Love Embroidery - Issue 52 2024

Welcome
FRESH IDEAS WITH THREAD
From stripy tees to dungarees, it really couldn’t

be easier to update your wardrobe with sweet
spring motifs. Just take a few simple stitches
and some leftover threads from your stash, and
you can stitch gorgeous designs like this pretty
little posy by Louise Newton... this weekend!
Floral designs are a great way to add some
personality to your garments without breaking
the bank, and they’re a lot of fun to sew, too.
You’ll find our step-by-step tutorial on p30 with
two nature-inspired motifs to choose from – a
little ladybird (shown here) and a buzzing bee!
love-embroidery.com | Love Embroidery | 3

Fun fashion &
Contents
hoops for spring!
ISSUE FIFTY TWO
11
14
MAKE AN EXCLUSIVE
DANDELION DESIGN
GREETINGS CARD KIT
Projects
11 YOUR GIFT 41 NEW TECHNIQUE
Stitch Matilda Smith’s dandelion-themed Give needlepoint a try with Anaïs Hervé’s
greetings card using just one shade of thread scallop pattern, worked in soft pastel hues
14 COASTAL HOOP 43 PORTRAIT HOOP

Take a trip to the seaside as you stitch Play with appliqué and felting techniques
Megan Capon’s serene landscape pattern to create Shikira Alleyne’s striking design
26 MINI MASTERCLASS 46 HEART ROMPER

Learn how to sew with felt and beads to Set hearts aflutter by adorning a mini romper
Embroidery is for everyone make Jenni Davis’ striking flower crown with Jenni Davis vibrant, folk-art inspired motif
At Love Embroidery, we want inclusivity to be
at the heart of what we do. We’re committed 30 SPRING T-SHIRTS 50 MOTTO HOOP
to creating content that reflects and celebrates Give your striped tees a speedy upgrade Grab the brightest skeins from your stash
the diversity of the stitching community. with Louise Newton’s pretty posy motifs to sew Clare Albans’ motivational text hoop
Embroidery is for everyone, regardless of
ethnicity, age, size, ability, sexual orientation or 33 LION WALL HANGING 53 STITCH-ALONG
gender identity. We have begun work on a plan
to drive meaningful change, but we know it’s a Watch the kids go wild for Anna Alicia’s Join Emillie Ferris for Part 4 of her fabulous
simple but striking safari-themed banner thread-painted Butterfly Stitch-along
work in progress. We want to listen to you, our
readers. Join the conversation on Instagram
@loveembroiderymagazine or get in touch at
36 UMBRELLA HOOP 55 STITCH WORKSHOP
love.embroidery@ourmedia.co.uk Embrace April showers with Georgie Master Needle Weave Bar Stitch and sew
Emery’s colourful umbrella design watery worlds with Sarah’s Hand Embroidery
4 | Love Embroidery | www.gathered.how/love-embroidery

30
Subscribe 60 55
today!
36
Never miss an issue,
see p20 Welcome
46
In the need for some vitamin sea? Then,
60 TABLE RUNNER 62 SWEET SCRUNCHIES you’ve come to the right place! Megan
Capon, aka @nutmeg_embroidery, is
Use fabric paint and stitching to whip up Hop on the trend and make Louisa making her LE debut this issue with a
Sophie Tarrant’s plant-themed table runner Burtonhsaw’s fruit-themed hair accessories glorious coastal-themed cover star hoop
(p14). It’s packed with tons of immersive
Regulars details for you to lean into, from cute
cottages and swaying sea-grasses, to sweet
little boats bobbing on the water and a
07 WE LOVE… 64 ESSENTIALS couple looking out across the bay. It’s the
perfect pattern to help you unwind with
We round up some of this month’s best Your guide to all the materials, techniques after a long day, marrying the ebb and flow
books, kits, patterns and supplies… and embroidery stitches you need to know
of needle passing through fabric and waves
breaking on the shore.
20 SUBSCRIBE TODAY 71 TEMPLATES And speaking of relaxing makes, our
Sign up for our digital subscription and get Find all the templates you need to dandelion card design (p11) is a speedy and
instant access to the latest magazine! complete the projects in this issue satisfying sew, that’s small enough to stitch
on the go, whip up during toddler naps, or
22 DESIGNER PROFILE 82 MY STYLE take outside and stitch in the sunshine...
We chat to designer Anuradha Bhaumick’s Floor Giebels of Full Metal Needle tells us
about her colourful stitching journey about the role of photography in her work
58 BACK ISSUES 83 NEXT MONTH

Nikki Morgan, Editor
Missed an issue? Catch up on past editions A sneak preview of the exciting projects,
of Love Embroidery in print and digitally designers and gift coming next month
www.gathered.how/love-embroidery | Love Embroidery | 5

foolproof Stumpwork Embroidery
Freeform & THREAD PAINTING
Embroidery Stitch 3-D
Exploring Your Creativity with Nature Motifs
Fabric, Threads & Stitches
Best-selling author
Jennifer Clouston
Megan Zaniewski
JOIN THE SLOW STITCH REVOLUTION

Reclaim Your Time & (Re)discover the Art of
Embroidery with These How-to Books
{
Michelle Staub
OF STITCHING SABBATICAL
Hand-Stitched Oasis embroidered

Step-by-Step Guide with 35 Techniques
ANIMAL
PORTRAITS
EMBROIDER
Realistic Elements
THERESA M. LAWSON
A GUIDE TO THREAD PAINTING FUR, FEATHERS, SPINES & SCALES
40+ Stitches | All the Basics & Beyond
HANDY POCKET GUIDE
Beaded
Embroidery
Christen Brown
For more crafting books, gifts, and notions,

visit us at ctpub.com.
IDEAS
SUPPLIES
PATTERNS
FASHION
BOOKS
Pollen queen
There are so many details that we’re itching
to stitch in this stunning Belle Bee design by
MakeBox & Co – from its darling pink metallic
bow to the ring of black and white Whipped
Backstitch (doesn’t it look like baker’s twine?)
and, of course, the belle of the ball herself
– the bumblebee! Thankfully, it’s available
to buy as a kit – so we can all get stitching
straight away... Don’t mind us as we just switch
on our out of office notifications!
www.makebox.co

Hand-Stitch ed Oasis
with 35 Techniques
Step-by-Step Guide
EMBROIDER
Realistic Elements
THERESA M. LAWSON
STITCH
SCHOOL
HOW TO CREATE
AN EMBROIDERED
PARADISE
From photograph to
hoop, Theresa
M. Lawson’s book,
Hand-Stitched Oasis,
will show you how to
translate memories of
your favourite places
into realistic stitched Happy stitches
designs. Lose yourself
in dreamy landscapes
Mamma Mia! as you follow its Say hello to these beautiful Eco
detailed tutorials to Vita threads from DMC. Made
Adorned with intricate, embroidered detail, this
create a variety of from 100% organic crewel wool, and
bold blue waistcoat has us dreaming of summer coloured using natural dyes, the range
different textures,
days spent island hopping in the Med. Pair it with and work your way provides a versatile and sustainable
a plain white tee and your fave jeans for cooler through the five option for your stash. The Collectors Box
spring days, or team it with a flowing maxi dress for projects provided. (shown here) features 30 full skeins from
laid-back summer style – whether you’re chilling at Preorder your copy the range, plus two fun projects to stitch.
home, or visting far-flung shores. now at ctpub.com www.dmc.com
www.riverisland.com
Editor
And the award for best
pattern name goes to...
Mermaid Hair Don’t Care
by Hook, Line & Tinker.
This nautical-themed design
is a modern take on our
fave mythological creature,
featuring a shock of wavy
red hair that mimics the sea,
Natural wonders
a magical tail of textured Fossil hunters take note! We’ve just spotted
scales, and a very carefully that this beautiful ammonite design
positioned starfish! The
– complete with luscious fern fronds – is
whole thing can be whipped
up using just three beginner available to buy as an instant download for
stitches, and is available to your embroidery machine... Which means
purchase either as a kit you can stitch it onto aprons, cushions,
or as a PDF pattern. clothing, and anything else you please.
www.hooklinetinker.com www.etsy.com/uk/shop/BloomInEmbroidery

Heading here
please then a
Tidy pins
Keep your sharps neat with this

iconic Tomato Pin Cushion. It’s
a classic for good reason (just
ask your granny), fun to look at,
and, at under £2, a bargain!
£1.49 | www.cottonclara.com
We love having a cuppa close by

as we stitch, and this cute little
pin cushion will not only keep
our needles neat, but remind us
You’d be forgiven for thinking this was a photo to top up our brew, too!
of an anthurium flower, but in fact it’s made entirely from cross £28 | www.hannahdoodle.co.uk
stitch! Want to sew your own? Then you’re in luck – it’s available
to purchase as a pattern or kit via www.anetteeriksson.com
Statement piece
Some people like to wear their
hearts on their sleeves – we like
to wear our hobby on our jewellery! Like Want to make your own stitch
this sweet, sewing-themed accessory accessory? Grab some felt and
by Layla Amber. Layla hand-paints all of
whip up this sweet cupcake
her wearable pieces of art in her studio
on the Suffolk coast... did we mention
cushion, topped with delicious
she makes cotton reel earrings too? buttercream detail.
www.layla-amber.co.uk £14.99 | www.makebox.co

Shop with us!
Explore Love Embroidery's Etsy store where you’ll find lots
of easy-to-follow stitching patterns for every ability. Prices start
from just £5 for an instant PDF download complete with instructions,
templates and stitch guides. Keep an eye out for new patterns, too!
PDF
PATTERN
PATTERN
SHOP
PDF
PATTERN
WWW.LOVEEMBROIDERYMAG.ETSY.COM
Visit our store today! SCAN HERE!
Cover
gift
Template
for digital
Make
readers on
p72
a wish
GRAB SOME THREAD AND WHIP UP A SIMPLE BUT CHIC
DESIGN STITCHED BY HEATHER NUGENT
GREETINGS CARD – IT’S GREAT FOR ANY OCCASION, AND

CAN BE MADE USING JUST THREE ESSENTIAL STITCHES
Designed by Matilda Smith
COVER GIFT DANDELION CARD KIT
01 02 03
04 05 06
MATERIALS The design is printed on the fabric in Peel the backing paper off the
01 05
your kit so you can get stitching straight double-sided tape and press the card,
Cotton fabric: 16x16cm, white away. Alternatively, you can transfer the design sticky side down, over the stitching, making
Stranded cotton: 1 skein of black from the template on p72. Use a medium heat sure the card is in the correct orientation.
Embroidery hoop: 13cm diameter iron to press the fabric to remove any creases. Adjust the fabric so that it isn’t wrinkled and
Aperture card: 10x10cm card (once Then, mount the fabric in the hoop with the then press down firmly to stick it in place.
folded) with a 7x7cm aperture design positioned centrally, making sure the Turn the card over and then slowly and
Plain white card: 9.5x9.5cm fabric is taut. Stitch the stem of the dandelion carefully trim away any excess fabric.
Strong double-sided tape using Chain Stitch in two strands of black, Take the square of card and apply
06
Basic embroidery kit starting at the base and working up to the double-sided tape around the edge. Peel
centre of the seed head. off the backing paper and then stick the card
STITCHES USED Use two strands of black to stitch the over the back of the stitching to conceal the
02
seed head using Backstitch. Try not to latter. Make sure that you press down to ensure
Backstitch, Chain Stitch, French Knot trail the thread across the back of the fabric, the edges are stuck firmly in place.
because the dark thread will show through.
To create the two floating seeds, use two
NOTE 03
strands of black to first work a French
Knot at the base of each seed. Then, work the MATILDA SMITH
The template for this project
remaining area of each as you did in
can be found on p72. Graphic designer,
step 2. Trim the ends to neaten up the back
of the stitching as much as possible. Iron the illustrator and maker
back of the stitching using a medium heat iron Matilda dabbles in all
to make it flat and neat. kinds of crafts, including
Place the card face down on a work knitting, pottery and,
04 of course, embroidery. She relishes the
surface and then apply double-sided tape
around the very edge of the aperture. Now, lay opportunity to work with fabric and thread.
the stitching onto the work surface so that it is www.matildasmith.co.uk
facing upwards. @matildartsmith

FRESH IDEAS
stitches
Stitching for change

If you think all activism needs to be big
and loud, think again. Author and activist
Sarah Corbett is championing a gentler
approach to protest – aka Craftivism –
that all of us can get behind. It encourages
people to create thoughtful, beautiful crafted
works to help themselves and encourage
others to be the positive change they wish
to see in the world. Want to know more?
Sarah’s brilliant new guide, The Craftivist
Collective Handbook, goes on sale May ‘24
and is the ultimate introduction, featuring
20 thought-provoking projects (including this
Joyful Bees decoration), plus case studies,
and wise words from Neuroscientist Dr Daniel
Glaser, to help you on your journey to become
a positive and effective changemaker.
The Craftivist Collective Handbook by Sarah P. Corbett,
(RRP £25) is published by Unbound and available to
pre-order now via www.unbound.com

COVER STAR BEACH HOOP

BEACH HOOP COVER STAR
LOSE YOURSELF IN DREAMY BLUE SKIES, SANDY

SHORES AND PICTURE-PERFECT COTTAGES AS
YOU SEW THIS SERENE, COASTAL-THEMED HOOP
Designed by Megan Capon

01 02 03
04 05 06
MATERIALS
Cotton fabric: 25x25cm, unbleached
O h, we do like to be beside the seaside
and this beautifully detailed, coastal
scene by Megan Capon depicts all
03
Add the detail to the buildings using
Straight Stitch in grey and dark grey,
including the lines between the buildings, the
DMC Stranded Cotton: 1 skein each our fave parts of a day spent at the beach. windows and the doors. Work the coloured
of blanc (white), 02 (light grey), From colourful kites, to boats bobbing in awnings of the three-terraced houses in the
08 (cocoa brown), 320 (green), 322 a peaceful harbour, to a perfectly placed middle-right of the hoop using Straight Stitch
(blue), 519 (light blue), 553 (purple), bench from which to watch the world go by, in purple, rust red, and blue. Use Long and
611 (brown), 612 (light brown), 640 this peaceful pattern really is the stuff that Short Stitch to work the small boat in rust red
(stone grey), 645 (grey), 712 (cream), summer daydreams are made of... and dark rust red, the middle boat using white
739 (dark cream), 834 (straw), and blue and the long boat in white and rust
844 (dark grey), 932 (blue-grey), 934 Transfer the design from the template red. For the middle boat, fill the window using
01
(very dark green), 3011 (moss green), onto the fabric using your preferred Satin Stitch in light grey and then add the
3021 (very dark grey), 3051 (dark method. We used a heat erasable pen and a outline using Backstitch in grey. Next, fill the
sage green), 3052 (sage green), light source. Then, mount the fabric into the sail of the kite using Satin Stitch in dark rust
3363 (pine green), 3688 (pink), 3753 hoop, making sure that the design is central red, gold and sage green.
(light blue-grey), 3777 (rust red), and the fabric is taut like the skin of a drum. Switch between Satin Stitch and French
04
3782 (beige), 3852 (gold), Using Satin Stitch in grey, stitch the two Knots using sage green, dark sage green,
02
3857 (dark rust red) outbuildings on the left-hand side of moss green, very dark green and pine green
Embroidery hoop: 15cm diameter the hoop. Then, continue using Satin Stitch to fill each area of foliage surrounding the
Basic embroidery kit to work the walls of the houses using white, houses on the hillside.
alternating the direction of your stitching Next, work the sky using Long and Short
05
STITCHES USED for each of the houses to add dimension. Stitch in one strand of light blue.
Use Satin Stitch for the roofs of the houses, Once the sky is complete, add the tail of
06
Backstitch, French Knot, Long and Short switching between light grey, grey and dark the kite using French Knots in gold, rust
Stitch, Satin Stitch, Straight Stitch grey. Working diagonal Satin Stitch in grey, red, and sage green. Then stitch the sea wall
stitch the road running between the houses. using Satin Stitch in light brown and stone
Refer to the embroidery guide on p19 as a grey. At the very right-hand corner, use the
guide to colour placement throughout. two deeper shades, brown and very dark grey.

07 08
09 10
NOTES Then use Backstitch in very dark grey fence panels and the bench. It’s important
to outline the ramp down to the beach. Use to overlap the colours – this will ensure a
Find the template on p71. Satin Stitch in light brown to fill the sand of smooth transition between shades.
Unless otherwise stated, stitch the beach, stopping around 1.5cm down. To stitch the couple sitting on the bench,
09
this design using one strand For this step, use Long and Short Stitch use Satin Stitch in white to work the
07
of thread. in two strands of thread. Taking blue- man’s T-shirt. Use gold to work the stripes in
grey and light blue-grey, cut each length Straight Stitch and the neckline in Backstitch.
of thread to the same length. To create a Use Satin Stitch to work his jeans in blue-
graduated effect, you need to blend the grey and then the lady’s dress in green. Use
shades together. Use two strands of blue-grey Satin Stitch to work her hair using straw,
to stitch from the left-hand side of the hoop, starting with long stitches on the back of
around 2cm deep. Taper across the bottom her head, and then working her parting with
of the sea wall and stop just before the beach shorter stitches across the top of the head.
covering, around 1cm deep. Next, thread one Use Straight Stitch in beige and stone grey to
strand of blue-grey and one strand of light create shading at the back of her head. Using
blue-grey (2 strands total) onto the needle a skin colour shade (we used dark cream)
and continue to stitch another 2cm of the sea, stitch the man’s arms, neck and face in Long
gradually getting closer to the beach. Make and Short Stitch. Use a thread one shade
sure to leave a 1.5cm gap between the sea darker than the base skin tone to outline his
and the sand, as shown. ear and nose and to define the eyes, eyebrows
Stitch the bench and fence using Satin and jawline using Straight Stitch. To create
08
Stitch in beige. Change the direction of his graduated haircut, use Long and Short
the stitches, working along the length of each Stitch in brown for the nape of the neck, then
section. Using horizontal Satin Stitch, work transition to cocoa brown for the top of the
the sand on the beach that was started in step head, angling the stitches.
6, getting lighter towards the foreground of Returning to the sea, use one strand
10
the design. First, use dark cream and then of light blue-grey (rather than the two
cream, stitching in between the gaps in the strands we used previously) and use Long and

11
12
TIPS & TRICKS Short Stitch to portray the surf washing up

on the beach. To give the bench and the fence MEGAN CAPON
To stitch using a blend of panels some character and weathering, add
shades, first cut all the thread Straight Stitches using stone grey. Megan is a serial hobbyist
colours to the same length, then Using Satin Stitch in cream, stitch the based in Essex, with a
11
split the strands separately and area underneath the bench. Using life-long interest in art and
thread as one in the needle. sage green, dark sage green and pine green textiles. In 2019, she picked
To prevent tangles and knots, use Long and Short Stitch to create the up her first embroidery
keep the thread length short – foreground grass. Now use French Knots in hoop – and knew immediately that she
about 30cm – and regularly let two strands of dark sage green to add the had found her medium! With a love of
the needle hang so it can unwind. shrubs around the bench. architecture and travel, Megan has stitched
This will prevent the strands Use Straight Stitch to work the seagrass hoops inspired by destinations far and
12
getting twisted as you stitch. on each side of the hoop, starting with wide, including the Higashi Chaya District
brown. Then add layers of light brown and in Kanazawa, Japan, the colourful streets
beige on top. Using one strand of white, work of Spain and Portugal, many picturesque
French Knots on top of the grass to create a pastel neighbourhoods in Germany and
scattering of daisies. Then, using one strand Switzerland and, most recently, Leadenhall
of pink, work more French Knots to add Market in London. Over time, Megan’s pieces
flowers to the shrubs. Work the short grass have become more detailed as she keeps
blades that line the fence and surround the striving to replicate real-life textures, such as
bench, use a mix of dark sage green and very brick, stonework, greenery, and patterned
dark green in short vertical Straight Stitches, tiles. She also focuses on using needle and
layering the stitches on top of each other to thread to depict shade and light, giving her
create depth in some places, but making sure work a hyper-realistic level of detail which
to leave a few gaps, too. This will lend the means people often mistake her pieces for
piece a beautifully natural sense of dimension. photography. In the future, Megan would
Finish the back of the hoop using your usual love to try stitching an Art Nouveau facade.
method or turn to p67 for our helpful guide. @nutmeg_embroidery

Embroidery guide
BOATS AND SEA SKY SEA WALL AND BEACH HILLSIDE AND BUILDINGS
Small boat: Long and Short Kite sail: Satin Stitch, dark Sea wall: Satin Stitch, light Outbuildings’ walls and road:
Stitch, rust red, dark rust red, rust red, gold, sage green, brown, stone grey, brown, Satin Stitch, grey, 1 strand
1 strand 1 strand very dark grey, 1 strand House walls: Satin Stitch,
Middle boat: Long and Short Sky: Long and Short Stitch, Ramp: Backstitch, white, 1 strand
Stitch, white, blue, 1 strand light blue, 1 strand very dark grey, 1 strand Roofs: Satin Stitch, light grey,
Middle boat windows: Satin Kite tail: French Knot, gold, Beach: Satin Stitch, light grey, dark grey, 1 strand
Stitch, light grey, 1 strand; rust red, sage green, 1 strand brown, dark cream, cream, Awnings: Straight Stitch,
Backstitch, grey, 1 strand 1 strand purple, rust red, blue, 1 strand
Long boat: Long and Short Building details: Straight
Stitch, white, rust red, 1 strand Stitch, grey, dark grey,
Sea: Long and Short Stitch, 1 strand
blue-grey, 2 strands; Hillside foliage: Satin Stitch,
blue-grey/light blue-grey, French Knot, sage green,
1 strand each; light blue-grey, dark sage green, moss green,
1 strand very dark green, pine green,
1 strand
FOREGROUND FOLLIAGE
Grass: Long and Short Stitch, THE MAN
sage green, dark sage green, T-shirt: Satin Stitch, white,
pine green, 1 strand 1 strand; Straight Stitch,
Shrubs: French Knot, dark BENCH AND FENCE THE WOMAN Backstitch, gold, 1 strand
sage green, 2 strands Bench and fence fill: Satin Dress: Satin Stitch, green, Jeans: Satin Stitch,
Sea grass: Straight Stitch, Stitch, beige, 1 strand 1 strand blue-grey, 1 strand
brown, light brown, beige, Bench and fence texture: Hair: Satin Stitch, straw, Skin: Long and Short Stitch,
1 strand Straight Stitches, stone grey, 1 strand; Straight Stitch, beige dark cream, 1 strand
Daisies: French Knot, white, 1 strand and stone grey, 1 strand Man’s facial features: Straight
1 strand Under the bench: Satin Stitch, Stitch, brown, 1 strand
Shrub flowers: French Knot, cream, 1 strand Man’s hair: Long and Short
pink, 1 strand Stitch, brown, cocoa brown,
Grass blades: Straight Stitch, 1 strand
dark sage green, very dark
green, 1 strand

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PROFILE
Anuradha works with
vibrant shades and
recycled fabrics to create
her impactful designs
ALL IMAGES © ANURADHA BHAUMICK
Anuradha Bhaumick
BASED IN BANGALORE, INDIA, TEXTILE ARTIST ANURADHA USES
HER VIBRANTLY STITCHED DESIGNS TO CELEBRATE PEOPLE, PLACES,
THINGS – AND THE RELATIONSHIPS BETWEEN THEM
Words by Daisy Game

Fabric offcuts often feature in Anuradha‘s
pieces, increasing the potential for
sustainability and storytelling
“G
rowing up, my mom used to repurpose Everything I know about her before she became a mother
old sofa upholstery to make unique is through what she has told me herself. ‘Monn’er Golpo’
jackets for us... Cushion covers often is my attempt to recreate photographs of my parents’
became dresses for our dolls, too! In her core memories, from adolescence to coming of age. I love
world, everything was repairable and had an afterlife. This travelling back in time through embroidery, to when my
belief has been the crux of my work.” mom was just Nanda, and my dad was just Somnath – and
For embroidery designer Anuradha Bhamick, family they had full lives apart from each other.”
has always been a major source of creative inspiration. It Her mother not only makes up the imaginative fabric of
was Anuradha’s mother who first taught her to stitch, in an Anu’s designs – she contributes real fabrics, too: Anuradha’s
effort to keep the then-five-year-old entertained during a ever-expanding textiles collection is largely made up of
nasty spell of the chicken pox. Little did she or her mother scraps from her mother’s wardrobe: “My mom is 4’11”, and
know, Anuradha’s sick day pastime would kick off a love of store-bought kurtas never fit her – the bottom hem always
textiles that would later prompt a grown-up Anu to pursue touches the floor!”, Anuradha says: “She’s been getting them
a career in the fashion industry. Until 2020, when Anu said altered to her size since forever, and stores the leftover
goodbye to her denim designer day job to embark on a fabrics. When she noticed my love for all things textile and
full-time career in embroidery. “Stitching helps me slow handmade, she started giving the offcuts to me. Since then,
down – it’s therapeutic in this way”, the creative says, I have formed a treasure chest of these kurta fabrics. I call
explaining that embroidery has always enabled her to them ‘shona’, the Bengali word for ‘gold’ and I use them to
stay grounded: “When my hands are busy, my head is too. collage my pieces. I have everything I need, from ikat, Ajrakh
Creating art helps to divert my attention.” prints, true blue indigos to Thai silks. All because of my
Embroidery also gives Anuradha the chance to leave mother and her generosity...”
everyday worries far behind, escaping into a world of pure
imagination. The collection of work closest to her heart,
the designer reveals, is ‘The Time Traveller’s Parents’, or
‘Monn’er Golpo’, and consists of stitched scenes depicting
“My themes will always
the designer’s parents in their youth. Or, at least, depicting
the pair as Anuradha imagines they may have been: “My
be belonging, identity,
mother only has five photographs of herself from before her compassion, and the
marriage – one from an ID card, another from an interview
application… But no photos of her infancy or teenage years. freedom to be...”
PROFILE ANURADHA BHAUMICK
When she’s not busy taking a Back to the Future-style sojourn which boast a beautifully textured, tactile quality. While
down memory lane, Anuradha turns to the people outside of her unusual use of long, Satin Stitch strokes lends an
her immediate circle for inspiration. The designer tells us that impressionist finish to her patterns. And, of course, colour
she has always been fascinated by the relationship individuals plays a part too: “From the veins of a peony and the
build with their surroundings, and with the precious belongings greying of my pug’s chin, to Bangalore’s unique orange sky,
that fill them: “I like to imagine people being at peace when they and the different hues seen in Biryani rice... these all their
are solitary – but not isolated – and surrounded by the objects way into my pieces”.
that form their life’s patina…” the artist ponders. “Things are Keen to share her passion for embroidery with others,
not just things. They are living objects that give colour, both just as her mother did all those years ago, Anu set up her
literally and metaphorically, to one’s life. From the paint peeling ‘Stitch-Nic’ workshops. For the last year, the artist has
on a bedroom wall, to tchotchkes collected from first dates and been inviting beginner and experienced stitchers alike
pictures of family and friends – I’m fascinated by everything that to join these sessions and enjoy working on a set project,
creates the mini-universe of a person… My themes will always in the company of other crafters. All that attendees need
be belonging, identity, compassion, and freedom to just be.” to bring is a sense of enthusiasm, a love of learning – and
From a collection of scrap fabric with sentimental value, a true appreciation of colour. And of course, Anuradha’s
to the minutiae of her domestic life, Anuradha’s sources of use of vibrant skeins and leftover textiles is integral to
inspiration, it seems, are appropriately patchwork. This is her work. Since its first session in May 2023, Stitch-Nic
reflected in the multimedia nature of the designs themselves, has become an internationally successful endeavour,
with Anuradha taking the class all the way from India to
Primrose Hill, London. “I had no idea that I would end up
not only sending my art across the world, but teaching my
skills abroad too!” Anuradha says, before emphasising how
thrilled she is about the development: “I am so grateful to
be able to turn my passion into a lucrative career. It’s been
four years of this – hopefully it’ll be a lifetime.”
The artist is equally passionate about using her craft
to do good for those outside of the stitching community.
That’s where the Sui Kapda Baagan collective comes in.
Made up of clothiers, craftspeople and social impact
partners, the brand sells vibrantly embroidered, one-of-
a-kind items of clothing – and a portion of each sale goes
toward the funding of an urgent social cause. The collective
is currently supporting The Bahuarwa Foundation, founded
by Priyadarshan Kumar, which is building The Savitribai
Phule Memorial School in Darbangha. The school will
provide education, meals and sanctuary to children from
overlooked and marginalised communities. Now that’s
what we call stitching for change!
Visit Sui Kapda Baagan via Instagram, @sui.kapda.baagan
and browse Anuradha’s patterns at @ hooplaback.girl

Stitched felt
Masterclass
PART 1
Regal blooms
BIRTHDAY, FESTIVAL, BRIDAL SHOWER... WHATEVER
THE OCCASION, THIS COLOURFUL BEADED FLOWER
CROWN WILL HELP YOU TO CELEBRATE IN STYLE
Designed by Jenni Davis

MASTERCLASS FLOWER CROWN
01 02 03
04 05 06
MATERIALS CUTTING OUT onto the needle. Bring the needle up and pass
01
Trace around the templates and onto the it through a gold bugle bead. Pass the needle
1mm wool felt sheets: A4, bright pink freezer paper using a ballpoint pen. Make sure through the faux-pearl bead. Change direction
x1, bright orange x3, cream x2, dusky there is a small gap between each template. and pass the needle back through the bugle
pink x2, green x1, marl green x1 Once this is complete, roughly cut them out. bead and sequin, then back through the felt
Stranded cotton: 1 skein each of Use the labels on the templates to help ball. Go through the pearl bead once, but the
02
green, orange, pink place the freezer paper outlines over the bugle bead and sequin twice. Bring the needle
1cm felt balls: mustard x3 correct colour felt, making sure that they fit. back up next to the previous gold sequin and
Bugle beads: 6mm, green, dark Iron them into place on a low/medium heat. repeat the process to cover the area.
green; 9mm, gold Cut out the felt along the template lines
03
Small beads: pearl using a pair of small sharp scissors, PINK AND CREAM FLOWERS
05
Sequins: 5mm, clear iridescent, gold; making sure to cut along all the lines. Repeat Taking one of the small cream pieces
8mm, clear iridescent this until you have the number of elements of felt, fold it in half and roll it from the long
Padded headband specified on the template. end toward the short. Place the piece on top
Hot glue gun of one of the small, bright pink petal pieces
Waxed freezer paper ORANGE STAMEN FLOWERS and then place a larger bright pink petal piece
04
Sewing pins Place one small orange flower piece on behind them both. Secure them in place using
Basic embroidery kit top of a large orange piece so that the petals stitches in a matching thread colour. Taking
are offset. Stitch them together in the centre, the 8mm transparent sequin, place it at the
STITCHES USED using one strand of orange. Then, place the base of the small petal and secure it with a
felt ball in the centre. Secure everything straight stitch. Stitch five transparent 5mm
Fly Stitch, Straight Stitch together with a few stitches. To make the sequins around the 8mm sequin. Then, at the
petals face forward, secure the base flower top of each petal, stitch two 5mm sequins –
NOTE petals to the felt ball with Straight Stitches. one on either side.
This will nudge the smaller petals closer to
Find the templates for this the felt ball too. Once secure, bring the needle LARGE LEAVES
06
project on p74-75. up in the centre of the felt ball. For the three- Using one strand of marl green, take the
dimensional beading, thread the gold sequin green leaf and the dark green bugle beads.

FLOWER CROWN MASTERCLASS
07 08 09
10 11 12
TIPS & TRICKS Stitch the central vein, attaching two beads
09
FINISHING
at a time and then bring the needle back Repeat the previous steps until all of
We recommend a size 10 up close to the first line – secure a bead at the flower components are ready to start
beading needle for this project. an angle to create a side vein. Then, repeat assembling on the headband.
Don’t throw away your felt this down both sides of the leaf. Repeat this Using pins to secure them, arrange the
10
offcuts. Cut them into smaller process on all the green felt leaves using the flowers and leaves onto the headband.
pieces and they can be used as green bugle beads. Once you’re happy, take photos from multiple
stuffing for another project. angles. Remove the flowers and leaves.
SMALL AND MEDIUM LEAVES Apply hot glue to the flower base. Then,
07 11
Starting with the medium leaves and using the photos as a reference, add the
the green bugle beads, bring the needle up at flowers back into their permanent positions.
the top left of the leaf. Thread on two beads Once the glue has cooled, gently ruffle
12
and secure them in place using Fly Stitch in the flower heads open again using your
one strand of green. Moving down the leaf, fingers. Your crown is now ready to wear.
repeat the last step to create two V-shapes on
the leaf. Close the two ends together at the
base of the leaf and secure with two stitches
to create a 3D effect. Repeat on the medium JENNI DAVIS
leaves, using dark green bugle beads.
Founder of embroidery
NON-BEADED FLOWERS brand Hope & Hart, Jenni
08 combines her passion for
Roll the three remaining felt shapes
to form the flowers. Secure the petals in design with her ability to
position with a thin layer of hot glue, being create. She studied textile
very careful not to burn yourself as you do so. design at university in Leicester and has
Repeat until you have made three dusky pink always loved turning simple fabrics into
flowers, two orange flowers and four cream beautifully embellished pieces.
flowers (you should have nine flowers in total). www.hopeandhart.com

FLORAL T-SHIRTS FASHION
Petal power
PERK UP YOUR SPRING WARDROBE WITH THESE
STASH-FRIENDLY POSY MOTIFS – ONE FEATURING
A LITTLE LADYBIRD AND THE OTHER A BUZZING BEE!
Designed by Louise Newton

FASHION FLORAL T-SHIRTS
01 02 03
04 05 06
MATERIALS Always prewash any garments to reduce For the bee, use Satin Stitch in three
01 05
the risk of shrinkage after stitching, as strands of black and yellow to fill
Striped T-shirts: white and green; this will make the embroidery baggy. Allow the head and body in alternating stripes.
white and orange the garments to dry completely. Transfer the Switch to one strand of black to stitch in the
Stranded cotton: 1 skein each designs from the templates onto the T-shirts antennae and legs using Backstitch. Then, use
of black, blue, green, dark green, using your preferred method. We used a heat two strands of white to work in the outline of
olive green, purple, white, yellow erasable pen and a light source, such as a the wings using Backstitch.
Embroidery hoop: 15cm diameter brightly lit window or lightbox. Then mount To work the ladybird, stitch the head
06
Basic embroidery kit the fabric into the hoop. using Satin Stitch in six strands of black
For the bee design, first fill the middle and the body using six strands of red. Use
02
STITCHES USED of the daisies using French Knots in six three strands of black to add two French
strands of yellow. Then, use six strands of Knots to the ladybird’s body. Finally, use
Backstitch, French Knot, Satin Stitch, white and fill in each petal using Satin Stitch. one strand of black to stitch the ladybird’s
Straight Stitch Fill the centre of each buttercup using French antennae using Backstitch.
Knots in six strands of olive green. Then work
NOTES the petals using Satin Stitch in six strands of
yellow. Next, use three strands of green to
Find the templates on p72. Backstitch around the centre of each flower. LOUISE NEWTON
Check the labels of the threads For the ladybird design, fill the centre
03
you are using before you get of the flowers using French Knots in six Louise is a triplet from
stitching to make sure they are strands of olive green. Work each flower petal Leeds and taught herself
colourfast – this will prevent the using Satin Stitch in six strands of blue. To how to embroider in 2017
dye leaching out and staining the work the buds, use six strands of yellow and after making a New Year’s
fabric when it goes in the wash. 3–4 Straight Stitches per petal. resolution. She creates
On both designs, use Backstitch in three bright, happy pieces, often capturing her
04
strands of dark green to work the stems. much loved Yorkshire landscape in stitch.
Then, work the leaves using Satin Stitch in six www.loustitchesshop.etsy.com
strands of purple and green.

Hear me
roar
TREAT LITTLE‘UNS TO A SPEEDY BEDROOM
MAKEOVER AND WATCH THEM GO WILD FOR
THIS BIG-CAT-THEMED WALL HANGING
Designed by Anna Alicia
KIDS WALL HANGING
ANNA ALICIA
Visit our website
www.gathered.how
for more patterns by
this designer
01 02 03
04 05 06
MATERIALS Lay out the fabric in a portrait position. down from the top. Finally, add the leaf motifs
01
Mark a point at the centre of the bottom in the gaps using the same method.
Heavy weight canvas fabric: edge. Next, mark a point on each of the long For the lion’s mane and tiger stripes, use
05
80x26cm, natural sides, 13cm up from the bottom edge. Draw a long Straight Stitch for each line, using
Stranded cotton: 1 skein each lines joining each of the side points to the three strands of mustard. For the remaining
of black, light blue, green, mustard centre point and cut along them, creating a face and ear details, work Holbein Stitch in
8mm dowel: 28cm point at the bottom edge of the canvas. two strands of black. Then, fill the eyes using
Macramé cord: 40cm With the canvas laid out face down, fold Satin Stitch in three strands of light blue.
02
Tracing paper: A4 x2 the long edges and pointed edge in by Sew the leaves using Holbein Stitch in
06
2B pencil 5mm twice, pinning as you go. At the tip and three strands of green. Give the panel
Machine thread: natural the edges of the point, take some time to a good iron, using a pressing cloth. Slide the
Sewing machine with standard foot create neat corners. Sew along all the folded dowel through the channel. Tie one end of the
Basic embroidery kit edges of the panel, approximately 2mm in. cord to one end of the dowel. Repeat at the
At the top, unsewn edge of the panel, other end, shortening the cord if necessary.
03
STITCHES USED fold the canvas over by 1cm, then again
by 2.5cm. Pin and then sew around 2–3mm in
Holbein Stitch, Satin Stitch, from the edge of the folded strip.
Straight Stitch
04
Trace all the templates onto tracing ANNA ALICIA
paper, using a soft pencil such as a 2B.
Anna is based in London
NOTE Position the tracing of the tiger face, pencil
side down, about a third of the way up the with her artist husband,
Find the template on p76. panel. Now, trace over the back of the tiger their little boy, a multitude
face, pressing firmly. Remove the paper to of books and houseplants.
reveal the faint transfer. You may need to She loves experimenting
draw over the lines to make them easier to see with a range of craft techniques, working
if they are too faint. Repeat the above steps out how things are made, and the challenge
with the lion face template, but this time, of designing new projects!
position the motif about a third of the way @aalicialondon

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FLORAL UMBRELLA HOOP ART
Singin’ in
the rain
SHELTER FROM SUMMER SHOWERS, AND
BOOST YOUR STITCH LIBRARY, AS YOU SEW
THIS BRILLIANTLY BRIGHT UMBRELLA MOTIF!
Designed by Georgie Emery

HOOP ART FLORAL UMBRELLA
01 02 03
04 05 06
MATERIALS Transfer the design from the template until the shape is filled, making sure that
01
onto the fabric using your preferred no fabric shows through. Refer to the main
Cotton fabric: 25x25cm, pink method. We used a heat erasable pen and image on p36 as a guide for colour placement
Stranded cotton: 1 skein each a light source. Then, mount the fabric into throughout this project.
of blue, light blue, green, emerald the hoop with the design central and the Moving on to the large leafy sprigs, use
05
green, pistachio green, gold, orange, fabric taut like a drum. With pale or thinner two strands of pistachio green to work
pink, dusky pink, bright pink, light fabrics, you may wish to mount two layers the leaves using Fishbone Stitch and then
pink, purple, bright red, yellow of fabric in the hoop so as to prevent the the stems in Backstitch.
Embroidery hoop: 18cm diameter stitching on the back of the design from For the side-on three petal flowers,
06
Sheet felt: 17cm diameter, showing through on the front of the design. fill the petals using Satin Stitch in two
white (optional) Stitch the umbrella panels using Long strands of bright red. For the neatest finish,
02
Basic embroidery kit and Short Stitch in two strands of light work the first stitch along the centre of the
blue and blue, alternating between the colours petal and then fill the remaining area working
STITCHES USED for each section. Start stitching from the point outwards in one direction, before returning
of the umbrella and move towards the base of to the centre and working outwards in the
Backstitch, Brick Stitch, Fishbone Stitch, the canopy, following the curve of the canopy opposite direction. When working Satin
French Knot, Long and Short Stitch, to add more dimension to your stitching. Stitch, make sure to pull the thread all the way
Satin Stitch, Straight Stitch Using two strands of blue, stitch through the fabric before beginning the next
03
the outline of the umbrella pole using stitch – this will ensure an even tension.
NOTES Backstitch. Continue using the same colour
07
Now, stitch the petals of the large
and number of strands to work the top pole flowers in Satin Stitch using two strands
Find the template on p73. and the curved handle in Satin Stitch, working of orange and pink. Again, refer to the main
Robert Kaufman Kona Cotton widthways across the area and angling the image as a guide for colour placement. Work
Solids in Ballerina Slipper (pink). stitches to suit the curves. the stitches out from the centre towards
Next, use two strands of purple and the outer edge of each petal.
04
light pink to stitch all the roses in Brick Add shading to the large flowers by
08
Stitch – first work the outline using Backstitch working 5-8 Straight Stitches on top
and then stitch toward the centre in a spiral of the petals using one strand of yellow over

FLORAL UMBRELLA HOOP ART
07 08 09
10 11 12
the orange petals and bright pink over the using Satin Stitch. Then, remove the stitching
pink petals. Start the stitches at the base from the hoop and gently iron the back of the
ETSY of each petal and stitch towards the centre, embroidery to remove any visible pen marks.
PATTERN SHOP stopping about a third of the way across. You could also use a hairdryer to remove the
Next, fill in the centre of each flower. marks. Once complete, finish the back of the
For more designs by 09
For the rose flowers, use two strands hoop by trimming the fabric so that it’s 4cm
Georgie Emery, visit of yellow to stitch the centres with a French bigger than the hoop. Work a continuous
www.loveembroidery Knot. For the large flowers, stitch the centres running stitch around the edge of the fabric
mag.etsy.com using Satin Stitch in two strands of yellow and pull it tightly to gather the fabric at the
first. Then, using two strands of gold, stitch back. Then, secure everything in place with
2-3 French Knots over the top of the yellow. a few stitches. For a neater finish, lay a circle
For the smaller leaf sprigs, use two of felt over the back of the hoop and then
10
strands of green to fill the leaves tack it in place around the edge using either
in Satin Stitch, before working the stems in whipstitch or blanket stitch.
Backstitch. Use the same thread and number
of strands to stitch all the stems for the small
red flowers in Backstitch, and the base of the
flower using a couple of Straight Stitches. GEORGIE EMERY
Then, with two strands of emerald green,
11
stitch the large leaves in Satin Stitch, Georgie lives in
working along one half of the leaf first before Gloucestershire, draws
moving on to the other half, mirroring the her inspiration from
stitch direction for a symmetrical effect. Using nature and loves to
the same thread, stitch the stems for the tiny experiment with a variety
pink flowers using Backstitch and a couple of techniques to create lively and colourful
of Straight Stitches for the base of the flowers. designs. She’s never without her stitching!
Finally, using two strands of dusky pink, www.georgiekemery.etsy.com
12
stitch the petals of the tiny flowers @georgie.k.emery

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Perfect symmetry
PERFECT THE ART OF BARGELLO WITH THIS
SATISFYING SCALLOP DESIGN WORKED USING
A PALETTE OF SOFT, SPRING-THEMED HUES
Designed by Anaîs Hervé

NEW TECHNIQUE NEEDLEPOINT
2725 2161 2745 2351 2352 2166 2933 blanc
MATERIALS The holes in the canvas are represented Repeat this action for each line corresponding
01
by squares on the chart. For easier to the thread colour you are stitching with.
14 count canvas counting, a thicker line is marked on the grid In some places, a coloured line will start
04
DMC Tapestry Wool: 1 skein each of every 10 holes. The diagram is 90 stitches or end in the same square as another
blanc (white), 2161 (terracotta), 2166 wide by 100 stitches high, which corresponds coloured line. This indicates that two or more
(light pink), 2351 (coral red), 2352 to a finished sample of approximately stitches share this hole and you will need
(light terracotta), 2725 (mustard), 16.5x18cm on 14 count canvas. to pass your thread through the same hole
2745 (light yellow), 2933 (blue-grey) If it helps, you can transfer the chart to several times to work the design.
02
Basic embroidery kit the canvas using coloured markers – any To secure the stitching, bring the yarn
05
marks made will be covered with thread as out at the back and weave the thread
STITCHES USED you stitch. Cut the canvas at least 5cm larger under the stitches you have already made
than the finished size of the design. before cutting it off for a neat finish.
Straight Stitch The coloured lines on the charts
03
represent the threads you are stitching
with. The length of these lines (2, 3, 4 squares,
NOTE This project is from
etc.) indicates the length of each stitch. For
There is no template needed example, if the line covers 3 squares, you Anaîs Hervé’s book, 500
for this project. will take the needle up from the back of the Needlepoint Patterns
canvas through the first hole, count 3 holes (David and Charles,
up, down or to the side (depending on the £16.99) available now
orientation of the line) then insert the needle from all good retailers.
down through the canvas into the third hole. davidandcharles.com

Portrait gallery
ADD NEEDLE FELTING TO YOUR REPERTOIRE, AND
LEARN HOW TO CREATE THREE-DIMENSIONAL
DETAIL AS YOU BRING THIS STRIKING HOOP TO LIFE
Designed by Shikira Alleyne
HOOP ART 3D PORTRAIT
EXTRA
INSPIRATION
Visit our website
www.gathered.how
for more needle
felting projects
01 02 03
04 05 06
MATERIALS Iron medium-weight fusible interfacing Using one strand of dark brown, work all
01 04
to the reverse of the mustard fabric and the outlines of the face, except the lips,
Cotton fabric: 35x35cm, mustard; then place it face-up on a hard flat surface. using Split Stitch. Stitch carefully so as not to
40x14cm, patterned; 11x11cm, Place the carbon paper dark-side down onto fray the edge of the fabric. For the eyebrows,
brown the mustard fabric, then add the template on use small Straight Stitches to create tiny hair
Scrap of cotton fabric: turquoise top. Firmly trace over the template – around strands. Next, embroider the lips using Satin
Stranded cotton: 1 skein each the top and hair. Repeat this process to Stitch in one strand of salmon pink. Start by
of dark brown, green, light pink, transfer the face onto brown fabric. Fold one embroidering the top lip before moving on to
salmon pink long edge of patterned fabric to the back to work the bottom lip.
Embroidery hoop: 23cm diameter hide the raw edge and appliqué it on to the
Meduim-weight fusible interfacing: mustard fabric. Then tease the fabric along TO FELT THE HAIR
05
33x33cm the marked line to form the shaped silhouette, Blend the black, chocolate brown and
Fusible adhesive: 11x11cm creating subtle pleats as you do so. Secure light brown wool roving together by pulling
Carbon paper and tissue paper this in place along the top edge using Split the fibres apart and then adding them back
Wool roving: black, chocolate Stitch in three strands of green, working together. Place the felting surface protector
brown, light brown, rust 1mm in from the folded edge of the patterned under the fabric and behind the top of the
Felting needle and felting surface fabric, and placing pleats into the fabric. Work head area, then lay some of the roving wool
protector (see Tips & Tricks) through all three layers of fabric to stitch inside the hair outline. Attach the wool to the
Matching sewing thread them to the interfacing. fabric by repeatedly poking the felting needle
Basic embroidery kit Cut off any excess patterned fabric to through both the fluff and the fabric. Doing
02
align it with the mustard fabric edge. this will cause the roving to affix itself to the
STITCHES USED Press the fusible adhesive to the back fabric and become flush with the surface.
03
of the brown fabric and cut out the face Once the top of the head area is
06
French Knot, Lazy Daisy Stitch, Satin shape, leaving a 1mm border. Position the face completely covered, make a ball of
Stitch, Split Stitch, Straight Stitch, just above the appliqué top, and press gently wool that is slightly smaller than the top bun
Woven Wheel to attach it to the mustard fabric. Then mount indicated on the template, and then felt it
the stitching into the hoop with the design on top of the figure’s head. You will need the
central and the fabric taut like a drum. extra space to add the loc detail in step 7.

3D PORTRAIT HOOP ART
07 08 09
10 11 12
Mould the roving into thin lengths, stitch across each line inside the circle. Tear
07
NOTE adding in some of the rust colour to away the tissue paper, and then continue
create some locs – the locs pictured are stitching a Woven Wheel to work the petals.
Find the template on p73. 2-3mm thick. Lay them on the felting surface Using three strands of light pink, add
11
protector and felt them with the needle so the flower centre and buds using French
that they hold their form. Knots. Then, create the leaves using Lazy
TIPS & TRICKS Place one loc over the bun, then use the Daisy Stitches worked in two strands of green.
08
needle to secure it in place by felting the
Felting surface protectors end of the loc to the edge of the bun. Repeat FINISHING
come in various forms, the most 12
with the other locs, placing them in different Finish the back of the hoop by trimming
common being foam sponges directions. The main design is finished so now the fabric so that it’s 4cm bigger than the
or bristled brush mats. These is the time to add customised additions. hoop. Work a continuous running stitch
surfaces all perform the same around the edge of the fabric and pull to
function, which is to absorb the TO ADD A HEAD WRAP gather. Secure this with a few stitches.
impact of the felting needle. 09
Using the templates on p73, cut two
They are placed behind the felt pieces from the turquoise scrap fabric. Fold
(and fabric) as you stab with the the fabric toward the wrong side along the
specially designed needle. fold lines on both pieces. Carefully stitch the SHIKIRA ALLEYNE
The patterned fabric we fabric pieces to the side of the head using one
used for the clothing is a printed strand of matching thread, folding a pleat as Shikira’s passion for textiles
African wax cotton, which we you go. Style the two ends by twisting the started at school where
sourced from Kirkdale Fabrics sides together to interlock them. Secure them she was given free range to
(@kirkdalefabrics). with a few stitches and trim off any edges. express herself. Her designs
Personalise the skin tone, hair
are all about embracing
colour and style to match yours. TO ADD A FLOWER
10 her Afro–Caribbean heritage. Passionate
You can customise your portrait Trace the flower circle template on p73 about sharing her love of crafts, Shikira runs
further by adding a head wrap or onto a piece of tissue paper, and place onto workshops to encourage others.
a pretty flower crown. the head. Using three strands of salmon pink, www.kreativepursuit.com

BABY ROMPER GIFT
Bundle
of joy
EMBELLISH ROMPERS, BONNETS, BIBS AND MORE
WITH A TIMELESS HEART MOTIF WORKED IN FRESH
SHADES OF PINK, PURPLE AND ORANGE
Designed by Jenni Davis

GIFT BABY ROMPER
01 02 03
04 05 06
MATERIALS Transfer the design from the template For the branches, work Split Stitch in
01 04
onto the chest section of the romper two strands of purple and add the leaves
Children’s romper using your preferred method. Then mount the using Fishbone Stitch in four strands of violet.
Stranded cotton: 1 skein each of fabric into the hoop. Start by filling the heart Work the vine stems using Split Stitch in two
coral, purple, magenta, shape, using three strands of coral to work strands of violet, working the leaves using
orange, violet Split Stitch – starting from the outside edge Fishbone Stitch in four strands of purple.
Embroidery hoop: 15cm diameter of the shape and spiralling inwards. Once this Next, work the cow parsley using Split
05
Tender Touch interfacing (optional) is complete, take two strands of orange and Stitch in two strands of purple. Then
Basic embroidery kit stitch a regular series of French Knots around work French Knots over the flower heads,
the edge of the heart, as shown. using two strands of coral.
STITCHES USED Fill the tulip shapes with Long and Short For the scattered flowers, use six strands
02 06
Stitch in two strands, using orange and of magenta to work the petals in Lazy
Fishbone Stitch, French Knot, Lazy starting at the base. Stop a third of the way Daisy Stitches. Then work the centre of each
Daisy Stitch, Split Stitch, Stem Stitch, up, then change to coral for the next third and flower using single French Knots.
Straight Stitch magenta for the final third. Continue using
magenta to work Straight Stitches at the base
NOTES of the flowers to add depth. Work the stamens
using Straight Stitch in two stands of orange JENNI DAVIS
Find the template on p77. and add a French Knot to each using two
To protect sensitive skin, add strands of coral. Then, use Stem Stitch in two Founder of embroidery
a Tender Touch interfacing to the strands of purple to fill in the stems. brand Hope & Hart, Jenni
back of the embroidery once Next, fill the smaller flower buds using combines her passion for
03
it is complete. the same method as described previously design with her ability to
in step 2 – only this time, reverse the thread create. She studied textile
shades. Use two strands of orange to work design at university in Leicester and has
Straight Stitches at the base of the flowers. always loved turning simple fabrics into
Then work the flower stems using Stem Stitch beautifully embellished pieces.
in two strands of violet. www.hopeandhart.com

since 1877
BRIGHT + BOLD EMBROIDERY KITS

FOR MODERN MAKERS
Including everything you need to create your own hoop art.
Beginner and intermediate embroidery designs available!
www.pixelsandpurls.co.uk | @pixelsandpurls
To promote your business here contact

Jessie Dolman on 0117 300 8133 or email
jessie.dolman@ourmedia.co.uk
Graphic Art
Whether necklace or earrings - this fashion-
able jewelry stands out! Our Belfast linen
fabric, in a fantastic berry shade, serves as
back ground for our geometric cross-stitch
design. Golden beads give the earrings and
necklace a sophisticated finish. Get this design
for free at www.zweigart.de/embroidery
LO ! and follow us on instagram!
x - Th e BA RG EL
M ar ch /A pr il Bo
2022
Cross Stitch
- June
COLOR WORLD I Graphic Illusion BELFAST I 3609/4042
PREMIUM NEEDLEWORK FABRICS

100 % MADE IN GERMANY
Cross Stitch - April 2023 www.zweigart.de

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Bi monthly subscription Box Hand dyed Fabric & Threads For stockists contact:
Lakeside Needlecraft I lakesideneedlecraft.co.uk
International postage included Willow Fabrics I www.willowfabrics.com
Heritage Crafts I Tel: 01889 575 256
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Stitchtastic I www.stitchtastic.com
TRUST THE PROCESS HOOP ART
Words of
wisdom
BRUSH UP ON YOUR WHIPSTITCH SKILLS
WITH THIS FUN HOOP DESIGN, FEATURING A
MOTIVATIONAL MOTTO AND RAINBOW SHADES
Designed by Clare Albans

HOOP ART TRUST THE PROCESS
01 02 03
04 05 06
MATERIALS Transfer the design from the template Bring the needle back up at the end
01 05
onto the fabric using your preferred of the line to the front of the fabric.
Cotton fabric: 30x30cm, white method. We used a heat erasable pen and a Carefully whip the stitches along the line
Stranded cotton: 1 skein each light source. Then, mount the fabric into the that you have just stitched, turning them
of beige, black, blue, green, orange, hoop with the design positioned so that the into Whipped Backstitch. Repeat with all the
pink, purple, red, yellow bottom of the pencils are visible within it. You other pencil lines and colour, again referring
Embroidery hoop: 18cm diameter will reposition the fabric a bit later, once the to the main image for colour placement. As
Basic embroidery kit pencils have been stitched. you stitch more pencil lines, it can get a little
Using black, work small Backstitches cramped and tricky to whip the stitches, so
02
STITCHES USED around the straight side sections of each do make sure not to catch your needle in the
pencil, and then along the top to separate the lines stitched previously.
Backstitch, Satin Stitch, painted body of the pencil from the wooden, Work the letter outlines using Whipped
06
Whipped Backstitch leaded end. Then, use Satin Stitch in beige Backstitch in black, then finish the back
to work the wooden section of the pencils. of the hoop using your preferred method.
NOTES 03
Fill in the sides sections and the nib
of the pencils using Satin Stitch in red,
Find the template on p78. orange, yellow, green, blue, purple, pink,
Use three strands of thread referring to the main image on p50 as a CLARE ALBANS
throughout this project. guide to colour placement. When they’re all
stitched, take the fabric out of the hoop and Clare Albans, founder
reposition it so that the outer ring of the hoop of embroidery business
now covers the bottom of the pencils. Hello! Hooray!, is a maker
Select the thread colour that matches and author. She creates
04
the pencil and work Backstitch along the colourful embroidery
doodle lines so it looks like they have been designs, writes a blog for crafters and runs
drawn by the pencil. Make sure to stop when an online haberdashery shop.
you reach the end of the line either at a letter hellohooray.com
or at another thread line. @hellohoorayblog

Stitch-along
PART 4
Butterfly
stitch-along
GET READY FOR PART FOUR OF OUR SIX-PART
STITCH-ALONG! THIS ISSUE, WE’LL BE WORKING
THE BUTTERFLY’S BODY AND EYE DETAIL
I
n Part 3 of Emillie Ferris’ beautiful how changing the direction of your stitching
butterfly stitch-along, Emillie showed will give a hyper-realistic quality to your
you how to use a variety of rich brown thread-painted designs. Missed the previous
hues to work the butterfly’s delicate wing parts of Emillie’s stitch-along? Turn to p58 and
detail. This month, we will complete the wings find out how to order Parts 1-3 in issues 49, 50
before moving on to stitch the body and eyes and 51. And to ensure that you don’t miss out
of this stunning Painted Lady. You’ll get the on the final two stitch-along instalments, why
chance to practise your Split Backstitch as not treat yourself to an annual subscription?
you use a deep, hazelnut brown to outline the Pssst! If you sign up before 31st July 2024, you’ll
butterfly’s abdomen – and you will also learn save 50% – see p20 for more details!

STITCH-ALONG PART FOUR
MISSED THE
PREVIOUS PARTS?
Don’t worry! Turn to
p58 to find out how
to get your hands
on issue 49!
01 02 03
04 05 06
MATERIALS In issues 49, 50 and 51, we transferred dark stone grey, dark hazelnut brown and very
01
the design, stitched the foliage, and dark brown. Then use Split Backstitch in one
Cotton fabric: 20x20cm, embroidered the lower-left hindwing. Begin strand of very dark brown to outline the body.
off-white, pink Part 4 of the stitch-along by completing the Outline the eyes of the butterfly with
05
DMC Stranded Cotton: 1 skein each lower hindwing using Long and Short Stitch Split Backstitch using one strand of very
of 310 (black), 436 (light brown), 646 in one strand of charcoal grey. Outline the dark brown. Then fill the eyes with Satin Stitch,
(ash grey), 869 (dark hazelnut brown), veins near the centre of the wing using Split working over the outline to add volume.
3021 (dark stone grey), 3371 (very Backstitch in one strand of black. Fill the Now use Long and Short Stitch to work
06
dark brown), 3799 (charcoal grey) areas near the lower body using Long and a few small stitches at the base of the
Embroidery hoop: 13cm diameter Short Stitch in one strand of ash grey and butterfly’s head in very dark brown, making
Basic embroidery kit dark stone grey – adjusting the direction sure the stitches are pointing towards the top
of the stitches so they are angled inwards, of the head. You are now ready to store your
STITCHES USED towards the butterfly’s body. Repeat the stitch-along in a safe place, ready to enjoy
lower left hindwing process (referring to the Part 5 in next month’s issue.
Long and Short Stitch, Satin Stitch, instructions in parts 2 and 3) to work the
Split Backstitch lower right hindwing.
Outline the bottom half of the abdomen
02
NOTES (main body) with Split Backstitch in one EMILLIE FERRIS
strand of dark hazelnut brown.
Find the template on p78. Fill in the lower abdomen using horizontal Emillie uses thread-
03
The fabric we used was Robert Long and Short Stitch in one strand of painting techniques to
Kaufman Kona Cotton Solids in dark hazelnut brown. This change of direction stitch detailed patterns
primrose (pink) and Essex Linen will make the body stand out from the wings. inspired by the natural
in white (off-white) available from You may find it helpful to pencil in some stitch world. Embroidery helps
www.thetartanreel.co.uk direction guidelines. Now, add highlights using her to feel calm and creative, and she finds
For the full list of threads and Straight Stitch in one strand of light brown. joy in sharing her designs with others.
fabrics needed to complete this Fill the middle of the abdomen using www.emillie-ferris.co.uk
04
design, refer to Part 1 in issue 49. Long and Short Stitch in one strand of @emillieferris

NEEDLE WEAVE BAR STITCH WORKSHOP
Stitch
Workshop
SARAH’S EMBROIDERY
Sarah has been

curating hand DIVE INTO AN EXCITING, UNDERWATER WORLD AND
embroidery
tutorials, which
LEARN THE ART OF NEEDLE WEAVE BAR STITCH AS YOU
she shares SEW THIS PAIR OF 3D, OCEAN-THEMED MINI-HOOPS
through her website, for over
N
15 years. She has authored seven eedle Weave Bar Stitch is a brilliant it is. Once you’ve created your bar, you can
books on hand embroidery, technique for adding texture and twist, turn, and position it in any direction
and has also curated her own dimension to your embroidery. you fancy! These cute, ocean-themed mini
stitching curriculum for There are lots of things about this nifty hoops, depicting the pretty, waving fronds of
students of different ages. technique that make it an essential addition emerald kelp and a pair of ruby red starfish,
www.embroidery.rocksea.org to your tool bag, but we think the best thing are lovely examples of how the stitch can be
@sarahs_hand_embroidery about Needle Weave Bar is how adaptable used to achieve different 3D effects...

WORKSHOP NEEDLE WEAVE BAR STITCH
HOW TO WORK NEEDLE WEAVE BAR STITCH
Start by inserting a pin Bring the needle up to the Bring the needle back Once you’ve finished
01 02 03 04
between the two stitch left of the exit point of the up on the left of base. weaving, remove the pin.
points. These stitch points will pin, and then hook the working Begin weaving in between the The stitch will be detached
determine the length of the thread around the head of the two prongs, going over one on the outer end with a long
stitch. Position the head of the pin. Insert the needle back thread and under the other, thread still attached. At this
pin on the outer end, opposite down through the fabric an in a back-and-forth motion. point you can arch the woven
to the base of the stitch. If your equal distance away from the We recommend either using bar, twist it to give it shape, or
stitch is longer than the pin, exit point so it is symmetrical. a blunt needle or inserting lay it straight so that it’s flush
pass the pin through the outer This will create two ‘prongs’ the needle eye first to avoid with the fabric. When you are
stitch point to act as an anchor of thread. You can change the catching the fabric as you happy with the positioning,
and mark the ‘exit point’. Both width of the stitch by adjusting weave. Weave all the way to insert the needle down
are shown as examples in the the distance these points are the pin head, pushing down through the hole left of the pin
image above. from the pin. the weaves to keep them tight. and secure the stitch in place.

NEEDLE WEAVE BAR STITCH WORKSHOP
01 02 03
04 05 06
MATERIALS SEAWEED HOOP STARFISH HOOP

01 04
To create the seaweed hoop, begin by Draw a diagonal, wavy line across the
Cotton fabric: 15x15cm, sea blue x2 layering the beige fabric over the bottom edge blue fabric and cut along it. Place the wavy,
Linen fabric: 15x15cm, beige x2 of the sea blue fabric to depict sand in the sea blue fabric over the beige fabric. Hold it
Stranded cotton: 1 skein each of light ocean. Hold the layers in place with fabric glue in place with either fabric glue or temporary
blue, brown, green, light green, leaf or temporary running stitch. We stitched the running stitch. Transfer, or draw freehand, a
green, moss green, grass green, red design freehand – but you could instead choose, big star and small star onto the fabric using
Embroidery hoop: 8cm diameter x2 at this point, to transfer the design from the your preferred method. Then, mount the
Seed beads: iridescent blue, bronze template onto the fabric using your preferred layered fabrics into the hoop. Insert a pin
Fabric glue (optional) method. Mount the fabric into the hoop so that between the stitch points. To give the arm
Basic embroidery kit it sits taut like a drum. Insert a pin downward of the starfish a 3D effect, insert the pin a bit
where the first length of seaweed will end. outside the length of the starfish’s arm.
STITCHES USED Work the seaweed using Needle Weave Start working first arm of the starfish using
02 05
Bar Stitch in six strands of light green, Needle Weave Bar Stitch in six strands of
French Knot, Needle Weave Bar Stitch following the How To instructions opposite. For red. Now, remove the pin and arch the stitch
an organic effect, we used the twisted version a bit. Then insert the needle down through
NOTE of the stitch. Work the remaining seaweed the marked end of the arm. Doing this will add
leaves using the remaining shades of green. dimension to the arm of the starfish. Repeat this
Find the templates on p77. Vary the leaf lengths and the amount of twists process to form all the arms of both starfish,
on each leaf to create a more naturalistic look. varying the arch level on each arm to make the
Create the effect of small rocks and pieces sea creature look more realistic.
03
of shells on the sandy ocean bed with Next, add a scattering of French Knots in
06
French Knots, worked in six strands of brown six strands of light blue, as well as a few
and scattered over the beige fabric. Add bronze iridescent blue beads along the edge of the
beads in the gaps for texture. Then remove the sea blue fabric to create the foamy surf. Then,
temporary running stitch, if used. Finish the if required, remove the temporary running
back of the hoop using your preferred method stitch. Finish the back of the hoop using the
or follow our How To guide on p66. same method described in step 3.

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Machine
embroidery
T
his month’s machine projects are runner, grab some sunny-coloured cottons
bursting with juicy colour! Sophie and get ready to sew Louisa Burtonshaw’s
Tarrant’s table runner combines tropical-inspired scrunchies. She’ll show
bright fabric paints and delicate, machine you how to use freemotion layering
stitched outlining to create a leafy kitchen techniques to make her mix-and-match
accessory that’ll look just as great laid up motifs really pop! Try this thrifty project
alfresco with a delicious picnic spread now and see just how quick and easy these
as it will inside, on your kitchen table. scrunchies come together... you’ll soon be
Once you’ve whipped up Sophie’s cheerful stitching them for everyone you know.

MACHINE TABLE RUNNER
In good
COMBINE PUNCHY FABRIC PAINTS WITH DELICATE
MACHINE WORK TO CREATE A FOLIAGE-THEMED
Designed by Sophie Tarrant
GETTING STARTED
Prepare your sewing machine by attaching a rather than just back and forth. Make sure
freemotion embroidery (AKA darning) foot. to use the lock stitch function of your
Next, drop the feed dogs – the mechanism machine at the start and end of each line of and stylist Sophie
that grips and pulls fabric through your embroidery. Then, once you’re finished, use a is an all-round
sewing machine. Your sewing machine hand sewing needle to thread any remaining craft guru – but her
manual should tell you how to do this, but tails through to the wrong side of the fabric heart belongs to
there is usually a lever to pull at the back and tie them off by hand. Always use a embroidery! She loves to create fun
of the machine. Dropping the feed dogs of pressing cloth when setting your fabric paint and quirky designs inspired by film,
your machine allows you to move the fabric designs with heat. This protects both the literature and pop culture.
around under the needle in any direction, fabric and the paint. www.seesophiestitch.com

Machine
embroidery
01 02 03
04 05 06
MATERIALS Begin by measuring out the table runner Set the machine up for freemotion
01 04
and cutting the fabric to size. As a rough embroidery, referring to the Getting
Heavy 100% cotton drill fabric: guide, a runner should be around one third Started guide opposite for help. Begin by
1.5m, white as wide as your table, and have an overhang outlining each leaf, matching the thread shade
Machine thread: 1 spool each of white, at each end of at least 15cm. You also need to to the painted motifs. Then, add the inner
lime green, salmon pink add a seam allowance of 1.5cm all around. To details, such as spines and veins.
Trimits Fabric Paint Pens: apple green, find the optimum width, measure the width of Place the embroidered and plain fabric
05
mint green, pistachio, raspberry, the tabletop and divide it by three, then add pieces together with right sides facing,
punch pink, sunshine yellow 3cm to the measurement. To find the ideal making sure the edges are aligned. Return
Paintbrush and paint palette or paper length, measure the length of your tabletop your machine to its standard settings. Pin the
plate (for mixing paint colours) and add at least 33cm to the number. Cut two pieces in place, then stitch together along
Iron, ironing board and pressing cloth pieces of heavy white cotton drill using these three sides, leaving a 1.5cm seam allowance all
Medium pompom trim: 1m, yellow measurements, then put one aside for later. around. Finally, stitch along the fourth side,
Sewing machine with a standard and Cover your worktop with a protective leaving a 10cm gap in the middle. Clip across
02
freemotion (aka darning) foot covering. Lay the main fabric piece each corner and trim the seam allowances
Basic embroidery kit out flat and, using an erasable pen, draw a down to 8mm, then turn the work right sides
selection of tropical leaf shapes. Vary the size, out through the gap. Use a blunt stick to poke
STITCHES USED shape, and orientation of the leaves. Once the corners out, then press flat – ensuring that
you’re happy with the layout, use a selection the fabric along the gap is neatly folded to the
Machine Straight Stitch of fabric paints to colour each leaf. Experiment wrong side. Stitch along the edge of all four
with different colour combinations to get sides to neaten the work and close the gap.
NOTE a painterly finish. Leave the paint to dry.
06
Measure and cut a length of pompom
Gently press the fabric with a trim that is slightly longer than the width
We drew these designs 03
medium-warm iron and a pressing cloth, of the runner. Lay it along one of the short
freehand, but you can also use the making sure to concentrate on each leaf for edges of the fabric on the right side, then pin it
templates provided on p79 and about three minutes. This will set the paint in place. Top stitch it into position using your
p80 if you would prefer. and means the table runner can be laundered machine, then trim the edges. Repeat to add
safely without the design washing away. trim along the second short side.

MACHINE SCRUNCHIES
Tropical
crush
STAY STYLISH WITH THESE TRENDY HAIR
SCRUNCHIES, ADORNED WITH A SWEET SELECTION
OF TROPICAL-THEMED MOTIFS
Designed by Louisa Burtonshaw
GETTING STARTED
LOUISA BURTONSHAW
Prepare your sewing machine by attaching the stitch length is determined by the speed
a freemotion embroidery (AKA darning) foot. at which you stitch – the faster you move Embroidery artist
Next, drop the feed dogs – the mechanism the fabric, the longer the stitches will be. and pattern and
that grips and pulls fabric through your When machine embroidering, try to work in kit maker Louisa is
sewing machine. Your sewing machine one continuous line. If you do need to stop, passionate about
manual should tell you how to do this, but make sure you lower the foot so you don’t using sustainable
there is usually a lever to pull at the back of have jumps in your stitching. This project materials. She is often found whiling
the machine. Start with test fabric to make is worked without a hoop. Instead, it uses away the hours in her garden –
sure the tension is correct and the bottom stabiliser to give the fabric support and keep tending to her veg patch!
thread doesn’t show though. Remember it flat while moving it through the machine. www.stitchhappy.co.uk

Machine
embroidery
01 02 03
04 05 06
MATERIALS Cut the pieces of fabric to the sizes to stitch the rind of the watermelon and the
01
described in the materials list. Fold the monstera leaves. Now, use the dark green
Cotton fabric: 13x50cm, yellow, fabric in half lengthways so that you can use the thread to work the skin of the watermelon and
coral pink fold as a marker. Transfer the design from the the leaves of the pineapple.
Machine cotton: 1 spool each of black, template onto the fabric using your preferred Finally, take the black thread and stitch
04
coral, bright green, dark green, bright method, making sure that the motifs are evenly the pips and outline of the watermelon,
pink, yellow spaced and at least 1cm away from all edges. the outline and holes of the monstera, the
Tear away or water soluble adhesive This will ensure that they don’t straddle the outline of the sun and the scalloped pattern
stabiliser: 13x50cm x2 centre line. We placed one of each motif on and outline on the pineapple. Pull or wash
Safety pin both sides of the scrunchie fold – eight motifs away the stabiliser and iron both pieces of
6mm wide elastic: 25cm long x2 per-scrunchie – and varied the angles of the embroidered fabric.
Sewing machine with a standard and motifs so they weren’t all facing the same way. Set the machine back to standard
05
freemotion (aka darning) foot Place the stabiliser behind the fabric and attach settings, then fold one of the short sides
Basic embroidery kit it according to the instructions. of the coral fabric towards the WS, using a 1cm
Set up your machine for freemotion seam allowance. Then fold the long fabric strip
02
STITCHES USED embroidery referring, to the Getting in half lengthways, RS facing. Iron and pin it.
Started guide opposite. Beginning with the Sew along the length of the fabric using a 1cm
Machine Straight Stitch yellow thread, use Machine Straight Stitch seam allowance to make a tube with matching
to work the sun and body of the pineapple coral thread. Turn the tube through.
NOTES on both scrunchies, creating an outline first
06
Attach a safety pin to one end of the
and then filling in the rest of the space with elastic, then insert the safety pin into the
Find the template on p80. forward and back motions. You will need to tube and feed it through. Hold the other end
WS = wrong side(s) keep building up the layers of stitching to the of the elastic and make sure it doesn’t travel
RS = right side(s) point that you can’t see any fabric through it. up into the tube. Once it is through the tube,
Now working on both scrunchies tie the elastic ends together with a double
03
but using the same method, use the knot. Place the folded edge over the raw edge,
pink thread to create the main part of the then pin and then sew them together. Repeat
watermelons. Then, use bright green thread steps 5 and 6 for the yellow scrunchie.

MATERIALS TECHNIQUES STITCH GUIDE TEMPLATES
EVERYTHING YOU NEED TO GET STARTED

ON YOUR EMBROIDERY ADVENTURE
YOUR BASIC FABRIC THREAD

EMBROIDERY KIT
Embroidery can be worked on a wide Choose thread for your project according
variety of fabrics or ready-made items. to how your finished embroidery will be
It’s best to choose fabrics with a fairly used. For items that will receive a lot of
smooth surface as heavily-textured wear and tear, use hard-wearing thread,
For the majority of the projects
surfaces will prevent the stitches from such as stranded cotton. For decorative
in this issue you will need the lying flat. For beginners, it’s best to start pieces, use finer decorative threads.
following items. There are with 100% plain-weave cotton. Consider also how well they’ll cover the
different types available, so embroidery design, and experiment to
read on to choose the correct When choosing fabric, consider its get the thickness you desire.
materials for each project. intended use, how much wear it will get,
and how often it will need to be washed. STRANDED COTTON
Fabric This is a divisible, six-strand thread. One
Thread Fabric can be categorised by its weave strand forms a fine line, while six strands
Needles and fibre content. Plain weave is the most used together produce a bold, heavy line.
common type of weave and includes It’s available in more than 500 colours, in
Scissors poplin, calico and canvas. Satin weave is a pure cotton, silk and rayon.
Embroidery hoop really smooth fabric, which is glossy on one
Transfer pens/pencils side; it includes cotton sateen and satin. PEARL COTTON
Twill weave is a strong fabric with diagonal Also known as ‘coton perlè’, this twisted
ribs, such as denim and tweed. Evenweave single-strand thread has a slight sheen
has regularly spaced holes between the and is available in four weights, from heavy
threads and is used for counted thread to fine: 3, 5, 8 and 12. It’s often used for
embroidery. Surface pattern, gingham and Hardanger embroidery.
ticking can be effectively embroidered on
top by following, or echoing, the print. COTON À BRODER
Also known as ‘special embroidery thread’,
The most common fibre used is cotton, this matte, single-strand thread is available
which is strong and washes well. Linen has in four weights from heavy to fine: 16,
a slightly uneven surface due to the natural 20, 25 and 30. It can be used for surface
slubs, which are part of its charm. Silk is embroidery, blackwork and drawn thread.
luxurious and has a subtle sheen, but take
care when stitching on it as it can pucker. CREWEL WOOL
Pure wool fabric has quite a tight weave, This single-strand woollen thread is
is easy to stitch on, and adds a wonderful available in many colours and used for
texture to embroidery. fine embroidery and crewel work.

MATERIALS ESSENTIALS
DESIGN TRANSFER
There are several tools and materials that
can be used for transferring designs.
TRANSFER PENS AND PENCILS

These are either permanent or temporary,
and are erasable by air, heat or water.
DRESSMAKER’S CARBON PAPER

This comes in a range of colours so it’ll
show up on different shades of fabric.
IRON-ON TRANSFERS
These can be bought either singly or in
Always work with shorter lengths of about eye so that it can take thicker threads. It’s books, and can be used more than once.
30cm and coat with a thread conditioner. also good for embroidering with ribbon.
LIGHTBOX
SPECIALITY THREADS CREWEL/EMBROIDERY These are like an illuminated tablet and are
There are many other threads to choose This is the most commonly used needle for worth the investment for easy tracing.
from in a wealth of different effects, such embroidery. It’s a medium-length, sharp-
as space-dyed, hand-dyed and ombré. pointed needle with a long eye. PENCIL
Try flower, soft cotton and silk threads. A standard soft pencil can be used to trace
MILLINERS/STRAW a design onto fabric.
HOOPS & FRAMES

This long needle has a round eye, so is
perfect for working decorative stitches, WATER-SOLUBLE STABILISER PAPER
Using a hoop or frame makes it easier like Bullion Knot. Draw or print a design on this, embroider
to achieve a neat, even finish without through it, then dissolve it in water.
the fabric distorting. Stands for hoops QUILTING/BETWEENS
USEFUL EXTRAS
and frames, which leave your hands free These needles are very short and fine with
to stitch, are available as floor-standing, a round eye. The shorter length makes
table, lap or seat-mounted. them ideal for fine needlework, such as COTTON TAPE
shadow work. Used to bind the inner embroidery hoop
HOOPS when stitching on fine or delicate fabrics.
Hoops work by holding a section of the SHARPS
fabric taut between two rings. Wooden These general purpose needles are LIGHTS AND MAGNIFIERS
hoops have two rings with an adjustable medium length with round eyes, which Perfect for seeing small stitches close up
metal screw. Spring tension hoops have makes them strong, and perfect for tightly or for working in artificial light.
a plastic outer ring with a metal spring- woven fabrics.
loaded inner ring to keep the fabric taut. SCISSORS
TAPESTRY Small, sharp scissors are invaluable for
FRAMES This blunt-ended, large-eyed needle is snipping off thread ends. Dressmaking
Frames are designed for larger pieces used for counted thread embroidery and scissors are used for cutting fabric to size.
to keep an entire piece of fabric taut. working Whipstitch.
THIMBLE
These will protect your fingers,
particularly when using thicker threads.
THREAD CONDITIONER/BEESWAX
This helps stop the thread from getting
tangled, particularly metallic threads.
ESSENTIALS TECHNIQUES
CARBON PAPER HOW TO STITCH

Lay the carbon paper coloured side down CUTTING THE THREAD
onto your fabric, place your pattern on the With stranded cotton, there is a ‘right’
top and trace over the design. end to pull the thread from to stop the
skein tangling and knotting: the end with
TEAR-AWAY METHOD the longer wrapper that has the colour
This technique is used when stitching number. Find the cut end and gently pull.
on textured fabrics like velvet and suede. Cut thread no longer than 30-40cm (but
Trace your design onto thin tracing or for metallic threads, shorter 30cm lengths
tissue paper, then tack it onto your fabric. are best). To separate the strands, cut a
Stitch through the fabric and paper, then length of thread, then hold the end gently
carefully tear away the paper. between your thumb and forefinger. Take
one strand and pull it gently upwards. If
you want more than one strand, separate
HOW TO TRANSFER
them individually, then recombine them.
TRACING STARTING A THREAD

Place light-coloured and fine fabrics over There are a few methods you can use:
the design and trace over it. For thicker Loop start If you’re stitching with two
or dark-coloured fabrics, a light source strands, cut one strand twice the length
such as a window or lightbox makes this you need. Fold it in half so the two cut
process much simpler. ends meet and thread these through your
needle, leaving a loop at the other end.
TRANSFER PENS AND PENCILS Bring your needle up through the fabric,
Choose a colour that will show up on then back down, threading the needle
the fabric. Use a permanent marker if through the loop. This neat method works
the stitching will cover the lines, or with any even number of strands.
a removable marker if you need to erase
the lines afterwards – test on a scrap of Waste knot Tie a knot in the end of the
USING A HOOP
fabric first so you know it can be removed. thread and pull the needle and thread
through the fabric, from the front to the
IRON-ON TRANSFERS Place the inner ring of the hoop under the back, near to where you’ll be working.
Press your fabric, then place your transfer fabric directly below the area you wish to Work stitches over the end of the thread,
sheet ink side down on top and press stitch. Loosen the screw on the outer ring then cut off the knot when you reach it.
with a hot, dry iron (taking care with and place this over the fabric and inner
heat-sensitive fabrics). You can reuse the ring. Push down firmly and evenly, then Weaving in Weave the end of the thread
transfers three to four times depending on tighten the screw and gently pull the edges under the back of worked stitches.
the type of fabric you use. of the fabric beyond the hoop so that it’s
‘drum tight’. Regularly check the tension FINISHING A THREAD
WATER-SOLUBLE STABILISER of your fabric as you stitch, and adjust Weave the thread under the back of the
This lightweight, slightly perforated paper accordingly. If you’re using delicate fabric, stitches just worked. Start and finish all
stays on the fabric as you embroider. Once begin by wrapping cotton tape around threads very securely so they don’t come
you’ve finished stitching, soak it with the the inner ring to protect your fabric from undone. Cut off loose ends as you go, so
fabric and it dissolves when rinsed. being marked by the hoop. they don’t get caught in stitching.

Stitch
Guide
2
1
3
Backstitch
Backstitch forms a neat line which can be used alone or to outline
other stitches. Backstitch should be worked so that all the stitches
LEFT-HANDED STITCHERS are the same length with no gaps between them. Bring the needle
If you are left-handed, you may need to up at 1, down at 2, up at 3, and so on. Continue stitching in this
work some stitches differently. To work way, always working back on yourself.
the stitch in the opposite direction hold
the stitch guide up to a mirror.
FINISHING
When you’ve finished stitching, gently 1
3
wash your work in lukewarm water and
a little mild detergent. Rinse well, adding
a drop of white vinegar to the final rinse 2
to restore the sheen of the thread. Roll the
fabric in a clean towel to absorb excess
water. Place a towel on an ironing board,
put your embroidery face down on it with
a clean cloth on top, and press until dry.
Blanket Stitch
Bring the needle up at 1, down at 2 and up at 3 with the thread
under the needle. Gently pull the needle through to form a neat
loop. The vertical stitches should all be evenly spaced and of the
same length. You may find it helps to draw spacing lines on the
fabric as a guide to keep the stitches even and regular.
2
1
MOUNTING A HOOP
Cut the fabric 5cm bigger than the outer
hoop. Cut a piece of felt the same size
Brick Stitch
as the inner hoop. Mount the fabric into
the hoop with the design central and the
screw centre-top. Work a running stitch Work a row of even-length Backstitches along the area to be filled.
around the fabric edge and pull to gather Stitch your next row of Backstitches below the first row, making
it. Pin the felt over the gathered fabric and them the same length as those above, but offsetting them. The
stitch into place, then sew a small ring at stitches at the beginning and end of this row will be shorter than
the top to hang your hoop from. the others. Continue in this way, so you have a ‘brick-filled’ area.

ESSENTIALS STITCH GUIDE
Stitch
Guide
2
1 1
3 2
Chain Stitch Figure of Eight Knot

Chain Stitch works well as a decorative outline. Work from right to Bring the needle up at 1 and loop a thread over it. Next, take
left bringing the needle up at 1, down at 2 and up at 3, making sure the thread over and under the needle in a figure-of-eight. Push
that the thread is under the needle. Pull the needle through slowly the needle back down into the fabric at 2, close to where it first
to form a neat loop – don’t pull too tightly or the ‘chain’ effect will emerged. Tighten the loops around the needle and hold them in
be lost. Point 3 becomes point 1 of the next stitch. place, then pull the needle through carefully to form a neat knot.
3 1 5 3
2 2
6
3
4
Fishbone Stitch Fly Stitch

Bring the needle out at the top of the shape and make a short Bring the needle up at 1 then down at 2 without pulling the needle
vertical stitch. Bring the needle up at 1 slightly to the right, through the fabric. Bring the needle up again at 3, over the thread
following the shape outline. Take the needle diagonally down at of the first stitch and pull it through. Make a short stitch to secure
2 at the centre line below the first stitch. Bring it up at 3 on the left the ‘V’ shape and create one Fly Stitch. If you are working in lines,
side and keep alternating these diagonal stitches from right to left. place the stitches side by side or below each other.
4 3
5 2
6 1
1
French Knot Holbein Stitch

Bring the needle up at 1. Holding the thread with one hand, twist Holbein Stitch, also known as Double Running Stitch, creates
the needle around the thread twice. Insert the point of the needle the same effect as Backstitch on the front of the work, but gives
into the fabric close to where the thread emerged; pull the thread a neater appearance on the back. Work a line of Running Stitch by
to tighten the knot, then push the needle slowly through the bringing the needle up at 1, down at 2, up at 3 and so on.
fabric. Make a larger knot by increasing the twists. Then, work back along the line, filling in the gaps.

Stitch
Guide 13
3 2
2 4
1
4
3
Lazy Daisy Stitch Long and Short Stitch

Bring the needle up at 1 and down at 2, right next to where it first Work alternate long and short stitches for the first row, with
emerged, but without pulling the needle all the way through the the short stitches being half the length of the long ones. Bring
fabric. Bring it up again at 3, with the thread under the needle. the needle up at 1, down at 2, up at 3, down at 4, and so on.
Pull the needle gently to form a loop. Secure the loop with a short Subsequent rows are worked with just the long stitches, although
stitch by pushing the needle through the fabric at 4. the stitch length can be adjusted to suit the area being filled.
2
2
1 1 2
3
1
Needle Weave Bar Stitch Satin Stitch

Insert a pin through the bar tip. Bring the needle up at 1, hook Bring the needle up at 1, down at 2, and up at 3, working stitches
around the pin then go down at 2 to create the thread ‘prongs’. close together. Keep stitching in this way, under and over, so that
Come up at 1, go over the first prong, and then under the second. the back of the work looks the same as the front. To maintain an
Reverse the direction then continue filling towards the tip. Remove even tension, always take the needle out at the back, then back in
the pin. Then twist, arch or lay the stitch flat. Go down at 3. at the front in two steps, rather than in and out in one motion.
1 2
2
1
Seed Stitch Split Backstitch

Seed Stitch is an individual stitch, but when worked together in Split Backstitch is an alternative way to work Split Stitch. Instead
groups is called Seeding. This is simply short straight stitches of bringing the needle up through the centre of the previous stitch,
worked randomly in different directions. There is no particular bring it up through the fabric at 1, where the end of the next stitch
pattern to follow, but the stitches should all be of the same length, will sit. Then, take the needle back down through the centre of the
evenly spaced and scattered across the fabric previous stitch at 2, splitting the fibres or strands as you do so.

ESSENTIALS STITCH GUIDE
Stitch
Guide
2 1 3
3
1
2
Split Stitch Stem Stitch

Bring the needle up at 1, down at 2, and up at 3, but don’t pull it all Stem Stitch forms a solid, raised line with a textured appearance.
the way through the fabric. Pull the needle up through the centre It can be used to follow any shape and is good for working curved
of the thread to split it, then carry on pulling it up through the lines. Bring the needle up just above the design line at 1, down at
fabric and the thread. Work the whole outline in this way, making 2 below the line, and back up at 3 above the line. Continue in this
sure you always split the thread in the centre to form even stitches. way, always working back on yourself.
2 4
2 1 3
Straight Stitch Whipped Backstitch

Straight Stitch is very versatile as it can be worked to any length First, work a line of Backstitch. Next, thread a blunt pointed
and in any direction. It is particularly useful in pictorial work for tapestry needle and bring it up from beneath the centre of the
adding details, and it can also be used to outline other areas of first Backstitch. Bring the needle out under the stitch and thread it
stitching, providing that the edges are straight. Bring the needle up under the next stitch from bottom to top. Continue whipping the
at 1, then down at 2 to create the required stitch length. Backstitches in the same way without piercing the fabric or thread.
4 7
1 2
3 5
1 6
Whipstitch Woven Wheel

Bring the needle out at 1 on the first layer of fabric, near the edge. Work spokes by coming out of the centre at 1 then in at 2 on the
Then, insert the needle back in at 2 on the second layer of fabric, edge of the circle. Come out again at the centre and in at 3 and so
angling it so that it pierces both layers of fabric and comes out at on to complete the spokes. Using a blunt needle, bring the thread
3 on the first layer where the next stitch will begin. Continue in this out under one of the spokes at 7 then weave it under and over
way, working from points 2 to 3, until your pieces are joined. each spoke alternately without piercing the spokes or fabric.

HERE ARE ALL THE TEMPLATES YOU NEED
TO MAKE THE PROJECTS IN THIS ISSUE
COASTAL HOOP
Page 14
Pattern at 100%
2cm square
test square (for
printing
Thank you for making these projects from Love Embroidery. The copyright for these templates belongs to the designer of the project (and/or Our Media). The magazine and all of its contributors work extremely hard
to create projects for you to enjoy, so please don’t re-sell or distribute these patterns without seeking permission first. Please do not make any part of the templates or instructions available to others through your
website or a third party, or copy it multiple times without our permission. Copyright law protects creative work and unauthorised copying is illegal. We appreciate your help.

ESSENTIALS TEMPLATES
DANDELION GREETINGS CARD

Page 11
Pattern at 100%
SPRING T-SHIRTS
Page 30
Patterns at 100%

UMBRELLA HOOP
Page 36
Pattern at 100%
PORTRAIT HOOP
Page 43
Patterns at 100%

FLOWER CROWN
Page 26
Patterns at 100%
X3 ORANGE
X3 CREAM
X3 MARL
GREEN X2 GREEN
X3
BRIGHT PINK X3 GREEN

X4 CREAM
X3 PINK
SKY
DU
X3 MARL
GREEN
X3
ORANGE
Orange
X3
X3 BRIGHT PINK
ORANGE

WALL HANGING
Page 33
Patterns at 100%
HEART ROMPER
Page 46
Pattern at 100%
STITCH WORKSHOP
Page 55
Patterns at 100%

‘TRUST THE PROCESS’ HOOP

Page 50
Pattern at 100%
TRUST
THE
PROCESS

BUTTERFLY STITCH-ALONG
Page 53
Pattern at 100%

Page 60
Patterns at 100%


Page 60
Patterns at 100%
MACHINE SCRUNCHIES
Page 62
Patterns at 100%

N
DIA
A NARS
C DE
&
A REA
US
Exclusive
subscription offer Meet the team
Editor Nikki Morgan
Creative Design Lead Nicola Lynn
Creative Designer Camilla Owen
Subscribe to Love Embroidery today and Production Editor Daisy Game
enjoy receiving inspirational embroidery Technical Editor Heather Nugent
Digital Lead Sarah Orme
projects delivered direct to your door! Contributors
Anaïs Hervé • Anna Alicia
• Anurada Bhaumick • Clare Albans • Emillie Ferris
• Floor Giebels • Georgie Emery • Jenni Davis •
Louisa Burtonshaw • Louise Newton • Matilda Smith •
Megan Capon • Sarah’s Hand Embroidery •
Shikira Alleyne • Tanya Oliver • Sophie Tarrant
Photography by Our Media Photo Studio

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M Y S T Y LE
Floor Giebels
EMBROIDERY ARTIST AND
FOUNDER OF FULL METAL
NEEDLE, FLOOR GIEBELS TELLS
US ABOUT THE INSPIRATION
BEHIND HER MIXED MEDIA
PHOTOGRAPHY HOOP ART
Where do you find the inspiration for
your patterns?
I live close to the sea and the dunes, and
I love to walk and take photographs for my
embroidery. I’m also inspired by different
mediums, and often ask myself: “How could
I combine this with embroidery?” It’s always
fun to experiment.
What’s your current WIP?
Do you have a favourite piece? I’ve recently had a baby, and so my schedule
I love the series I call my ‘seascape girls’ is a bit slow at the moment. But I have printed
– I don’t think I will ever get bored of the cover from Taylor Swift’s Evermore album
embroidering hair in front of a seascape! on fabric and started stitching her braid, as it
Each time I stitch the hair elements it provides really spoke to me – she’s a lot of fun to sew.
a new challenge, which means I never make I hope to finish that, and then start some other
the same piece twice. new pieces very soon!
Tell us about your online classes? Take a closer look at Floor’s embroidery by giving
I have embroidery classes for both beginners her a follow on Instagram, @fullmetalneedle
and for people with more experience. I start
B
ased in the Netherlands, by explaining my ‘process’, and going over
self-taught stitcher Floor prints all my tips and tricks on how best to print up
photographs onto fabric before photographs onto your chosen fabrics. My
using needle and thread to bring them classes also cover how to use colour, and how
to life. Here, she chats about her online to needlepaint. I couldn’t find any classes on
embroidery courses – and her love of these topics when I started with embroidery,
American singer-songwriter, Taylor Swift… so I decided to make them myself.
When and why did you begin your

stitching journey?
I started embroidery in 2016, after I suffered
a bad knee injury and was stuck on the couch.
I stumbled across an embroidery artist on
Instagram and tried to mimic the stitcher’s
technique, but using my own style. It wasn’t
long before I started experimenting with
paint and printed fabrics.
What’s you design process?

Sometimes, I like the photography itself to take
precedence. In that case, I add just a little bit of
embroidery as an accent. But sometimes, it’s
the other way around! Embroidery is a brilliant
way of bringing a picture to life.

COMING SOON
Next issue
Summer
style
MASTER THE ART
OF EMBROIDERED
HAIR TO CREATE
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Welcome

FRESH IDEAS WITH THREAD

From stripy tees to dungarees, it really couldn’t

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ISSUE FIFTY TWO

14 COASTAL HOOP 43 PORTRAIT HOOP

26 MINI MASTERCLASS 46 HEART ROMPER

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JOIN THE SLOW STITCH REVOLUTION

Hand-Stitched Oasis embroidered

A GUIDE TO THREAD PAINTING FUR, FEATHERS, SPINES & SCALES

40+ Stitches | All the Basics & Beyond

HANDY POCKET GUIDE

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GREETINGS CARD – IT’S GREAT FOR ANY OCCASION, AND

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Stitching for change

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LOSE YOURSELF IN DREAMY BLUE SKIES, SANDY

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TIPS & TRICKS Short Stitch to portray the surf washing up

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