3 Take the thread to the back
at F and emerge at G, four
threads across from E.
4 Continue working blocks in
this manner to the end of
the row.

64 • I N S P I R AT I O N S

5 Work the second row offset
to the first, overlapping one
thread.
A
2 Work two more pairs of back
stitches to complete the
horizontal sides of the square.
6 Fill the area, working each
row in the same manner as
before.
3 Continue working groups of
four fanned stitches to the
top of the column.
6 Continue working rows
of offset blocks to fill the
shape.
3 Emerging at B, work the
three pairs of back stitches
for the vertical sides of the
square.
LITTLE BRAID
VA R I AT IO N F I L L I NG
Little braid filling features
columns of fanned stitches
angled towards each other, giving
the appearance of braids or plaits.
In this variation, a horizontal
stitch is added to the groups of
fanned stitches. Prepare for the
filling by creating a grid with
every fourth thread removed
horizontally and vertically.
4 2nd half. Beginning at the
top, work a group of stitches
as a mirror image to the previous
group. Emerge on the left-hand
side and go to the back at the
inner point for each stitch.
SQUA R E DOU BL E
BACK STI TCH
FILLING
Squares of six fabric threads A
are outlined with double back
stitch to create a beautiful,
raised texture to the linen. The
squares are worked in diagonal
rows and each stitch is over two
fabric threads, maintaining a firm
tension. Begin in the area of the
1 Emerging at A, work the first
pair of back stitches over
two threads and four threads
longest diagonal. apart.
C
4 Emerging at C, repeat steps
1–3 to work the second
square.
5 Continue in the same
manner to the end of the
diagonal row.
A A
1 1st half. Beginning at the
lower edge and emerging at
A, work a horizontal stitch.
2 Complete the group with
three more stitches worked
from A and ending one thread
upwards.
5 Continue in the same
manner, working mirrored
groups of fanned stitches to the
6 Work columns following
steps 1–5 to fill the space.
base of the column.
F I E L D O F F LO W E R S • 65
66 • I N S P I R AT I O N S
 Intto the
Forest t
Add a little touch of fun to your stitching
and keep your pins and needles safe
by working this delightful tree stump
pincushion and coordinating mushroom
needlebook.

Worked onto wool felt with cotton and silk threads,

these charming sewing accessories would make a
wonderful gift for a stitching friend or an ideal
project for a budding embroiderer, keen to explore
constructing three-dimensional pieces.

technique s t u m pwo r k | by A n a M a l l a h of Australia

before you begin

We recommend that you read the complete article

See the pattern download for the stump top

embroidery design and templates

All embroidery is worked with ONE strand of

thread unless specified

67
 TR EE STUMP PINCUSHION
requirements
Fabric
20cm (8") square of quilter’s
muslin
7.5cm (3") square of firm
cotton
Supplies
10cm (4") embroidery hoop
10cm x 20cm wide (4" x 8")
piece of green wool felt
10cm x 20cm wide (4" x 8")
piece of dark brown wool felt
15cm (6") square of light
brown wool felt
30cm (12") length of 26 gauge
white paper-covered wire
6cm x 20cm wide (2⅜" x 8")
piece of template plastic
10cm x 20cm wide (4" x 8")
piece of thin, firm card
(comic board)
10cm (4") square of cold
water-soluble stabiliser
Long pin
Fibre-fill
Clear craft glue
Glue stick
Small, stiff-bristled paintbrush
Wire cutters
Copic marker to match wing
outline (optional)
Tracing paper
68 • I N S P I R AT I O N S
these designs use
Fine black pen Back stitch | Blanket stitch | Bullion knot | Cast-on stitch loop
Fine heat-soluble fabric Fly stitch | French knot | Ghiordes knot
marker Long and short blanket stitch | Long and short stitch
Needles Needlewoven bar | Needlewoven picot | Seed stitch | Split stitch
No. 20 chenille Straight stitch | Whipped back stitch | Wrapping
No. 8 crewel
No. 20 tapestry
Threads
The finished needlebook and pincushion
DMC no. 5 perlé cotton
measure 8.5cm (3⅜") in diameter.
A = 844 ultra dk beaver grey
B = 3012 med khaki green
C = 3051 dk green-grey
DMC no. 8 perlé cotton
D = 471 vy lt avocado green
preparation for embroidery
DMC stranded cotton P R E PA R I NG T H E FA B R IC S
E = 645 vy dk beaver grey Cut two strips, each 18cm x 2.5cm wide (7⅛" x 1") from the
F = 734 lt olive green
template plastic. Using one strip as a template, trace the
G = 839 chocolate
outline onto the dark brown felt once using the heat-soluble
Kacoonda thick silk marker and cut out. Trim 2cm (¾") from one end of the felt
H = 023 mauve
strip. Trace the base template onto tracing paper with the
I = 033 hydrangea
black pen and cut out. Alternatively, use a glass with the same
J = 076 khaki green
circumference. Using the template, cut two circles from the
Presencia stranded cotton
green felt, 2mm (1/16") larger all around than the template.
K = 3223 sky blue
L = 3639 lt peacock blue Trace the stump top template onto tracing paper with the
M = 4048 vy lt teal black pen and cut out. Pin to the light brown felt and cut out.
TO-ST TR A NSFER R ING THE DESIG N
Y-
D
Using the heat-soluble marker, trace the stump top markings
IT
REA
CH KIT
onto the piece of water-soluble stabiliser. Centre the design
•
A over the piece of light brown felt and tack in place just outside
P
GE 93 •
the outer edge of the design. Trim away any excess stabiliser.
embroidery
See page 75 for step-by-step instructions for working the
needlewoven bar and four-thread needlewoven picot.
Refer to the close-up photograph for colour placement.
Use the no. 20 chenille needle for the blanket stitch and
surface embroidery with the perlé and thick threads, the
no. 8 crewel needle for working the butterfly wings and
stump top markings and the tapestry needle for the
needlewoven bars and picots.
The butterfly wings are worked in the hoop.

OR DE R OF WOR K
Outer stump
Gr a ss and bark
Using B, C and J, work needlewoven bars of
varying lengths along the dark brown felt strip,
beginning each bar 3mm (⅛") from the lower edge.
Taper each bar from the base to the tip by increasing
the tension on the thread as you work upwards and add
a left or right-hand twist to some blades before anchoring
the thread. As a guide, Ana has worked fourteen blades with
J, and six each with B and C. Once the bars are complete,
add straight stitch blades of varying lengths using the same
threads. Add extra blades with two strands of F. Using the
paintbrush, cover one side of one plastic strip with a thin
layer of glue. Aligning one short end with the left-hand end
of the plastic strip, position the
embroidered felt strip
over the plastic and
firmly press in place.
Overlapping the ends
and with the felt to the
outside, form the strip
into a circle so that the
short ends of the felt
strip meet and hold in
place until secured (diag 1).
Add more glue to the end of the plastic strip if necessary
and hold the ends together with pegs or clips until dry. Form
the second plastic strip into a circle and slide down inside
the first so that it fits snugly. Mark the points on each edge
where the ends of the strip meet. Remove the strip and using
it as a template, cut a second felt strip, 2–3mm (⅛") wider on
each long edge and the same length as the plastic strip to the
marked points (diag 2).
Cover one side of the plastic strip with glue in the same
manner as before. Aligning one short end with the left-hand
end of the plastic strip and centering the felt to the upper
and lower long edges, glue the felt to the plastic. With the
felt to the inside, form the strip into a circle and hold in place
until secured in the same manner as before.
Slide the second strip down
inside the first, ensuring
that it is centred on the
long edges. Using a 50cm
(20") length of A, blanket
stitch the edges of felt
together along the upper
and lower edges (diag 3).
Roots
Turn the outer stump upside
down and slide the square of firm
cotton down inside the cylinder to
form a support for working the needlewoven bars and picots.
Following the step-by-step directions and using A, work
needlewoven bars and four-thread needlewoven picots of
varying lengths along the edge to form the roots. Leave the
thread hanging on each one and take care not to make any of
the roots longer than 1.5cm (⅝"). As a guide, Ana has worked
three, four-thread picots and five tapered bars.
Ba se
Using the base template, cut two card circles and glue
together. Allow to dry. Centre the outer stump cylinder onto
one of the green felt circles and mark the position on the felt
with the heat-soluble marker around the inside. Remove the
cylinder and apply a thin line of glue just outside the marked
line. Re-position the cylinder over the glue and leave to dry.
Take the left thread at the end of each root to the back of the
felt and secure. Using H and I, work clusters of French knots
between the roots at the base of the trunk cylinder. Centre
the glued card circles on the remaining green felt circle and
position the felt circle with the attached outer stump over
the card, forming a sandwich. Using D, blanket stitch the
edges of the felt together around the circle.

I N TO T H E F O R E S T • 69
 BR AND NE W
Handpicked
PROJEC T

Mushroom
Magic…
See page 76 for details.

Butterfly wing outline with close blanket stitch. Fill the wing with
Wings long and short stitch using M for the outer edge and K for
the base.
Place the square of quilter’s muslin into the hoop and tighten
until the surface is firm. Cut the piece of white paper-covered Stitch the vein with a fly
stitch and two straight
wire into four equal lengths.
stitches using E (diag 6).
Fore wings
Work the right hind
Leaving a tail at each end and using the left fore wing wing in the same manner
template, shape one length of wire. Position the wire onto using the right hind wing
the muslin and couch in place around the wing using E. template.
Using the same thread and A ssembling the
beginning at the base on the but terfly
right-hand side, work close
Using fine, sharp scissors, carefully cut out each wing close to
blanket stitch over the wire
the blanket stitch edge. Colour the cut edge of the fabric with
almost to the wing tip.
the Copic marker if desired.
Change to long and short
blanket stitch and work Fore wings
down the outer curved edge Cut a 20cm (8") length
of the wing. Change back to of G and take one end
close blanket stitch to complete through a thread on
covering the wire (diag 4). the back at the base.
Using L, fill the outer edge Adjust the thread so
of the wing with long and that both ends are the
short stitch, angling the same length and secure.
stitches towards the base. Repeat on the second
Fill the remaining wing forewing. Separate the wire
area in the same manner tails as shown (diag 7).
using M, working a small Apply glue from the glue
section with K at the base of stick to the top tails
the wing. Embroider the wing and press together.
markings with a fly stitch and Using the thread tails
two straight stitches using E (diag 5). from both wings, wrap the wires for 6mm (¼"). Trim the
ends of the wire tails so that they are even and fold back on
Work the right fore wing in the same manner, using the right
themselves. Continue wrapping back down over all four wires
fore wing template.
to form the head and thorax. Secure the thread with a small
Hind wings dab of glue and allow to dry. Trim away any excess wire.
Using the left hind wing template, shape a length of wire and Do not trim away the threads. Coat the lower wire tails with
couch it in place using E. Using the same thread, cover the glue and press together. Wrap the wires with the threads

70 • I N S P I R AT I O N S
for 1cm (⅜") to form the abdomen. Trim away the excess
wire and apply more glue to the end of the abdomen. Wrap
back over the glued area, spreading the threads and pressing
firmly to ensure that they are secure. Trim away the excess
thread and smooth the thread ends into the body. Allow
to dry.
Hind wings
Secure a length of G at the base of each
wing in the same manner as the fore
wings. Place the hind wings
together and position
beneath the abdomen with
the upper edge beneath
the fore wings and the wires
together. Wrap the thread tails
around the abdomen several times
to hold the wings in place then take the
threads beneath the butterfly. Coat the
wire tails with the glue stick and wrap to
the ends (diag 8).
Allow to dry and trim away any excess
threads.
At taching the but terfly
Choose a position anywhere along the top of the outer trunk
and apply a small amount of craft glue on the inside of the
upper edge. With the hind wings flush with the trunk edge,
press the wrapped wire tails in place. Hold until secure and MUSHROOM NEEDLEBOOK
allow to dry.
Stump top requirements
Using two strands of G, stitch the spiral ring markings with Fabric Needles
split stitch, working two or three tapered lines to thicken 20cm (8") square of white No. 3 crewel
some of the markings. Work the radiating straight lines with cotton No. 7 crewel
back stitch using the same thread. Once the embroidery is Supplies No. 3 milliner’s
complete, trim away as much of the stabiliser as possible. No. 7 milliner’s
15cm (6") embroidery hoop
Run the felt under cold water until the remaining stabiliser Threads
10cm x 22cm wide (4" x 8 ¾")
has dissolved and disappeared. Press the felt circle between Anchor stranded cotton
piece of green wool felt
layers of towelling to remove the excess moisture and allow A = 29 vy dk carnation
10cm x 22cm wide (4" x 8 ¾")
to dry. Leaving a tail at each end, run a line of gathering 5mm B = 1005 dk garnet
piece of light green wool felt
(3/16") in from the edge of the circle. Pull up the gathering C = 1006 bright garnet
threads to form a cup. Insert a 10cm x 20cm wide (4" x 8")
Appleton’s crewel wool
piece of light purple wool felt
handful of fibre-fill and continue D = 251 lt grass green
pulling up the threads, adding 10cm (4") square of white E = 253 med grass green
more fibre-fill if necessary wool felt F = 551 ultra lt bright yellow
to ensure that the shape 15cm x 20cm wide (6" x 8") G = 553 lt bright yellow
fits the outer stump. The piece of medium wadding DMC no. 8 perlé cotton
felt should not completely 50cm x 10mm (20" x ⅜") red H = 471 vy lt avocado green
enclose the fibre-fill (diag 9). and white grosgrain ribbon DMC stranded cotton
Tie off the gathering 10cm x 20cm wide (4" x 8") I = 3782 lt French grey
threads. piece of 2mm (1/16") mount J = 3865 winter white
board Gumnut Yarns Daisies
Finishing
Scallop or pinking shears fine wool
Apply several spots of craft glue approximately halfway K = 568 dk kiwifruit
Fibre-fill
down around the inside of the stump cylinder. Carefully Kacoonda thick silk
Clear craft glue
holding the butterfly out of the way, insert the stump L = 023 mauve
top into the outer cylinder, ensuring that the centre is Tracing paper
M = 033 hydrangea
approximately 1cm (⅜") above the edge of the outer stump. Fine black pen
Re-position the butterfly and allow to dry. Fine heat-soluble fabric
marker

I N TO T H E F O R E S T • 71

preparation for embroidery
P R E PA R I NG T H E FA B R IC S
Trace the large circle template onto tracing paper with the
black pen and cut out. Alternatively, use a glass with the
same circumference. Using the template, cut two circles of
light green felt and one circle of light purple felt. Cut two
circles from the green felt, 2mm (1/16") larger all around than
the template.
Trace and cut out the small circle template in the same
manner. Pin the template to the remaining purple felt and
trace around the outline with the heat-soluble marker.
Working 3mm (⅛") out from the marked line, cut out with the
scallop or pinking shears.
TR A NSFER R ING THE DESIG N
Using the black pen trace the mushroom tops onto the tracing
paper. Using a lightbox or window, transfer the shaping onto
the white cotton, ensuring that there is a minimum of 1cm
(⅜") between each shape. Mount the fabric in the hoop.
embroidery
See page 74 for step-by-step instructions for working cast-on
stitch loop and Ghiordes knot.
Refer to the close-up photograph for colour placement.
Use the no. 3 crewel needle for working the Ghiordes knots,
the no. 7 crewel for the mushroom tops and construction, the
no. 3 milliner’s needle for the cast-on stitch and French knots
and the no. 7 milliner’s for the
bullion knots.
The mushroom caps
are worked in
the hoop.
72 • I N S P I R AT I O N S
OR DE R OF WOR K
Fly agaric mushrooms
C aps
Using two strands of B, work split stitch around the large
cap outline. Fill the cap with long and short stitch, angling all
stitches towards the centre and beginning with two strands
of B on the outer edge and shading through C to A at the
centre. Using two strands of J, work random seed stitches
over the cap.
Working between the cap edge and gill outline and using I,
work spaced bullion knots around the cap edge, angling each
one towards the centre of
the cap. Vary the lengths
of the stitches, working
every second one almost to
the gill outline. Use 18–20
wraps for the long knots
and 12–16 wraps for the
shorter knots. Using two
strands of I and leaving a
tail at each end, work a line
of gathering along the gill
outline (diag 1).
Stitch the medium and small caps in the same manner,
reducing the number of wraps in the bullion knots as
required.
Stalks
From the white felt cut the following
pieces:
Large stalk: cut one
5.5cm x 2cm wide (2 3/16" x ¾")
Medium stalk: cut one
5.5cm x 12mm wide (2 3/16" x ½")
Small stalk: cut one
4cm x 8mm wide (1 ½" x 5/16")
Beginning at one short end, firmly roll
each strip into a cylinder and stitch
closed with blanket stitch using J (diag 2).
Secure the thread but do not trim.
A ssembling the mushrooms
Cut out the caps, leaving a 5mm (3/16") seam
allowance outside the gathering thread. Pull up
the gathering threads on the large cap to form
a cup. Insert small amounts of fibre-fill and
continue pulling the threads. Add fibre-fill as
required and continue pulling the threads until
the cap is firm and the hole is almost closed. Tie
off the gathering threads and flatten the cap into
a disc. Centre the end of the stalk with the left
thread over the underside of the cap and stitch in
place using the thread. Repeat for the remaining two
mushrooms.
At taching the mushrooms
Position the large mushroom onto one circle of green felt and
stitch in place around the base of the stalk using J. Work a row
of Ghiordes knots around the base of the stalk using D and E.
Clip and trim the loops to the desired length. Repeat with the
remaining two mushrooms. Scatter additional Ghiordes knots
amongst the mushrooms using K. Clip and trim then comb all
the knots gently to fluff out the fibres a little.
White flowers
Pe tal s
Using four strands of J, stitch each petal with an eight cast-on
stitch loop. Work eleven three-petal flowers, one two-petal
and one one-petal flower.
Centre
At the centre of each flower work a French knot with F or G.
Purple flowers
Scatter French knots between the white flowers and around
the base of the mushrooms using L and M.
Assembling the needlebook
Using the large circle template cut two circles of mount board
and two circles of wadding. Cut a wadding circle 5cm (2") in
diameter.
Interior panel s
Measure down 2.5cm (1") from one edge of the large purple
felt circle and mark. Rule a line across the felt at this point
with the heat-soluble pen. Cut along the line using the scallop
or pinking shears. Discard the small upper section. Measure
in and mark a line 3mm (⅛") in from the curved edge with the
heat-soluble marker.
Matching raw edges, position the large purple felt circle
over one light green circle and pin in place. Stitch the circles
together along the marked line with back stitch using L to
form a pocket. Whip the back stitch using M.
Centre the small circle of purple felt over one light green felt
circle and pin in place. Using L, stitch the circles together
with back stitch along the marked circle on the purple felt.
Using M, whip the back stitches around the circle.
Hinge
Cut a 12cm x 2cm wide (4¾" x ¾") strip from the green and
light green felt. Place the strips together and blanket stitch
around the edges using H. Place the mount board circles on
a flat surface 1cm (⅜") apart. Carefully apply craft glue to
approximately 4cm (1½") at each the end of the strip on the
light green side (diag 3).
glue glue
With the glue side down, press the felt
strip onto the card circles, ensuring the
gap between them remains 1cm (⅜").
Allow to dry.
Turn the joined circles over so that
the light green side of the hinge
is uppermost. Cover each circle of
board with a thin layer of glue.
Position the circles of light green felt
over the board and press firmly in
place, taking care to ensure that the
pocket faces the hinge and is straight
(diag 4).
Allow to dry.
At taching the ribbon
Cut the length of ribbon in half. Turn the
joined circles over so that the board is
uppermost. Apply craft glue to one end
of each piece of ribbon and glue in place
as shown (diag 5).
Allow to dry.
At taching the wadding
Trim the large circles of wadding to fit
around the hinge. This will ensure that
the surface is smooth.
Apply a thin layer of glue to the board
and press the wadding in place. Apply
a thin layer of glue to one side of
the small wadding circle. Centre the
wadding, glue side down, over the upper
circle and press in place (diag 6).
Allow to dry.
At taching the outer felt
circles
Centre the plain green felt circle over the
lower board circle. Cut a 1m (40") length
of H and, beginning at one side of the
hinge, blanket stitch the edges of the
green and light green felt together
around the circle. When reaching
the hinge, blanket stitch the green
felt to the hinge across its width. Turn
the work over and blanket stitch the light
green felt to the hinge in the same manner.
Ensuring that it is oriented correctly, centre the
embroidered felt circle over the remaining board circle and
stitch in place in the same manner.
I N TO T H E F O R E S T • 73
 C A S T- O N S T I T C H
LOOP
Cast-on stitch is commonly
used in Brazilian embroidery
and is similar in appearance to a
detached blanket stitch bar.
It can be used to form flowers in
much the same way as bullion
knots. The petals on the potted
flowers on the blanket are
cast-on stitch loops.
4 Place your finger tip on the
point of the needle and slip
the loop off onto the needle.
8 Tighten the thread to form
a loop.
D C
A D
2 Pull the thread through.
Re-emerge at A and tighten
the first stitch. Take the needle
to the back at D.
74 • I N S P I R AT I O N S
1 Bring the thread to the front
at the marked point. Take a
small stitch into the fabric.
5 Tighten the thread and slide
the loop down the needle.
9 Take the needle to the back
and secure the thread.
E F
3 Pull the thread through
leaving a loop. Re-emerge
at C and take the needle to the
back at E.
2 Slide a finger beneath the
emerging thread.
6 Work as many cast-ons in
this manner as required.
G HIOR DES K NOT
This stitch is excellent for
creating raised areas of
tufting.
4 Re-emerge at D and tighten
the stitch to secure the
previous loop. Leaving a loop,
take the needle to the back at F.
3 Rotate your finger towards
you, keeping the thread taut.
7 Holding the cast-ons, pull
the needle and thread
through. Pass the needle from
back to front under the thread.
AC
B
1 Leaving a tail, take the
thread to the back at A.
Emerge at B then take the
needle to the back at C.
5 Repeat steps 3 and 4 to the
end of the row. After the last
stitch, trim the tail level with
the loops.

6 Continue stitching rows
to fill the shape. Hold the
loops upright and trim.
2 Emerge at one side at the
base of the loop.
6 1
Remove the pin and take the
thread to the back at the
position for the tip of the picot,
curving it as desired.
3 Re-emerge at C, and begin to
weave by taking the needle
over, under, over and under the
foundation threads.
7 Comb the cut threads to
separate the plies. Continue
combing and trimming until the
desired effect is achieved.
3 Begin to weave by taking the
needle through the loop to
the opposite side.
FOUR-SPOK E
N E E DL E WOV E N
P IC O T
Add variation to foliage by
changing the number of
foundation threads. Like two-
spoke needlewoven bars, those
with four spokes will end at
the tip, perfect for securing at
the desired position using the
thread tail. To begin, place a pin
at the required position.
4 Weave back and forth,
keeping the thread snug
without distorting the picot.
Use the needle to pack the
thread towards the base.
N E E DL E WOV E N
BAR
Use the eye-end of the needle
for the weaving or change to
a tapestry needle. To begin,
place a pin at the required A B
position.
To taper the bar, increase
the weaving tension towards
the tip.
1 Emerge at A, take the thread
around the pin and to the
back at B.
4 Weave back and forth over
the foundation threads,
pulling the thread firmly. Use
5 Continue weaving until
the foundation threads are
completely covered and the
the needle to pack the thread weaving is tightly packed.
towards the base of the picot.
A B C D
2
Emerge at A, take the thread Emerge at C, take the thread
around the pin and to the around the pin and to the
back at B. back at D.
5 Continue weaving until
the foundation threads are
completely covered and the
6 Remove the pin and take the
thread to the back at the
desired position for the tip of
weaving is tightly packed. the picot.
I N TO T H E F O R E S T • 75
 Handpicked
TM

Mushroom
Magic
by Ana Mallah

inspirationsstudios.com/handpicked
 Featured: handcrafted Jean Marie Roulot scissors.

6*'%4'9'.)1$'.+0
0''&.'%4#(6 '56

Cross Stitch • Embroidery • Tapestry • Crewel Work • Linen

Kits • Threads • Classes • Accessories • Gifts • Inspiration

(1..197510
9 Marian Street, Killara NSW 2071 • Telephone (02) 9498 6831 • www.thecrewelgobelin.com.au

I N S P I R AT I O N S • 77
 Dawnn
horus
Ch
Throughout its long and colourful
history, birds have been an intrinsic
part of crewel embroidery. Perched on
artfully curving branches, surrounded
by exotic fruit and elaborate flowers,
these feathered fantasies were often
as ornate and imaginative as the
surrounding flora.

This delightful songbird, with its elegantly

fanned tail and outspread wing is worked with
shades of turquoise, rose pink, green and China
blue onto a cream linen ground and decorates
the front of a handy tote bag.

technique c r e we l e m b r o i d e r y | by A n n a S c o t t of Australia

78 • I N S P I R AT I O N S
 The finished design measures 26cm x 21cm wide (10¼" x 8¼").

before you begin requirements

We recommend that you read the complete article and Fabric
instructions in the liftout pattern 45cm x 35cm wide (18" x 14")
See the pattern download for the embroidery design piece of cream linen
52cm x 75cm wide
All embroidery is worked with ONE strand of thread
unless specified (20½" x 30") piece of green
linen/cotton blend
45cm x 70cm wide
this design uses (18" x 27½") piece of cream
cotton
Blanket stitch | Bullion knot | Chain stitch Supplies
Circular Rhodes stitch | Coral stitch | Cretan stitch
Slate frame or stretcher bars
Detached chain | Double blanket stitch | Fly stitch to fit fabric
Long and short stitch | Padded satin stitch | Pistil stitch Lacing thread (slate frame)
Satin stitch | Split stitch | Stem stitch | Straight stitch Thumb tacks (stretcher bars)
Trellis couching | Twisted chain | Wheatear stitch Cream sewing thread
Whipped spider web Green sewing thread
3cm (1 3/16") diameter cream
button
Ruler
Tracing paper
Fine black pen
Fine water-soluble fabric
marker
Needles
No. 22 chenille
No. 1 milliner’s
No. 22 tapestry
Threads
Appleton’s crewel wool
A = 145 med dull rose pink
B = 154 lt mid blue
C = 184 chocolate
D = 351 ultra lt grey-green
E = 401 ultra lt sea green
F = 521 ultra vy lt turquoise
G = 524 lt turquoise
H = 542 vy lt early
English green
I = 544 early English green
J = 546 dk early English green
K = 624 med flamingo
L = 741 ultra lt bright
China blue
M = 753 lt rose pink
N = 755 med rose pink
O = 947 vy dk bright rose pink
P = 988 ultra vy lt putty
groundings

TO-ST
Y-
D

IT
REA

CH KIT
•

A
P

GE 93 •

80 • I N S P I R AT I O N S
 OR DE R OF WOR K
Bird
Body
Fill the body with trellis couching using I for the straight
stitches and J for the small, horizontal couching stitches.
Work the straight stitches 3mm (⅛") apart with the second
layer at a right angle to the first.

Hint: To ensure that your stitches are parallel and the

same distance apart, cut a strip of card 3mm (⅛") wide.
Work the first stitch across the shape. Position the card
along the stitch and work the next stitch along the opposite
side of the card. Continue moving the card and working
stitches until the shape is full.

Beginning at the neck edge and using G, work a detached

preparation for embroidery
P R E PA R I NG T H E FA B R IC
Neaten the edge of the cream linen with a machine zigzag or
overlock stitch to prevent fraying.
chain inside each diamond to fill one third of the shape. Using
the photograph as a guide to colour placement, continue
working detached chains, skipping some diamonds. Fill the
remaining diamonds in the same manner using B. Outline the
front of the body with a row of twisted chain stitch using H.
Neck
Fill the band with satin stitch using G. Work a row of stem
stitch along each side of the band using K.
He ad
Beginning with a row of stem stitch at the back of the head
and using H, fill the head with alternating rows of stem and
chain stitch, ensuring that the rows are close together and no
fabric is visible.

TR A NSFER R ING THE DESIG N

Using the black pen, trace the embroidery design and
placement marks onto the tracing paper. Tape the tracing to
a lightbox or window. Centre the cream linen over the design,
aligning the placement marks with the straight grain of the
fabric. Transfer the design using the water-soluble fabric
marker. Use the ruler to ensure that the border lines are
straight. These lines should run along the straight grain of
the fabric.

embroidery
See pages 84–85 for step-by-step instructions for working the
circular Rhodes stitch, Cretan stitch, twisted chain, wheatear
stitch and whipped spider web.
Refer to the close-up photograph for colour placement.

Note: This project was originally stitched using a

variegated thread that is no longer available.

Use the milliner’s needle for the bullion knots and pistil
stitch, the tapestry needle for the whipped spider web and
the chenille needle for all other embroidery.
All embroidery is worked in the frame.

D A W N C H O R U S • 81
Eye
Fill the eye with a circular Rhodes stitch using J.
Be ak
Outline the beak with split stitch using F. Pad each half of the
beak with straight stitch, worked along the length, and cover
with satin stitch, worked across the length, using the same
thread.
Wing
The long feathers are all worked in the same manner. Begin
with the top feather (1) and work down towards the body. Fill
the feather with wheatear stitch using F, beginning at the tip,
then outline with stem stitch using D. Work the remaining
feathers in the following colours:
Feather 2: wheatear stitch, stem stitch F
Feather 3: wheatear stitch G, stem stitch F
Feather 4: wheatear stitch, stem stitch G
Feather 5: wheatear stitch B, stem stitch G
Feathers 6 & 7: wheatear stitch, stem stitch B
Work the long outer row
of scalloped feathers
with close blanket stitch
using G, beginning with a
detached chain (diag 1).
Stitch the long inner row
in the same manner using
L and outline the inner
edge with twisted chain
stitch using H.
Back
Fill the four small feathers beneath the wing with Cretan
stitch using I, beginning with a straight stitch at the tip,
surrounded by a detached chain (diag 2).
Outline each feather with stem stitch using B. Stitch the
three longer feathers in the same manner, working the
Cretan stitch with F and the stem stitch outline with B.
Tail
Each tail feather is worked in the same manner. Begin with
the left-hand feather (1). Fill the centre of the tail tip with
a whipped spider web using K. Surround the centre with
blanket stitch using N. Using the same thread, work the
upper side of the feather shaft with satin stitch and the lower
side with close blanket stitch. Work the remaining feathers in
the following colours:
Feather 2: tip centre A, tip and shaft M
Feather 3: tip centre N, tip and shaft A
Feather 4: tip centre K, tip and shaft O
Feather 5: tip centre O, tip and shaft N
Work the long, fine feathers with chain stitch using B.
Legs and fee t
Stitch each leg with two close rows of coral stitch, offsetting
the knots in each row and using G. When the branch
embroidery is complete, work the claws with bullion knots
using the same thread. Couch each knot in place, shaping the
claws as desired.
Flowering branch
M ain stem
Using C, work blanket stitch along the lower edge of the
stem, extending the stitches across the stem and spacing
them a thread width apart. Repeat along the upper edge of
the stem using the same thread and working the stitches
into the spaces left in the first row to complete the double
blanket stitch. Work the tip of the stem with two rows of
stem stitch using the same thread.
Le aves
All the leaves are stitched in the same manner with long
and short stitch. Using D for the light leaves and E for the
dark, work long and short stitch around the outer edge of
each leaf. Fill the remaining area with E for the light leaves
and I for the dark. Using D for the light leaves and J for the
dark, work the veins in stem stitch, beginning at the tip and
extending to form a stem where indicated.
Fine stems
Using the photograph as a guide to colour placement, stitch
the additional fine stems with rows of stem stitch using D, E,
I and J.
Flowers and buds
Fill the flower and bud petals with
satin stitch using P. Using L, work
two detached chains, each with
a long anchoring stitch, over
each flower to form the petal
markings. Work a single
detached chain over each
bud in the same manner. For
the flowers, fill each calyx half
with close fly stitches using E and
beginning beneath the petals (diag 3).
Work the bud calyces in a similar manner using one row of
close fly stitches. Work eight stamens on each flower with
pistil stitch using M, varying the length of each stitch.
Border
Stitch the border with stem stitch using I.
construction
See the pattern download.
D A W N C H O R U S • 83
 C R E TA N S T I TC H
Also known as long-arm feather,
this stitch can be used as an
effective filling for leaf and petal
shapes. Beginning at the tip, work
the first stitch with the
tips together.
1 At the right-hand side, take
the needle to the back on
the outline and emerge to the
2 At the left-hand side, take
the needle to the back on
the outline and emerge to the
3 Continue working in this
manner to fill the shape.

right of the centre line. left of the centre line.

A A

CIRCULAR
R HODES STITCH

This variation of Rhodes stitch

forms a circle, rather than the
traditional square stitch worked B B
on canvas. When stitching a

1 2 3
larger circle, you may prefer to
Work a stitch from A to B. Continue in a counter- When the circle is complete
first work a split stitch outline. Emerge just to the left of A. clockwise direction, keeping the last stitch lies next to
Take the needle to the back just the stitches close together. the first stitch.
to the right of B. Ensure the stitches begin and
end on opposite sides.

TWISTED CHAIN
STITCH B A

A simple variation of chain

stitch, the twist gives a
textured, rope-like effect. C

1 Bring the thread to the front

at A. Take the needle to the
back at B forming a loop.
2 Bring the needle to the front
at C. The needle is angled
slightly to the right and the
3 Pull the thread through until
the loop rests against the
thread.
thread is under the needle tip.

4 Take the needle from D to E

ensuring the thread is under
the needle tip.
5 Pull the thread through.
Continue working in this
manner along the line.
6 Vary the look of this stitch
by changing the spacing at
the top of each chain.

84 • I N S P I R AT I O N S
WHIPPED
SPIDER WEB
Also known as back stitch
spider web or ribbed
spider web, this stitch
creates an interesting
surface texture of
radiating spokes
wrapped with thread.
4 Pull the thread through
firmly. Slide the needle
under the second and third
spokes. Do not go through the
fabric.
W HE AT E A R S T I TCH
This is a lovely stitch to use for
filling narrow leaves or petals,
with the line of chain indicating
the centre vein. Use the outline
of the shape to guide the length
of the straight stitches.
4 Slide the needle under the
previous stitches from right
to left.
1 Work the required number
of evenly spaced straight
stitches from the marked outline
to the centre of the circle.
5 Pull the thread through
firmly. Continue in this
manner, sliding the needle back
under one used and one new
spoke each time.
A
B B
1 2
Emerge at A and take the
thread to the back at B, on
the centre line.
B
E
5 Take the thread to the
back at D, forming a chain.
Emerge at E, to the left of B.
2 Bring the thread to the front
between two spokes as
close as possible to the centre.
3 Working in a clockwise
direction slide the needle
under two spokes. Do not go
through the fabric.
6 Continue working rows
in this manner gradually
easing the tension as you spiral
7 Continue until the spokes
are covered. Take the needle
to the back of the fabric under
away from the centre. the last spoke used.
C
B
D
3
Emerge at C and take the Emerge at D, below B.
thread to the back at B.
6 Following steps 1–5,
continue to the end of the
row, ending with a straight stitch
to each side of the last chain.
D A W N C H O R U S • 85
 Welcome to the ultimate
needlework escape...

We heard
you have a passion
for needlework

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An appreciation
for the finer things
in life

Prince Waikiki Hotel, Honolulu

And enjoy the

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of exotic locations

Sunset in Oahu

We’ve been expecting you!

The World Needlework Convention is the ultimate needle & thread escape.
Join us as we bring the world of needlework together to enjoy 42 amazing projects
taught by 21 elite tutors over 9 days in 1 stunning location.

25th April–3rd May 2021 / Hawaii USA

book today at: needleworktours.com.au

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3RD - 14TH MAY 2021

AN OPTIONAL CRUISE FOLLOWING OUR 2021 HAWAII CONVENTION

11 MAGICAL DAYS ON-BOARD THE ‘CELEBRITY SOLSTICE’

5 PORTS • TROPICAL LOCATIONS
11 WORLD-RENOWNED TUTORS • 5 DAYS OF CLASSES
20 PROJECTS TO CHOOSE FROM

I N S P I R AT I O N S • 87
 4
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4 Nations Needlework Tour

England, Ireland, Scotland & Wales in one grand needlework tour
1-17 July 2020 - SOLD OUT

St Andrews Residential Retreat

Intensive week of stitching on the East Coast of Scotland
17-26 February 2021

Lady Anne’s Needlework Festival

BOOKING NOW LIVE
4-17 July 2021

All England Needlework Tour, Part I

A romantic tour the South West of England
5-17 May 2022

Autumn Residential Retreat

Our famed sell-out residential retreat in the English Lake District
14-22 October 2022

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Retreats visit the Tours & Retreats page of our website
 4
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4-17 July, Appleby, UK

Laura & Phillipa Turnbull of The Crewel

Work Company invite you to experience
their renowned Lady Anne’s Needlework
Retreats during two weeks of needlework
heaven in their beautiful home town of
Appleby in the English Lake District.

Select your own itinerary from a wide

choice of workshops in historic hand
embroidery techniques. International
tutors, expert lectures, special events
including visits to castles with outstanding
needlework collections.

Stitch, learn, enjoy your passion with fellow

embroiderers and be inspired by our local
hero, Lady Anne Clifford, 1590-1676.

Email info@crewelwork.com for

more information or visit
www.crewelwork.com
 AUGUST 6–10, 2020
WE S TIN L A PALOMA RE SORT & SPA
TUCSON, AZ
W W W. N E E D L E P O I N T. O R G
Christina’s Craft & Gifts
and Primke Designs
Embroidery Specialists
THREADS • RIBBONS • FABRIC • BEADS
Slate
Frames by
Primke
Designs
Available in
standard sizes
4" to 22". Custom
made also available.
For prices please visit our
website.
WE POST ANYWHERE IN THE WORLD
Web shop at www.christinascraft.com.au
Email needlework@christinascraft.com.au
Phone Aust 08 8255 9272 Int +61 8 8255 9272
Visit our studio in Elizabeth, South Australia, by appointment.
90 • I N S P I R AT I O N S
Blue Bonnet Studio Time
A Needle Arts Retreat, with
stitching, fellowship, great food
and drink, to be held at the
Marriott Sugar Land Town
Square, Houston, TX, between
Feb. 13th and 16th, 2021.
In addition to a talented USA
faculty, international teachers
Midori Matsushima and Chris
Berry are teaching. Class
projects can be viewed at:
www.bluebonnetstudio.com/retreat-classes.
Room reservations:
Marriott Sugar Land Town Square
281.288.9290
Retreat registration:
www.bluebonnetstudio.com/registration/
713.849.9848 or
maryelvis@sbcglobal.net
Learn hand embroidery
at Hampton Court Palace in the UK
Certificate & Diploma in Technical Hand Embroidery
Flexible courses throughout the year
Crewelwork, Silk Shading, Goldwork, Blackwork,
Appliqué, Whitework & Stumpwork
Summer Intensive Courses available

w: royal-needlework.org.uk
e: education@royal-needlework.org.uk
RSN is a registered charity no: 312774

The International Centre

of Excellence for the
Art of Hand Embroidery

geelongblanket EVERYTHING YOU NEED IN ONE BOX

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FROM THIS

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Purveyor of fine needlework supplies
✦ Cross-Stitch ✦ Counted-Thread
✦ Embroidery ✦ Needlepoint
Mail-order across town or across the globe!
www.needlestack.com
2433 Mariner Square Loop, Suite 102 THE WORLD’S MOST Browse our full range of kits at:
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877-HAYSTAC Toll-Free USA/Canada BEAUTIFULLY BOXED Instructions sold separately

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I N S P I R AT I O N S • 91
 GENERAL INFORMATION

Step-by-step What’s on? Release dates

directory What’s On has now moved online. Newsagent on-sale dates for
Go to inspirationsstudios.com and Inspirations in Australia:
29 Bullion knot
click ‘What’s On’ to view up-to-date Issue 107 – 24 July 2020
30 Needlewoven picot, Cast-on stitch listings of global needlework events.
31 Two-colour twisted cord Issue 108 – 22 October 2020
To add your event to our website, email
45 Dove’s eye stitch, Kloster blocks Issue 109 – 18 February 2021
us at: info@inspirationsstudios.com
46 Picot, Square filet Issue 110 – 22 April 2021
47 Square eyelet, Rosette square
54 Fishbone stitch,
Corded detached blanket stitch
55 Up and down stitch, Laying a cordonnet Advertisers directory
62 Honeycomb filling, Antique hem stitch
63 Wing stitch filling, Cobbler filling Alison Cole Embroidery See p77 Needlework Tours See p1, 86, 87
64 Framed cross filling, Satin block filling All Threads Embroidery See p23 RSN–Royal School of Needlework See p91
65 Square double back stitch filling, American Needlepoint Guild See p90 San Francisco School of Needlework
Little braid variation filling Blue Bonnet Studio See p90 and Design See p87
74 Cast-on stitch loop, Ghiordes knot Christina’s Craft and Gifts See p90 Stitch See p96
75 Needlewoven bar, Geelong Blanket Company See p91 The Crewel Gobelin See p77
Four-spoke needlewoven picot Hand Embroidery Supplies See p87 The Crewel Work Company See p88
84 Cretan stitch, Circular Rhodes stitch, Mary Jo Hiney Designs See p90 The Embroidery Den See p77
Twisted chain stitch Needle In A Haystack See p91 The London Bead Company See p95
85 Whipped spider web, Wheatear stitch Needlepoint Now See p91

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Sue Forrest ©2020 All content contained within this publication is copyright. Designs are for private use only. Permission to reproduce
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C O R P O R AT E A N D A D M I N I S T R AT I O N taken reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance
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information contained in this magazine, the contributors and publisher disclaim any liability for untoward results.
Jessie Huber Printed in China.

92 • I N S P I R AT I O N S
 I S S U E 1 0 6

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Page 40. Hardanger embroidery Dawn Chorus
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K I TS • 93

loose threads
I
don’t aspire to minimalism, but I do
like clean surfaces and white space.
I appreciate art, décor, and fashion
but prefer it with the minimum clutter
or embellishments. I’ve always kept
decoration to a minimum – one piece of
jewellery, simple patterns, no extra frills or
layers. Sophistication, I tell myself.
But this philosophy is being challenged
lately. I am reconsidering decoration,
embellishments and surface patterns. My
recent visits to Morocco and
Turkey have opened the world
of mosaics, zellige, Islamic
patterning and other forms
of surface decoration to me.
In these countries, you would
be hard-pressed to find an
undecorated surface. Floors,
walls, ceilings, soft furnishings
and clothing are all covered
in pattern. Mostly handmade
and always intricate, these
patterns are an integral part of
the landscape and an essential
part of the cultural narrative.
My research into Japanese
textile decoration like sashiko
and shibori, as well as working
on the Imagine One World
Kimono Project article (pg. 4)
has opened my eyes to the
same trend in Japanese culture
– the subtle but ever-present
surface decoration. Again,
mostly handmade.
The notion that beautiful
and decorative items are
special and only for display,
and that utilitarian items should be plain,
undecorated or even ugly, must have
94 • I N S P I R AT I O N S
Welcome to Loose Threads.
Join Ansie every issue as she
shares inspirational stories
about all things needle
and thread.
manifested during the industrial,
mass-production era of the
previous century. It is a pity that
many of us have never learned or
found the need to decorate our
everyday useful items. We’ve lost
the narrative of the beauty of the e
mundane.
Often when I interview
artists, they tell me that their
mothers or grandmothers
spent their days and evenings
embroidering pillowcases,
hand-stitching their children’s
clothing, or knitting socks.
The things that we now buy at
discount shops and discard after
one season used to be made
with love, to be beautiful, and
to last. They covered our bodies
and our homes beautifully with
mindfulness and love.
Many objects, now
referred to as cultural textiles
and prized across the art
and heritage world as artefacts and
treasures, are just simple household items Maybe, just maybe, sophistication
made mostly by women for domestic lies in mindful embellishments. Patterns
purposes. Most of these are handmade with meaning, decorations with a story.
and intricately decorated. They are covered As embroiderers, we have the privilege,
with embroidered or woven patterns and the responsibility, to contribute to the
symbolising hierarchy, heritage, religious story that is our heritage. We can choose to
and cultural kinships, denoting status make rather than buy. And we can choose
within a tribe or celebrating a birth, coming to make useful, practical, everyday things
of age, marriage, or mourning a death. that are beautiful, decorated, embellished,
These items were not made as patterned. And sophisticated.
decoration. They were made to be used,
yet are beautiful and decorative. Pattern
was never considered as ‘too much’ or Happy stitching!
Ansie
‘not my style’ – it was a language used to
tell a story.
 The London Bead Co.
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