S chMagazineDecember2020January2021

O IVE
INSPIRING IDEAS WITH NEEDLE AND THREAD
ER
FF
S
LU
YOUR
C
EX
NO.1
EMBROIDERY
MAGAZINE
DECEMBER 2020/JANUARY 2021 | £5.50 ISSUE 128
MAGICAL
MOMENTS
MAKE YOUR OWN
GOLDWORK
MANDALA
E n jo y! Follow our
in-depth tutorial
• A GAME OF CHESS
HOW TO MASTER BLACKWORK
• CONTEMPORARY CREWELWORK
PACKED WITH STITCHING DETAIL
• CHEERFUL HAND-WARMERS
Perfect for winter evenings PRETTY AND PRACTICAL
PLUS! EVERLASTING SNOWFLAKES • A FAIRY-TALE FAVOURITE 28
FABULOUS TEXTILE BIRDS • A BEAUTIFUL BEADED WORLD 9 771467 664081 >

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Our range of embroidery
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Visit our website for details and

to find your local stockist
sewingcraft.brother.eu
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The views expressed by contributors are not
necessarily those of the editor or publisher. Every
care is taken to ensure that the content of the
magazine is accurate; however the editor nor
publisher assumes any responsibility for omissions
or errors. The editor reserves the right to edit copy.
All the material published remains the
copyright of the publisher. No part of this
What matters
magazine may be published, reproduced,
I make no apologies. This issue is all about the stitching. Pure and simple. There are plenty of
copied or stored in a retrieval system without shiny new projects just crying out to be started. All perfect for filling long evenings.
the prior permission in writing of the publisher. Given the time to be spent indoors over coming months, then surely a board game or a spot
No commercial exploitation is permitted. Tutorials of colouring in is needed…but in embroidery form, naturally! Jen Goodwin’s blackwork chess
and projects are for the reader’s use only. pieces are a proper treat. While Loetitia Gibier’s winter mandala has a sparkly hypnotic quality
While reasonable care is taken when accepting that will have you transfixed.
advertisements, the publisher cannot accept Special thanks go to Jay Hooper and Emma Firth for their perseverance. Jay for pushing through
responsibility for any resulting unsatisfactory with a pattern that made her head hurt. It was worth it: her dimensional snowflake is utterly breath-
transactions. No warranty is implied in respect of taking and elevates the buttonhole to new levels. (I squealed with delight when I saw it!) As for
any product mentioned herewith. The Advertising Emma, designing hand-warmers in the middle of a hotdog heatwave back in August deserves an
Standards Authority exists to regulate the content award alone. But staying up until the wee small hours over several nights waiting until it was cool
of advertisements. enough to concentrate went above and beyond. Please enjoy their efforts!
Tel: 02074 292222. At the beginning of 2020 Alex Law gave us an inspirational cushion cover. ‘Reach for the
Prizes, gifts or giveaways offered in competitions Stars’ (in issue 123) was about daring to dream big and being the best version of yourself. Alex
might be substituted with ones of similar value. bookends the year with another design with a message. ‘Call of the Wild’ is about being happy
Unless otherwise stated, all competitions, free in your own skin. Calming the inner restlessness that can spoil the here and now is perhaps the
samplings, discounts and offers are only available secret of inner contentment.
to readers in the United Kingdom. Crossing over to America. When Linda Fjeldsted-Blust offered to share how she makes
her fabulous birds, it was probably the quickest ‘yes’ of the year! Her background in ballroom
ISSN 1467-6648
costume design means her birds get the Strictly treatment. And just like favourite Saturday night
© Warners Group Publications plc
viewing, they will bring a smile to your face.
Finally, what is important? Ultimately, it’s not complicated. Take
Managing Editor: Sally Stirling
Joyce Wong, she created the penguin portrait above for a friend in
Editor: Kat McDonnell
Hong Kong, expecting her first baby. Separated by continents and
Design: Dean Cole
coronavirus, it was a simple gift small enough to be popped through
Photography: Brett Caines
the letterbox. But a gift that had time and care showered to pick out
Advertising Manager:
the threads (Madeira Lana), get the fluffy texture right and nail the
Jayne Notley
Tel: 01778 391189
subtle colour changes. It’s a picture that paints a thousand words.
Email: Jaynen@warnersgroup.co.uk
Advertisement Copy: Remember what’s important & keep stitching!
Sue Ward
Tel: 01778 392405
Email: production@warnersgroup.co.uk See more of Joyce Wong’s work at @bloomingkapok
Publisher: Warners Group Publications plc
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craftmag.co/stitch-win www.facebook.com/stitchwiththeeg
Bourne, Lincolnshire, PE10 9PH.
For your chance to win any of the competition
Tel: 01778 391000 or giveaway prizes featured in this issue, simply
head to our dedicated page and enter your details. Follow us:
The closing date is Sunday 31 January 2021. @stitch_magazine
Printed and bound by Warners Midlands plc. No entries received after this date will be accepted.
All rights reserved. Winners are picked at random; the Editor’s decision
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3
Inside your issue...
19 6
13
23 25
Projects 39 LET IT SNOW!

7 A WINTER MANDALA
Rich blues and icy hues bring sparkle
COVER Nothing chilly about Jay Hooper’s utterly captivating
snowflake decoration. Learn how to turn the buttonhole
and shine to the darker days! Enjoy a STAR! stitch into icy formations. It’s so clever!
sublime fusion of goldwork, stumpwork,
mindful repetition and satisfying symmetry. 44 BLACK MAGIC
Let Linda Fjeldsted Blust cast a spell over you! Be charmed
13 CALL OF THE WILD by her detailed tutorial that creates a life-sized raven from
Practise the art of inner contentment with an inspirational fabric and wire.
cushion cover from Alex Law. One wolf design, nine
contemporary shades of wool and an enjoyable range of 51 THE LITTLE MERMAID
crewelwork stitches to relax into. Recreate a favourite character from the Hans Christian
Andersen fairy tale. Beautifully expressed in simple back
19 YOU NEED HANDS stitch and a few French knots.
Turn a bunch of scraps into a wonderful gift to warm hearts
and hands. Pretty and practical, with two designs featuring
a multitude of stitches.
Inspiration
6 FREEDOM OF EXPRESSION
25 CHECKMATE! Alison Carpenter-Hughes explores the importance of
The white queen takes on the black king in an engaging expressing yourself, but lets the embroidery do the talking.
game of blackwork chess. Play both sides with a clever
project that showcases traditional and reverse techniques. 23 HIGHLAND FLING
Hand & Lock Prize winner Emma Wilkinson contemplates her
32 CUP O’ KINDNESS Scottish roots and the development of her signature style.
Look forward to a better year with a bead encrusted vision
of the world. It’s a beautiful, multi-coloured celebration 29 STRAIGHT TALKING
of the sentiments behind the words of the famous Robert Benefit from Jen Goodwin’s experience as she outlines
Burn’s song, Auld Lang Syne. how to approach blackwork projects. She knows what she’s
talking about!
4 www.stitchmag.co.uk
ISSUE 128 DECEMBER 2020/JANUARY 2021
29
39 44
7
36 FASHION SENSE DON’T MISS OUT!

Combatting fast fashion is a tricky business. Dr Jen Ballie from Let the stitching continue: take advantage TURN TO
the V&A Dundee takes a look at the villains and the heroes. of our fantastic subscription offers. It’s the PAGE 30
easiest and cheapest way to get your next
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49 AURIFL OFFER
Enjoy working with these fabulous threads? DELIVERED TO YOUR DEVICE
The Embroiderers’ Guild has a special offer exclusively Go digital and access the magazine through your tablet,
for the readers of Stitch, so you can get your hands on a smart phone or computer. It’s easier than you think!
beautiful kit at a discounted price. LU OFF INSP
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SIV ER
XC IR G
THE STITCHING INSPIRING EIDEAS WITH NEEDLEIN
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ANDIDTHREAD
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AND TH
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WITH N E AN
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54 STITCH GUIDE ING ID

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YOUR D TH
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IN SP IR
NO.1 NO.1
OF VE
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YOUR
FE
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This issue is packed with whole variety of different stitches! There’s so EMBROIDERY
NO.1
CL
OIDERY MAGAZINE
EMBR ZINE
EX
AUGU
ST/SEP
TEMBE MA
GA
R 2020
| £5. EMBR
You’ll find them all in this handy guide. Use it to refresh much more
50
MAG OIDERY
OCTOBER/NOVEMBER 2020 | £5.50 ISSUE 127
AZIN
E
128
ISSUE
your memory or get to grips with new ones. to Stitch than RY 202
1 | £5.5
0 SPAR
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ALL THE STEPS,
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ISSUE
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a magazine. DECEMB w WORK

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55 TEMPLATES Discover our MAKOYO UR

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All the templates and guides you’ll need to complete this virtual world of GOLDW LA
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CELEBRATE THE SEASON ait
62 NEXT ISSUE
Can’t get enough? Here’s a sneak peek at all the fresh TURN TO FANCY
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PAGE 12
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www.stitchmag.co.uk 5
Spotlight
Freedom of Expression
Sharing and exchanging ideas and information are core to society. What if this
right no longer existed? It’s a question explored by Alison Carpenter-Hughes.
Explain the concept behind your piece. precarious the state is: without due care and ideas, thoughts and feelings I almost take for
There are two contrasting faces. One showing consideration, the balance could be tipped granted. My current concerns have been in
a silenced voice; the mouth sealed with and freedom eroded further. existence for many years, but without form.
sewing pins. The second face is open mouthed The research around this piece gave the
and eyed, questions flowing forth. The birds How easy do you find it to express yourself? opportunity to shape these concerns into a
represent the different elements of debate and I find talking about emotions very difficult. clear idea, visually and verbally. It gave me a
diversity of opinion, values and views. My hope There can be angst and worry about what greater understanding of just how important
is to define freedom of expression more widely the other person is thinking! Written words it is to protect that freedom.
and unabridged. It was selected to be part of are more comfortable as I can take time to
an art exhibition to celebrate the centenary of consider and edit until it feels right. Although How was the embroidery created?
the Magistrates Association. they can still be misconstrued or the tone I liked the contrast of the charcoal and pastel
misread. As with most people, I find it easier colours against the brown paper from my
What is the Magistrates Association: when I have knowledge and passion, for original drawing, so I worked on a natural
100 Years of Justice? example the protection of animals. Then I will coloured artist linen - a first for me. The
It’s an exhibition that aims to demystify the talk openly and share information, especially faces and smaller birds were stitched on
magistracy, highlight the importance of their if there is the chance it will promote change. directly using free motion embroidery. The
work and create a more approachable and swifts and swallows were
dynamic image of who they are. It is more And as an artist? created separately, built
essential than ever that our justice system Creativity allows for another level of entirely in layers of thread.
reflects the communities it serves. It hopes expression that can be very freeing. It can They were sewn to the
to engage a wider audience through art. be completely private; an experiment in linen, leaving elements
release and one without judgement, working unstitched and threads
What did you want to convey? intuitively or with further consideration. It loose to give movement -
As time goes on it feels there is less freedom of can also become public; the work giving as if they were emerging
expression and thought, particularly with the the viewer the opportunity to express from the two figures. ❤
manipulative effects of the media and social themselves through how they connect with
media. I feel passionate about the importance it intellectually or emotionally. View the full exhibition online,
of maintaining a diversity of ideas, values and As an artist, freedom of expression is a key ideally via desktop at:
views; the need for open and colourful debate. element of creativity and exploration. It is an ma100yearsofjustice.com
I wanted to bring an awareness of how essential part of my ‘self’. It’s a way to express Find additional content at: @ma100years
Project
A Winter Mandala
FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 56
Colouring therapy in goldwork form! Quiet overflowing minds by

focussing on filling in the shimmering couching and chipping detail.
Utterly absorbing with sublime results.
BY LOETITIA GIBIER
Project
1 2 3
7 8 9
“This mandala celebrates winter, bringing sparkle and shine to the darker
days of the season. The rich blues and silver white icy colours stand out
against the cool grey background. The mix of goldwork and stumpwork
techniques, using organza for transparency, gives extra dimension!”
YOU WILL NEED

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

1 Tape the templates to a flat surface. Mount organza is in direct contact with the design.
one piece of navy organza in a 7in hoop and Use the white paint pen to trace Layer 1 Layer 1: Navy Organza
place the turquoise in the other. Make sure template on to the navy organza, and the 4 Stitch all the outlines using silver pearl purl.
both are drum tight. black to trace Layer 2 on to the turquoise. To couch the pearl purl, use a single strand
Leave to dry for a few minutes. of Gutermann 11 in your embroidery needle.
TOP TIP! Using two 7in hoops allows Be sure to run it through the beeswax 2-3
you to prepare all the organza in one go. 3 Once dry, remove the navy organza from times to make it stronger. Start with a knot
Each hoop can be stitched then left until the hoop and place right side up on the in an area that you know will be covered and
you are ready to assemble your mandala. second navy piece. Mount back in the same do a small stab stitch to secure. 1
It also protects the goldwork. hoop. Repeat with the turquoise organza.
Project
4 5 6
10 11 12
TOP TIP! It’s best to avoid the waste couching thread into position. Be quite 14 Leave the middle of the flower blank.
knot technique with organza; the firm with it. Complete 4 rows only; this will On the reverse apply a generous layer of
fabric is too slippery and the thread leave a regular gap all around and avoid PVA glue over all the stitched sections and
unlikely to hold. incomplete rows. 5 6 beyond the outline. Go 1cm into the middle
circle. Leave to dry. 10
5 Stretch the pearl purl slightly by pulling on 10 Couch each section in one length
each end. It is stretched enough when rather without cutting the twilight blue thread but Layer 2: Turquoise Organza
than curling on itself, it lies flat and straight. bending it as needed. Use the large needle 15 As with the navy layer, you start with a
to plunge the ends after completing each couched outline in pearl purl. This time use the
6 Come up on one side of the pearl purl on section. Trim the ends to 1cm then tie at the navy pearl purl and Gutermann 736. Fill in each
the line, angling your needle so it is tight to back in the small section below. These will section, extending each line into the central
the wire. Now go over the other side of the be covered over later. 6 7 circle by 1cm. Do not plunge the ends as these
wire and down through the fabric, angling will be covered by the central flower. 11
the needle in the opposite direction so it is 11 The next section is completed in
tight to the wire again. chipping using the turquoise Kora purl. 16 Fill the outer section by couching two
Cut the wire as small as you dare, usually strands of DMC D415 round and round
7 The pearl purl is not plunged to the around 1-2mm length. Use two strands of with Gutermann 736. The diamant thread is
background but cut flush to the surface. Gutermann 11, and run them through the more flexible allowing you to fill the smaller
Work in one length whenever possible beeswax before starting. shapes more easily. Plus any incomplete
and bend the sharp corners using a pair rows do not look unattractive.
of tweezers. 1 2 12 Come up through the organza where
you want that first chip to be. Thread a chip 17 For the final detailing cut one 4mm chip
TOP TIP! Use your goldwork scissors onto the needle, slide to the surface of the and two 3mm chips of white rough purl for
on the wires for a clean cut. The wires fabric and then bring your needle down each of the 12 inner sections.
will blunt any other pair. through the fabric on the other side. It’s like
applying beads. Fill in each section. 8 18 Run a double strand of Gutermann 736
8 The outer portion of the petals uses through the beeswax. Position a 4mm chip
the twilight blue couching thread and TOP TIP! Make sure to slide the chip in the middle of each inner section, using
Gutermann 8. Leave 2cm tails and start down your thread to the surface before the circle perimeter as a guide. On each side,
couching just inside the outer outline of going back through the fabric or it can stitch a 3mm chip. 12
pearl purl. Couch a pair at once. 3 4 get caught and unravel.
19 Apply a layer of glue, not as generously
9 To turn the angles, make a couple 13 Complete the sections in between as the navy layer. Cover the back of the
of stitches on the point and bring the the turquoise ones with white rough stitched section thoroughly and about 1cm
needle back up to the surface holding the purl chipping. Repeat Steps 11-12 with past the outside edge. Leave to dry. ➜
thread tight whilst you are bending the Gutermann 8 thread. 9
Project
13 14 15
19 20 21
25 26 27
Layer 3: Dark Grey Centre 26 Moving outwards, the next section (1002) snip any thread. The PVA glue helps make sure
20 For the central circle, it is best to leave and the small diamond (908) are both filled unwanted cuts are not too much of a disaster.
the design transfer until you are ready to with satin stitch. 20 21 22 It also gives a plastic feel to the organza; this
stitch. The carbon paper method works well flexibility will allow you to shape it later.
but tends to disappear as you handle it. 27 Now return to the centre. Cut circles 4
& 5 from the grey felt and the leather circle 34 Position on the mounting hoop, making
21 Tape the fabric to a flat surface, place the piece. Stitch circle 4 in the middle, using one sure it is central. Use Gutermann 11 and back
carbon paper on top, white side down. Place strand of Gutermann 8 and tiny stab stitches. stitch just inside the inner circle line.
the pattern on top. Start with 4 stitches: one at the top, bottom,
and each side to hold in place. Then fill in 35 Now cut the flower from the turquoise
TOP TIP! Apply tape to the top edge the gaps every millimetre or so. 23 organza layer. Again right up to the pearl purl
of the carbon paper and the printed outline. Position on top of the navy layer,
pattern ONLY. So you can lift to check 28 Stitch felt circle 5 on top in the same way. making sure it is central and the points of all
everything is transferred correctly Finally repeat with the leather circle. 24 25 the petals line up. Attach with Gutermann 11
without the design moving out of place. and back stitch but your circle of stitching
29 Around the leather, couch an outline of must be smaller than the one drawn so it does
22 Use a hard pencil to trace the pattern; press navy pearl purl using the Gutermann 11. 26 not show when you add the final layer. 28
quite hard but be careful not to smudge or
move the layers out of alignment. 13 30 Couch the outline of the outer circle in 36 Use the templates to cut out circles 1, 2 &
turquoise pearl purl using Gutermann 736. 27 3 from the dark grey felt. In the very middle of
23 Mount the grey fabric in the 4in hoop. the mandala secure circle 1 with Gutermann
31 Once your stitching is done, apply a layer 8, using the same technique as Step 27. This
24 As your design lines may disappear as you of PVA glue at the back. Leave to dry. time fill with stitches every 2mm or so. Stitch
work, complete all the sections surrounding circle 2 on top, followed by circle 3. 29
the central circle with a split stitch outline FINISHING
using one strand. Work outwards using the 32 Layer the large piece of dark grey fabric 37 Take the 4in hoop with the dark grey fabric
following Madeira Stranded Cotton shades with the calico underneath and secure in and cut out the stitched circle. Be extra careful
for each round of petals in turn: 1108, 1013, your 7in mounting hoop. Mine has been not to snip any threads as the glue does not
1002, 908. 14 15 stained blue to coordinate. Make sure the protect as well as on the organza. So it’s wise
fabric is drum tight. to cut a little away from the pearl purl edge.
25 The petals in the central flower (1108)
and the first section (1013) are filled in long & 33 Take the hoop with the navy organza layer. 38 Stitch it on top of the felt padding using
short stitch. 16 17 18 19 Cut the flower off the organza, cutting right Gutermann 736 and going over the pearl
up to the pearl purl outline, taking care not to purl, just as if you were couching it again.
Project
16 17 18
22 23 24
28 29 30
31 32
Start with 4 stitches spread around the circle, 42 On the reverse, cut the excess fabric
and then fill in in between every 2-3mm or so. leaving about 3-5cm all around. Use a ABOUT ME
double length of Gutermann to do a running I have been teaching and
39 Add another outline of turquoise pearl stitch 1cm from the edge. Gather the thread designing embroidery for
purl on each side of this one: one inside the and fabric together at the back. Secure. seven years, following
circle and one outside between previous pearl Cut a circle of felt using the inner ring from two City and Guilds
purl edge and the long chips. It will have to a 7in hoop as a template. Use blanket stitch in Stumpwork. I use
go over existing pearl purl outline from the and Aurifil lana thread to attach the felt. traditional techniques such as goldwork,
turquoise layer. This will give a wavy effect. 30 A personalised label is a lovely touch. stumpwork and silk shading in modern
designs and I am passionate about
40 Shape the petals. Catch the tip of ALTERNATIVE FINISH colour. I am also the owner of Korry’s
each navy petal on the outside layer to Eager for the brightness of Spring? Try a Little Shop, an online shop specialising in
secure to the background fabric and give different colourway using lime green, pink goldwork and difficult to find supplies for
a rounded shape. 31 and orange for example. Goldwork wires and embroidery and textile art.
organza exist in so many colours, meaning
41 The petals on the turquoise layer need to be you can experiment until you find your www.korrylittleshop.co.uk
moulded inwards by rolling each one with your favourite combination! ❤ KorrysLittleShop
fingers and shaping the pearl purl in position. 32 @korry77
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stitching content?
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Project
Call Of The
Wild
FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 57
??
Meet Luna: a self-assured wolf, comfortable with herself and the

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BY
BYALEX
AUTHOR
LAW
Project
1 2 3
7 8 9
13 14 15
“Spending time in nature helps me feel centred. I’ve echoed PREPARATION

1 Frame up the linen twill in your slate
this in my design of a serene wolf at one with her surroundings. frame; ensure the fabric is on the grain and
Crewel wools add such depth: they have such a fabulous tensioned so it is drum tight.
richness of colour and blend really well. They are also quite 2 Using a strong light source, draw the
forgiving - making them a great way to get into thread painting!” design onto the linen twill using your pen or
pencil. The horizontal line of the ice must
align with the fabric grain. If you prefer, you
could use the prick and pounce method. 1
GET STITCHING!
Use a single strand of crewel thread and a
YOU WILL NEED No24 chenille needle unless stated otherwise.
MATERIALS • Rotary cutter or fabric scissors
• Linen twill fabric, natural: 39 x 39cm • Pins The Foreground
• Appletons crewel wools: • Sewing machine 3 Work the two patches of ground in double
- Orange red: 442 • Sewing thread to match your fabric layered trellis stitch. The first layer is worked
- Sky blue: 561, 563, 566, 568 • Iron & ironing board using 965, the second layer in 962. Work
- Iron grey: 961, 962, 965, 967 small vertical holding stitches over the
• Lightweight fabric or calico: 37 x 37cm STITCHES second layer using 961. 2 3
• Backing fabric, similar weight to main • Burden Stitch, Buttonhole Stitch, Chain
fabric: 80 x 40cm Stitch, Feather Stitch, French Knots, TOP TIP! Use the diagonal weave
• Cushion pad: 40 x 40cm Herringbone Stitch, Laid Stitch, Long & of the linen twill to align your trellis
Short Stitch, Raised Stem Stitch, Satin stitches and keep them parallel.
EQUIPMENT Stitch, Split Stitch, Stem Stitch, Straight
• Slate frame: 18in Stitch, Trellis Stitch 4 Use laid stitch to work the ice. Start at
• Fine pen or pencil the top with 561, ensuring your stitches are
• Needles: See Stitch Guide for details on stitch horizontal and match the fabric grain. 4
- Chenille: No24 & No22 formation.
- Tapestry: No24 5 As you work down towards the bottom of
• Embroidery scissors Design area: 16.4 x 18cm the ice, change to 563, 566 and finally 568.
• Ruler Finished cushion size: 35 x 35cm Note: at the bottom of the ice, the shades
transition more quickly than in the middle. 4
Project
4 5 6
10 11 12
16 17 18
TOP TIP! To transition smoothly the large tree. Keep your stitches evenly 14 Use 566 to work a ladder base to fill the
between shades of blue: alternate the distanced and perpendicular to the length branch with raised stem band using 563, 566
new and old shade for a few stitches. To so the completed stitching will sweep and 568. Work the filling using a tapestry
change shade quickly: work 1 stitch of the round smoothly. 7 needle. Use stem stitch and 568 to work to
new colour, 1 stitch of the old colour, then the end of the branch. 13 14
continue with the new colour. To change 10 Using a tapestry needle, work the raised
shade slowly: introduce the new shade stem band using 563 on the right, switching TOP TIP! Using a tapestry needle for
gradually - 1 stitch new, 2 stitches old, 2 to 566 in the middle and 568 on the left. the weaving of the raised stem band
stitches new, 1 stitch old, continue in new. Transition between shades by alternating a makes it easier to work around your
couple of stitches. 8 9 ladder stitches rather than stitching
6 Using 563 work two lines of double feather through them.
stitch over the laid stitches – one on the left TOP TIP! Since the raised stem band
and the other to the right - to secure them area goes from wide to narrow, not all 15 Work the branch nearest the wolf in rows of
from the top of the ice down to where the your rows will go across the whole length. stem stitch. Start with a row of 568 across the
darker 566 laid stitches begin. 5 To keep your stitching looking smooth, full length and the bottom of the branch. Use
stagger the ends of your rows so that you 566 to work additional rows to fill the shape. 15
7 Work a third line of double feather in the don’t end up with a noticeable step.
middle to the bottom of the ice using 566. 5 16 Fill in the middle twist using rows of chain
11 The bottom left corner is worked in stitch in 962, 965 and 967 working from
8 Using 442, work stem stitch over the lines burden stitch. Use 566 to create the right to left. 16
between the ice and the ground. Then use foundation parallel lines. 10
561 and stem stitch across the top of the 17 Work the second branch in chain stitch
ground and the ice. 6 12 Complete the burden stitch using 568 using 962 across the full length and top of
from the corner tip for about a third of the the branch. Continuing with chain stitch, fill
TOP TIP! So your stitching for the rows. Use 566 for the middle rows and 563 the rest of the branch in 962, finishing with a
twig sits smoothly, don’t continue your for the last couple. 11 row of 965 along the bottom. 17
stem stitch line across its base. Rather
work your stem stitch to where the twig 13 Work the remaining middle section in 18 The third branch is worked in two rows of
sprouts and stop, then start a fresh line rows of chain stitch. Start with the row open buttonhole. Work the first row along the
of stem stitch just the other side. next to the raised stem band in 961. base of the branch from left to right in 566.
Then work a full row and a partial row in Leave a gap large enough for another stitch
The Large Tree 962. Complete the shape with two rows to sit in between each of your buttonholes.
9 Use 563 to work a ladder base for a each of 965 and 967. Or as many as you When the branch gets too narrow for
raised stem band along the first section of need to fill the shape! 12 buttonhole stitch, continue in stem stitch. 18 ➜
Project
19 20 21
25 26
30 31 32
34 35 36
19 Complete this branch by working from right TOP TIP! To work neat and consistent from the base of the plant to the tip of the
to left in 563. Start with a few stem stitches French knots, wrap the thread around middle branch. Then 563, 566 and 568 on
to taper in smoothly. Continue with this row your needle just once, tighten the knot the right section, with the lighter shades
of buttonhole making sure your stitches fit in and slide it down the needle to the sitting to the left. 25
the gaps left by the first row. When you reach fabric, then keep holding the thread taut
the side of the fourth branch, stop working while you pull the needle through. 26 Use 442 to work small clusters of French
buttonhole and switch to straight stitches to fill knots on the twig. This time use one strand
in the gaps left by the previous row. 19 The Twig And Small Tree and a No24 chenille needle so the knots are
23 With 568 work the twig in stem stitch. smaller than those on the large tree. 25
20 Work the fourth and final branch in chain Then work the left section of the small tree
stitch using 962 along the full length and in rows of stem stitch. Use 563, 566 and 568 The Moon
right side of the branch, then 965 along the on the lower section then 566 and 568 on 27 With 561, work herringbone stitch to fill
left to fill the shape. 20 the upper section. Note: the lighter shades the moon. To curve around the shape, your
are on the left in the lower section, and the stitches should be closer together around
21 Using 442, work a line of stem stitch right in the upper section. 23 the inner curve than around the outer. 26
along the bottom edge of each of the chain
stitch twist sections of the tree trunk. 21 24 Work the middle section of the small tree 28 Outline the moon in stem stitch: use 561
in rows of chain stitch. Use 962, 965 and 967 for the inner curve, and 563 for the outer. 26
22 Using a No22 chenille needle and 3 for the lower section; then 962 and 965 for
strands of thread, work small clusters of the upper section. The lighter shades are on The Wolf Body & Tail
French knots from the ends to the middles of the left in both sections. 24 29 The wolf is worked in long & short stitch,
the blue branches. 22 using split stitch foundations for the defined
25 Work the remainder of the small tree in edges. Begin with her back, using 967 for the
stem stitch. Use 442 to work a line that goes split stitch edge.
Project
22 23 24
27 28 29
33 38
37
TOP TIP! It is helpful to draw stitch 32 Using 962 work a split stitch edge along the lower. Start the long & short at the tail tip
direction lines on your fabric as a guide both sides of the wolf’s front leg then fill in with 967. To create a sharp point, extend your
for working in long & short stitch. Refer with long & short stitch. 29 first stitch a bit beyond your split stitch edge. 33
to the stitch direction guide on page 57.
33 Complete the rest of the wolf’s body 37 Fill in the tail using 961, 962, 965 and 967
30 Start the long & short stitch at the base using 962, 965 and 967. Use the images as per the colour chart and stitch direction
of the wolf’s back with 967. As you work up, along with the colour and stitch direction diagrams on page 57. When changing colours,
continue with 967 along the back, introducing diagrams to guide you. Working with all the alternate a few stitches to blend. 34 35
965 next to the edge of the hind leg. 27 colours at once makes it easier to blend and
create smooth transitions. 30 The Wolf Head
31 As you come around the top of the hind 38 Work the edge of the ears and top of the
leg introduce a few stitches of 962. As you 34 Use 962 to work split stitch around the head in split stitch in 965. Use 962 for the
approach the front leg, continue in just 965. upper curve of the wolf’s hind leg. Start long & outer edge of the ear and 967 for the inner
Then use both 965 and 967 as you work short stitch at the top of her leg with 961, then edge. Also work a few stitches in 967 to
down the body next to the front leg. 28 introduce 962 as you work down the leg. 31 create definition on the inside of the ear. 36
TOP TIP! Create smooth edges by 35 As you continue down the leg, start to 39 When the inside of the ear is stitched,
bringing your stitches down over the bring in 965. Add in 967 near and along the complete the ear by bringing 962 down
split stitch edge, tucking your needle edge next to the tail. Keep the left side of the towards the head. Repeat with the other ear. 37
under the edge. Edges of sections that leg lighter (962 and 965) so that it stands out
sit next to and behind another section from her back. 32 40 With 965, work split stitch around the wolf’s
don’t have a split stitch edge. When head from inner ear to inner ear. Start stitching
working these, bring your needle down 36 Work around the whole tail outline in split the head with a couple of stitches of 967 at the
neatly along the design line. stitch. Use 962 for the upper line and 965 for top of the head, then continue with 965. 38 ➜
Project
39 40 41
42 43
44 45 46
41 As you come around the wolf’s cheek 47 Trim 1cm off each edge of your
switch to 967 along the outer edge. Use 961 embroidered fabric so that this is a 37 x 37cm
to fill in the middle of the face. 39 square. Line this square up with the square of
light weight fabric wrong sides together and
TOP TIP! For the light grey stitches baste in place.
around the edge of the face, work the
stitch by coming down into the previous 48 With the front of your embroidery facing
stitching as this helps you to be more up, pin your backing rectangles to it right
accurate with this soft edge. sides together with raw edges matching.
Layer the larger rectangle first, then the
42 Work a split stitch edge in 965 along the smaller one. Your hemmed edges should be
base of the snout. Stitch the snout in 965 across the middle. 45 ABOUT ME
around the edge and with a few stitches of I have been stitching
962 in the middle. 40 41 49 Sew the cushion back and front together and creating in one form
with a 1cm seam allowance. Turn the or another as long as I
43 For her eyes, start with a couple of stitches in cushion right side out taking care to turn the can remember. With a
442 to form a pointed triangle for each eye. 42 corners out sharp. scientific background,
mathematical patterns as well as the
44 Complete the eyes with a small stitch in TOP TIP! To create sharp corners, natural world are my most common
568. Also use 568 to work the nose, first with fold the 2 seams over so you already design inspirations. Creating something
a split stitch edge, then fill with horizontal have a point and hold in place with your beautiful with your hands is not only
satin stitch. 42 43 fingers while turning out the corner. Use very satisfying, but also a great way to
a blunt pencil or chopstick to carefully help manage mental health and unwind
FINISHING push out the rest of the corner if needed. from everyday stresses. I am on a mission
45 Remove your linen from your slate frame to help as many people as possible live
or hoop. If you used a hoop, carefully iron 50 Insert the cushion pad, ensuring the happier and calmer lives with the aid of
out any creases in the fabric. Do not iron corners line up with the cover and are not this fabulous craft. On my website you
over your stitches! squashed. 46 can find more patterns and follow my
journey to complete the RSN Certificate.
46 Cut two rectangles out of your backing fabric: ALTERNATIVE FINISH
37 x 32cm and 37 x 19cm. Along the 37cm edge Feel free to switch the colour palette to www.elaraembroidery.com
of each rectangle, fold and press under by 1cm. create the vibe of a different season: using @elara.embroidery
Then fold and press another 1cm to create a shades of browns, green and pink would give elara.embroidery
secure hem. Top stitch the hems in place. 44 the design a spring vibe. ❤
Project
You Need Hands
FIND THE
FINTD TH
EM PLEATE
TEMFO PLRATTE
HIS
FO
PRROTJE
HISCT ON
PROJE CG
PA T EO60
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PAGE ??
Cheerful hand warmers fashioned from bits of old clothes, trimmings

from a shortened curtain and oddly shaped offcuts too nice to
Standfiaway.
throw rst standfi
Evenrst
thestandfi rst standfi
embroidery rst standfi
threads use rst
up standfi rst standfi
that small tanglerst
of
standfirst standfirstoddments
standfirst standfi
lurkingrst
in standfi rst standfirst standfirst
a drawer!
BYBY
EMMA
AUTHOR
FRITH
Project
1 2 ROBIN STITCH PLAN
1 5
9
4
6 7
10
9
2
11
11
10
Corner dot
“After the difficult year we are all living through, these bright ROBIN STITCH KEY
designs appealed. Britain’s favourite bird, the robin is associated 1 Buttonhole 5 French Knot
2 Leaf Stitch 6 Herringbone
with things hoped for – a friend in the winter; colour when
3 Couched threads 7 Bullion Knot
all the leaves and flowers are gone. The dandelion is another 4 Split Stitch 8 Cretan Stitch
splash of colour and thrives in the most challenging of (outline) 9 Fishbone Stitch
& Satin Stitch 10 Fly Stitch
circumstances. The delicacy of the ‘clock’ seed head reminds of (infill) 11 Leaf Stitch
the passing time and the inevitability of change.”
THE ROBIN
1 Create card templates for the inner and
outer bags. Trace the outer bag on to the
denim twice, for the front and back. On the
front piece, mark the four corner dots in
YOU WILL NEED chalk to show the area to be worked.
MATERIALS • Sewing machine (optional)
• Denim: 25 x 15cm • Embroidery hoop: 7in/18cm diameter 2 For woven fabrics liable to fray, use
• Felt or fabric scraps: brown (2 shades), • Needles: to suit thread and fabric Bondaweb to stabilise the back of the fabric.
red, cream, green, yellow, light grey • Scissors: This is not necessary for felt. Transfer the
• Bondaweb - Fabric shapes and cut out.
• Threads: - Embroidery
- Fine silk hand sewing or machine: TOP TIP! You can trace the shapes
brown, grey, green STITCHES & TECHNIQUES directly to the backing paper of the
- Embroidery: brown, black, red, cream, • Bullion Knot, Buttonhole, Couching, Bondaweb, just remember to flip the image
dark grey, light grey, light green, Cretan Stitch, Fishbone Stitch, Fly Stitch, first and trace the mirror image. Fuse the
mid-green, dark green, yellow French Knot, Herringbone, Lazy Daisy, Bondaweb to the fabric then cut out.
- Machine: to match denim Leaf Stitch, Quaker Stitch, Satin Stitch,
• Calico or scrap cotton: 25 x 15cm Seeding, Split Stitch, Straight Stitch 3 Place the brown robin outline piece on
• Bag filling: rice, wheat or barley the front panel, using the corner dots to
See Stitch Guide for details on stitch see where the edge of the design area will
EQUIPMENT formation. be. Lightly fix Bondaweb (if using) with the
• Iron & ironing board iron. Using fine brown sewing thread, work
• Chalk pencil Finished size: 9 x 11cm around the edge of the shape with small
buttonhole stitches. 1 2
Project
7 DANDELION STITCH PLAN 8
4
5
2 3
Corner dot
3 4 5 6
DANDELION STITCH KEY
1 Buttonhole 7 Fly Stitch with
2 Quaker Stitch added Straight
3 Lazy Daisy Stitch
4 French Knot
5 Seeding
6 Bullion Knot
4 Fix cream layer in place with Bondaweb (if 8 Place the brown twig shape over the cream 12 Using fine green thread, attach the
using). Using buttonhole stitch and fine sewing fabric so the tail looks like it sits behind the leaves with a line of running stitch down
thread in grey, work the bottom half of the twig. Secure with herringbone stitch. Using the middle and buttonhole stitch around
shape. There is no need to work the top edge; one strand of dark grey embroidery thread, add the perimeter. 7 8
this will be covered by the red fabric. 1 2 bullion knots for the legs and a shorter pair of
bullion knots in a ‘V’ shape for the feet. 1 2 13 With six strands of assorted green
5 With a single strand of dark grey embroidery thread, work both stems in
embroidery thread, use leaf stitch to suggest 9 Using two strands of green embroidery quaker stitch. 7 8
the texture of two tail feathers on the thread, work the two tiny leaves under the
bottom edge of the cream shape. 1 2 twig in leaf stitch, then outline the rest of the 14 Place the yellow felt shape on the left-
leaf shapes in split stitch. 1 2 hand stem. Using four strands of green
6 Set the red piece in place with Bondaweb embroidery thread, work the sepals in lazy
(if using). Make a bundle of 15 strands of red TOP TIP! Remember to work inside daisy stitch. Note: the stitch faces upwards
embroidery thread long enough to edge the red the perimeter marked by the corner dots! with the final part of the stitch worked
shape and leave ends to plunge. Starting at the through the felt to hold it in place. 7 8 9
beak, couch the bundle round the red shape 10 Use different shades of green to work the
with perpendicular stitches every 3-4mm. When leaves, or mix two or three strands in the needle. 15 Using four strands of yellow embroidery
the outline is complete, use a large needle to Refer to the stitch plan for suggested patterns to thread and starting at the top edge of the
plunge the loose ends to the back. Secure the work the leaves; stitch options include Cretan 3 , flower, work the outer ring of petals in lazy
plunged threads and trim excess. 1 2 fishbone 4 , fly 5 , and leaf 6 . daisy stitch. Start the stitch inside the yellow
felt oval, and add the retaining stitch on the
7 Using one strand of dark grey work the beak THE DANDELION outside so that the stitch lies across the edge
outline in split stitch. Work satin stitch over 11 Repeat Steps 1 & 2 to mark the outer of the felt, holding the top edge in place with
the top. For the eye, work a large French knot bag template and cut out the coloured radiating stitches. 7 8 10 ➜
using four strands of black. 1 2 fabric shapes.
Project
9 10 11 12 13
14 15 16 17
16 Continue to add stitches all the way first, working two thirds of the way around. 30 With a 1cm seam allowance, sew down
around, but make the stitches shorter across Stop before you get to the bullion knot seeds both sides from the top folded edge to the
the front/bottom edge. On the bottom edge, so they don’t get covered up, and to make bottom one. If using a machine, overcast or
your petals will overlap the sepals from the it look like some of the down has already zig zag next to both seams and remove any
previous step. 7 8 10 floated away. 7 8 excess fabric. 17
17 Work a second row of slightly smaller petals 23 Repeat to add down to the floating seeds. 31 Turn right sides out and press. Half fill
inside the first. Finish the flower by filling the with rice, barley or wheat. Stitch the top
centre of the felt with French knots. 7 8 11 FINISHING seam closed by hand or machine.
Outer Bag
18 On the top of the seed head stalk, work 24 When the designs are completed, cut HOW TO USE
the sepals in four strands of green and lazy the outer shapes from the denim and press Heat the inner bag for 30
daisy stitch. Note: this time the sepal stitch lightly on the reverse. seconds in the microwave
points downwards. 7 8 12 (do not overheat!), place into
25 Double fold the top edges of both pieces the embroidered cover, cosy
19 Place the white felt on to the top of the towards the wrong side of the denim, press your hands around and
sepal stitches. Work tiny seeding stitches in and hem straight across the top by hand or enjoy the warmth. ❤
one strand of dark grey all over the surface machine. 14
of the felt. 7 8 12
26 Place the pieces right sides together
20 Work dandelion seeds in short bullion and pin. Sew round three sides, with a 1cm ABOUT ME
stitches using a single strand of brown seam allowance; the top is left open. If I feel incredibly fortunate
embroidery thread. Remember to add the using a machine, zig zag or overcast along to be a full-time artist
seeds that are floating away! 7 8 12 the seams, then trim off any excess fabric. and hand embroiderer,
If sewing by hand, use buttonhole stitch to living and working at
21 With a chalk pencil, draw a circle around overcast and prevent fraying, if desired. 15 beautiful Southwell
the centre to act as a guide for placing the Minster in Nottinghamshire. I am coming
dandelion down. Using one strand of light 27 Turn right side out and press. to the end of my RSN diploma, taught by
grey, work a long fly stitch onto the bullion Tracy Franklin in Durham. I divide my time
knot seeds from Step 20 then make radiating Inner bag between that, ecclesiastical embroidery,
stitches all round the chalk circle. Add straight 28 Fold your calico or scrap cotton in half teaching and print making. I am wife and
stitch spokes to the ‘Y’ shapes of the fly along the grain with right sides together. Press. mum in a clergy family, and our lives flow
stitches so that they look a little like an inside Match the fold line on the inner bag template around the ancient rhythms of cathedral
out umbrella. Don’t worry too much about to the fabric fold, draw around and cut out. worship. The three of us live with Lottie,
precision here, it is good for them to be a little my Dog AID assistance dog.
uneven. 7 8 13 29 At the top edge of the layer facing you,
fold back 1cm and press. Repeat on the www.emmafrith.co.uk
22 Add a second row of fly stitches inside the other side. 16 emmafrithembroidery
Spotlight
Highland Fling
Emma Wilkinson shares how she intertwines her love for Scotland and
its heritage with a passion for embroidery.
What does being Scottish mean to you? And your choice of colours? something. I love history, heritage and what
To me, being Scottish isn’t just about wearing I have always tried to tell a Scottish story makes humans tick. The signs pointed to
kilts, either loving or despising nationalism or that isn’t white and blue. Instead I use the kiltmaking: a long forgotten textiles skill
even Irn-Bru. It’s about having a deep-rooted purple and green hues of glens, the charcoal that only a handful of people know how to
connection with your history and upholding tones of the rouged mountains, the flashes do properly. I happened to be walking past
your ancestors’ traditions so naturally that it is of gold when the sun hits the crashing Gordon Nicolson Kiltmakers and turned
done without a second thought. waves around the islands and amber as my head just at the right moment. You’d
coppery glimmers of whisky. be surprised by the similarities between
Is this something you’ve always felt? kiltmaking and embroidery; my award-
For a long, long time I didn’t think about my Tell us about your relationship with tartan. winning collection brought the two together.
heritage at all. I grew up in Edinburgh and Tartan has, let’s be honest, been highjacked. I
found the throngs of tourists and tartan tat was blind to the possibilities for many years. You also write. What’s your blog
shops nothing but a stereotypical annoyance. But a part of me had always appreciated it too: ‘A Life in Tartan’ about?
In my final year at university I realised there my dad plays the bagpipes, my grandparents I believe strongly in skill sharing and
was so much more to my homeland. I began and great-grandparents went to war in their talking about heritage crafts to capture the
to think about all the beauty that exists here kilts. I already had a wee sense of pride in the imaginations of others and therefore keep
and how we are so in touch with our culture cloth. Now I am obsessed. them alive! As the blog develops, it moves
that we often stop seeing it. Tartan possesses endless meaning and in different directions. Yes, it
stories. It celebrates family and belonging talks about how to make
How do you express this through simply through colour and line. I love that a kilt. But it also talks
embroidery? Scots still take pride in wearing their tartan about different tartans TURN TO
I opt for layers of glass beads and manipulated and the sense of community it evokes. I and their stories, PAGE 32
metals aiming to reflect the drama of the even designed, registered and wove my own about interesting
FO R EMMA’S
landscape and capturing everything that is family tartan! points in Scottish
EX CLUSIVE
Scotland. Instead of just putting beads on history and my hopes
PROJECT!
in a lovely, neat formation, I let the shapes So how did you get into kiltmaking? for the industry. ❤
and colour of the organic and unpredictable I love Edinburgh; I was meant to forge
structures take hold and form the piece one something here. I love working with my You can follow Emma’s blog at:
layered-up bead at a time. hands to create beautiful things which mean alifeintartan.wordpress.com
EMBROIDERERS’ GUILD
Are you just starting out and looking for help,
advice and information or are you already
stitching and eager do more?
Do you want to meet people and
share your passion with others?
Are you a busy parent who wants to
stitch with your child or a grandparent
wishing to share your skills and enjoyment
with a grandchild?
Are you keen to enter local, regional or
national competitions and seek new
opportunities, perhaps taking part in local,
regional and national exhibitions?
Are you a teacher, tutor, lecturer or
workshop leader, a student or recent
post-graduate, a textile artist or
a stitch professional?
JOIN US TODAY
www.embroiderersguild.com
Images clockwise from top: Flower Pelargonium (detail) by Jennie Riley, joint winner of EG Members’ Challenge 2019/20. Zardozi (detail) by Elnaz Yazdani, EG 18-30 Scholar 2020/21.
Mile 25 Ambleside (detail) by David Morrish, EG Education Scholar 2020/21. Linen Buttons (detail) by Liz Smith, joint winner of EG Members’ Challenge 2019/20
Project
Checkmate! FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 55
Become a blackwork grandmaster! The black king plays by the rules.

The white queen is a game changer: she reverses the process so her
highlights are stitched and the open areas create shadows.
BY JEN GOODWIN
Project
QUEEN’S BASIC PATTERN QUEEN’S EXTENDED PATTERN

BLACKWORK SHADING GUIDE
KING’S SINGLE PATTERN
TURN TO
PAGE 29 FOR
LOTS OF
POINTERS
ON GETTING
TO GRIPS
WITH
BLACKWORK
“Blackwork is a beautiful technique to master: highlights and PREPARATION

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

distorted when being worked in a hoop
YOU WILL NEED as the grain lines are prone to wander.
MATERIALS EQUIPMENT This is especially evident when you
• 28tpi green evenweave: 38 x 38cm • Embroidery hoop: 9”/23cm diameter tack a straight line across the fabric.
• Alternatively 14 count green aida: • Needles: Don’t panic or try to correct by eye as
38 x 38cm - Embroidery No9 this will cause problems when it comes
• Acid free tissue paper - Tapestry No24 to mounting up. If you want to avoid
• Threads: • Embroidery scissors this happening, mount the project in
- Tacking thread in a colour easily seen on a slate frame so the grain lines of the
the fabric STITCHES fabric lie straight.
- DMC B5200 (white) • Stem Stitch, Straight Stitch
- DMC 747 (aqua) 2 Now tack a vertical line on the left hand side
- DMC 336 (dark blue) See Stitch Guide for stitch formation details. of the hoop; this marks the king’s central line.
- Kreinik blending filament 001 It will help him to stand up straight in relation
- Kreinik blending filament 018HL Finished size: 15.7 x 18.6cm to the base line. It is a temporary line and will
be removed once he is in position. 1
Project
1 2 3 4
5 6 7 8
3 Carefully draw the king onto tissue paper, different thought process, I suggest stitching stranded cotton along with a single length of
remembering to mark his central vertical the white queen first. the aqua coloured stranded cotton. In areas
line. Line this up with the vertical tack line indicating one thread is to be used: work with a
before basting him in position. 2 8 Ideally your first area should be largish; single length of the aqua stranded cotton. 7 8
this makes it easier to get the hang of the
4 Switch to a sharp needle threaded with pattern. So work the main body of the queen 12 Continue until the Basic Pattern fills the
the same colour tacking thread and carefully first. You’ll need to refer to the Shading queen. Now add the Queen’s Extended
tack over each of the design lines. Stitches Guide to know which threads (colours and Pattern. This is a series of stitches worked
on the surface should be 2-3mm, with a number of strands) are needed for each area. within the octagonal grid to make the pattern
shorter stitch on the reverse. 3 You’ll also need to follow the stitching lines more complex. In the Extended Pattern, the
in the Queen’s Basic Pattern. This is based octagon base from the Basic Pattern is in grey
5 Once all the design lines are tacked in on a grid of tessellated octagons. Stitching and the new stitches are in green, so you can
place, remove the tissue paper. Run your this first makes it easier to add the extra see where they sit within the base grid. 8 9
needle over the tack lines to perforate the elements of the Queen’s Extended Pattern.
remaining tissue and carefully lift it away. If ADVANCED APPROACH
any pieces of tissue prove difficult to remove 9 To start the queen, thread a tapestry Breaking complex patterns down into
use a pair a tweezers to pull them out gently. needle with two strands of white thread components makes them appear less
Remove the vertical tack line at this point. 4 along with a length of silver blending daunting. However, if you feel confident
filament. Try to make sure your threads are you can work the Queen’s Extended
6 Carefully measure the distance between no longer than 33cm. When working reverse Pattern from the beginning. Again,
the chess pieces along the bottom edge: blackwork more strands in the needle create follow the Shading Guide indicating
there is a 5cm space from the base of the the highlights rather than the shadows (the where the different threads are to sit
king to the queen’s vertical line. Repeat Steps opposite of traditional blackwork). 6 within the design.
2-5 for the queen. 5
TOP TIP! The queen is very delicate; 13 At this point the pattern in the queen will
GET STITCHING! she is often stitched by feel. It is far start to lose definition and might become
7 The difference between the two variations easier to feel the needle bounce over the more tricky to count correctly. Don’t panic!
is that in standard blackwork you are threads of the linen than counting! This is the intention as the highlights develop
stitching the shadows and leaving more and less of the background fabric can be
open areas for highlight. Reverse blackwork 10 Start in the centre of the queen and work seen. Remember the reverse blackwork in this
is trickier as you are stitching the highlights the white section of the pillar taking care to design has the added benefit of being forgiving
and dropping out stitches for the shadows. stop where the guidelines indicate the next if the occasional stitch goes off course. 10
You don’t always get the same defined look thread mix is to start. 7
as a dark thread on a pale fabric, which is 14 After the central column of the queen is
why contrasting the two versions together 11 Where the guidelines indicate 2 threads stitched, complete the remaining sections in
can be fun. As reverse blackwork is a are to be used: thread a single length of white the same way. 10 ➜
Project
9 10 11 12
13 14 15 16
15 The king is worked following the King’s 18 Once the stem stitch is finished, snip FINISHING
Single Pattern. Start with a single strand of the tacking stitches and unpick them with a 21 When finishing off, I strongly recommend
the deep blue stranded cotton in the central tapestry needle. Be very, very careful! A pair of mounting the piece traditionally on the grain
column as this gives plenty of space to set tweezers can be used to pull out any stitches over card to ensure the work stays evenly
the pattern. 11 lodged in the finished embroidery. 15 tensioned and the stitching stays secure.
16 Remember while stitching the king to 19 Repeat the stem stitch outlines for the king TOP TIP! Mounting up the finished
follow the Shading Guide and alter the using two strands of the dark blue. Remember to chess pieces over a green fabric can
threads in the needle where indicated. 12 remove the tacking stitches as you go. 16 be beneficial as this helps emphasise
the contrast between the light and the
TOP TIP! Blending filament can be 20 Finally work a series of straight stitches dark pieces.
temperamental thread to work with, so along the base line, taking care not to make
use a short length (no more than 33cm) the stitches too long. Drop some of these 22 However, a design such as this can always
and knot the thread into the eye of the stitches below the base line to create the be made up into a small cushion or a hanging
needle to prevent it slipping out. Also hint of a shadow. Use two strands of the quite easily if looking for an alternative
make sure to use an even tension as it is deep blue thread in the tapestry needle. method of finishing. ❤
prone to stretching if pulled too tightly!
17 With the blackwork patterning completed,

WIN! WIN! WIN! ABOUT ME
the stem stitch outlines can be worked to define Jen’s first book I am a traditionally
the edges. Starting with the queen, thread ‘Blackwork Embroidery’ is trained artisan
two strands of white cotton in the embroidery published this November embroiderer, graduating
needle and cast the thread on through the back by The Crowood Press from the Royal School
of the finished embroidery. 13 14 (RRP £19.95, ISBN of Needlework
9781785007750). in 2003. My practice focuses on
TOP TIP! When working stem stitch It includes nearly 250 patterns and creating highly detailed and technical
on an open fabric, it is vital to make sure detailed instructions on all aspects pieces of stitch, incorporating imaginative
the needle pierces the warp and weft from forming basic stitches to designs along with stunningly realistic
of the woven fabric rather than coming developing complex shaded pieces. natural subjects. I work from my open
up through the holes of the evenweave. For your chance to win one of 2 copies, studio at Walford Mill Crafts in Wimborne,
This is the only way to ensure the stem simply log in and enter your details at: in the heart of picturesque Dorset. So
stitch forms a smooth line that hugs craftmag.co/stitch-win anyone who visits can see me creating
the edges of the blackwork. It is also Competition closes on Sunday unique pieces of stitchery.
important to avoid piercing the tacking 31 January 2021; UK entries
stitches if possible, as this makes ENTER only. For more information www.jengoodwinembroidery.com
ONLINE
removing them later more difficult. see Page 3. @jagembroidery
Focus
Lazlo by Jen Goodwin,
a magnificent example
of reverse blackwork
Straight Talking
New to blackwork? Or in need of a refresher? Jen Goodwin’s no-nonsense
guide will get you heading in the right direction.
Forming Stitches And Patterns sits within the overall shape, but it is essential several areas at once as this can again lead to
1 All the stitches that form the blackwork that the pattern continues seamlessly when the issues with the pattern not marrying up neatly!
patterns are worked over two grains of the linen. thread thickness is altered.
This is the standard length of a stitch when Starting and Stopping
working this technique. However, if you choose 2 The shading guide is there to indicate where 1 Tie a not in the end of your thread. Take
to use aida rather than evenweave, you should the different thread thicknesses fall within the the needle down through the fabric in
be working one stitch over a single square. overall pattern. Wherever you start you need to an area that will be subsequently worked
take care to stop where the guidelines indicate before bringing it up a short distance away
2 To form a horizontal or vertical stitch bring the next thread mix is to start. creating a tail across the back of the fabric.
the needle up through the chosen hole of the This tail of thread will be caught in as the
fabric and count over two grains then take the TOP TIP! If you do not feel confident pattern is worked.
needle back down through the fabric. following the shading guidelines by eye,
an air erasable pen can be helpful to 2 Once the pattern has been stitched up to the
TOP TIP! It is important to remember draw the areas onto the fabric as they knot, it should be trimmed off.
to count the grains of the fabric not the will eventually disappear.
number of holes the needle passes over TOP TIP! Double check the trailing
as this will distort the size of the pattern! 3 When ready change to the next mix of thread has been caught in by gently
thread in the needle, you must continue the pulling on it before making the cut. If the
3 To form a diagonal stitch it can be easier pattern in the exact same way, without leaving knot is not secure, leave it alone while
to count across two grains of the linen any spaces or altering the stitches within more stitching is worked and the thread
before counting up/down two grains of the pattern. This creates the subtle shading on the back is caught.
the linen rather than counting diagonally without drawing attention to where the
across two. This method finds the opposite threads have been altered. 3 Threads can be cast off in two different
corner without the risk of the stitch ways. The threads can be ‘parked’ in an
becoming distorted. 4 It can be helpful to work with several needles area where stitching is to be placed, again
on the go at once, parking them in an unused creating a trailing thread on the reverse
Shading Guide area of the fabric when they are not in use. which will be caught in. Alternatively, the
1 With shaded blackwork, it is important to try hoop can be flipped over to the back and the
to work by eye rather than depend on a chart. 5 However, it is important to allow the pattern thread being finished can be woven through
It is not essential to know where the first stitch to flow out from one point rather than working the back of the stitches already worked. ❤
5 REASONS NEVER TO
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Project
SEE MORE
OF EMMA’S
WORK ON
PAGE 23
Cup O’ Kindness
Celebrate the unifying words and sentiments of the famous song,
Auld Lang Syne. Thoughtful, textural glass beading and goldwork with
silk thread stitching in rich jewel tones merge and clash to form an
uplifting view of the world.
BY EMMA WILKINSON
Project
“The poems and songs of Robert Burns have echoed round the A NOTE ON MATERIALS
I used what I had, including some things
world for generations. I wanted to showcase the Scottish Bard, but I have had for ages and have no idea
using my signature style. The emotive words of Auld Lang Syne are where they came from! I pick stuff up
about forgiveness, togetherness and hope for a new year. They’re that I like as I go without any planning
in terms of what it might be used for.
incorporated into my positively coloured, heavily
However, the seed beads were all
embellished vision of the world. And it’s all worked on Toho beads. Both www.beadsjar.co.uk
tartan; the fabric Scotland gave the world!” or www.totallybeads.co.uk have
really great selections of colours.
And www.golden-hinde.co.uk is a
YOU WILL NEED great source for goldwork supplies.
MATERIALS EQUIPMENT
• Printed framed canvas: 30 x 20cm • Computer with access to the internet PREPARATION
• DMC stranded cotton: • Gel pens: 1 Start with a visit to the tartan register
- White, lavender, deep red, black - White, pinky/red at www.tartanregister.gov.uk. Browse
• Purl wire: • Needles: and select a tartan, being sure to select an
- Jade green, purple, gold - Embroidery, beading unrestricted one in the options. I picked my
• Assorted beads, in a jewel palette: • Scissors: all-time favourite, Highland Mist designed
- Seed beads: sizes 15 (tiny), 11 (small) & - Embroidery, goldwork by House of Edgar for its complex lines and
8 (medium) beautiful use of colour. It also complimented
- Faceted beads (cut like diamonds) STITCHES & TECHNIQUES my chosen colours for the beads being used to
- Bugle beads: 10mm • Applying A Bead, French Knots, Stem Stitch reflect the climates of each continent. But also
See Stitch Guide for stitch formation details. it’s modern, ahead of its time – a bit like Burns’
humanitarian views on the world during his life. ➜
Project
1 2 3
7 8 9
11 12 13
2 Take a copy of the image from the stitching is very fluid. I encourage you to take 11 This turned into green shades across North
website. Then using photoshop, or similar, a similar approach: have a rough plan around America, Europe, New Zealand and around
repeat the image as many times as it takes colours or materials, but use what feels right where the Amazon Rainforest would be. All
to fill an A4 area. as you go. places with a wetter climate (lucky us!).
3 On to this I then overlayed a map of the 8 For this project the colours followed the PURL LOOPS This is a very simple
world and infilled in black. The map outline climates of the map rather than individual goldwork technique. Cut your purl into
was simply downloaded from the internet. countries. You can’t argue with weather, it 1cm sections. Using a double thread
is what it is! Thereafter there are no rules, put the cut purl onto the thread then
4 The file was uploaded to the Vistaprint just flowing with the materials. Although I plunge the needle down just 1mm away
website to be printed on to a simple did complete all of one colour at once. So from where it came up and carefully pull
stretched framed canvas. The instructions I jumped about the map a bit. I found this the thread through so the metal purl
are clear and easy to follow. Honest! easier as my working space was limited and loops around. Repeat, placing the loops
I just wanted one lot of beads out at a time. randomly to raise interest and texture.
5 The project could be done on any cloth You can also cut the purl to varying
though, I just thought a canvas would 9 Countries and areas like Siberia, Canada, lengths. It creates a softer landscape
make this a nice piece of wall art as maps Greenland, Alaska and the very bottom of that contrasts beautifully with the
normally are. The matt finish also offsets the South America (basically anywhere you structure of the beads. 4 5
embellishment. If you opt for fabric, you’ll get penguins or polar bears!) were done
need to transfer an outline of the world map in cold colours: white, pastel blue and 12 The colours then merged and developed
and set in an embroidery frame. lilac. Glass beads and masses of soft little again. Now changing into purple shades across
French knots created a mix of matt and warmer areas of Europe, Central Asia around
6 Next I thought about the climate and shiny finishes. 1 China and across parts of Australia and Africa. 6
where the weather changes from place to
place. I drew lines in gel pen to give me a 10 The whites dispersed into more blue BUGLE BEADING I love to create
rough idea where colours should merge. tones of glass seed and faceted beads different heights and a beautiful way to
I used a white gel pen to plot out the outline around Scandinavia. do this is to have bugle beads standing to
of the shapes I wanted to fill with beads. 1 attention. I load a bugle and a seed bead
TOP TIP! Faceted beads are fun on to the thread then plunge back down
GET STITCHING! because they bring a bit of a geometric through just the bugle – the seed bead
7 I work really, really organically just plotting dimension when the light hits them they acts as an anchor on the top. With a good
out colours as I go based on what feels right. sparkle. Attach them in the same way as amount of tension the bugle will stand up.
I like working like this, I’m super methodical bugle beads with a seed bead to anchor. Continue building them, standing snuggly
in everything else I do and yet somehow my 2 3 side-by-side like little soldiers. 7 8
Project
4 5 6
10 15
14
TOP TIP! I always double up my thread 14 The final colour worked in was red to ALTERNATIVE FINISH
when I’m doing bugle beads. It helps them reflect the hottest parts of the globe. This I’m not really a minimal maker: my style is
stand up and avoids the thread snapping merged into Africa, across Asia around India full-on beading, I love the layering texture.
under increased pressure. and into Australia. Your bejewelled world is However, the whole map could be filled with a
now complete. You can stop here, or add in series of French knots… or nothing! Maybe just
13 Moving into golds where the climate is Burns’ words. 12 use an outline of beads or stitch. Or change
much dryer such as the Southern States of the the focus, use a map of the UK and show it in
US, Central America, North Africa, The Middle 15 I used the principles of traditional colours representing the four home nations. ❤
East and Southern Asian Islands. 9 monogramming to form the writing.
However my own handwriting makes it a
FRENCH KNOTS Use doubled up DMC little more fluid. The words were plotted out
thread to create your French knots so using a pinky/red gel pen so it would blend ABOUT ME
the knot is a little thicker. Wrap the in with the tartan if the thread didn’t cover it I am a lover of design but
thread around the needle three times, entirely. 13 14 I specialise in embroidery
then carefully plunge the needle down and kiltmaking with the
1mm away from where it came up. Do 16 The outline of the words is completed in odd print and garment
this slowly so you don’t end up with stem stitch using one strand of white cotton. too. I take inspiration
annoying knots instead of lovely French Start with a tiny stitch up then plunge back from personal experiences and my home.
ones! These look great when built up, down, then bring the needle back out again I’m from Edinburgh so am surrounded by
creating a mossy texture. 10 11 about 4-5mm away from the first stitch. beauty in many forms. My work aims to tell
Now work back like a back stitch but plunge stories and evoke feelings simply through
SEED BEADS I layer up beads the needle down into the middle of the stitch colour and texture So I work with materials
starting with filling the space then before. It will start to look like a rope. 13 14 from glass beads to oxidised coins! This
building on top again. This encrusted fusion of deep, personal inspiration and a
effect is my signature style. It takes ages 17 The dot of the ‘i’ in kindness is formed broad mind for materials is what, I hope,
but I love the landscape it creates. I used with a French knot. makes my work special and stand out! I
beads from size 15 to 8 to create varying graduated from Edinburgh College of Art
heights and textures. For seed and 18 Now pour yourself a dram or tipple of with a First class degree in 2018. I have since
faceted beads I just use a single thread your choice. Take time to reflect on those won the Hand & Lock Prize for embroidery,
and layer them all up on top of each that matter and the good times ahead. The become the first and only Queen Elizabeth
other. You need to be careful with the world may have gone quiet, but we will Scholarship Trust Kiltmaker and am an
tension of your thread for this. To create come together again! 15 Embroiderers’ Guild Graduate and Scholar.
an organic feel it’s important to work www.emmawilkinson.design
systematically yet randomly. 11 @emmawilkinson.design
Interview
Credit: Julie Howden

Fashion Sense
Cotton socks start decomposing in landfill in weeks. A mixed fibre jumper
can take over 200 years, while a pair of trainers will last a century!
The problems raised by fast fashion are complex. How can we tackle them?
And what role can embroidery play?
Dr Jen Ballie is a PhD graduate from Textiles 1,100 workers died and 2,500 were injured be reprocessed and reused multiple times.
Environment Design (TED). Her research – most of them young women. It was the The launch of World Circular Textile Day (8th
explores social innovation within fashion fourth largest industrial disaster in history. October) is championing a future vision for
and textiles to re-think future practices. She The media coverage finally brought attention 2050; where virgin resources are no longer
is a researcher at Duncan of Jordanstone to the way fashion is made and shone a needed and our shared textiles resources, in
College of Art & Design within the University spotlight on the broken ties between those the form of products and raw materials, are
of Dundee and Research Manager for who produce, sell and buy fashion. kept in continual circulation.
the ‘Design for Business’ programme - This is exciting but it also requires huge
positioned within the V&A Dundee, a Design What’s the most damaging part? change within the business of fashion. The
Museum in Scotland. With credentials like The pressure to reduce costs and speed scale and pace of production and consumption
these, Jen is well-placed to give much- up production time means environmental needs to become less and slower.
needed perspective. corners are cut in the name of profit.
This puts enormous pressure on supply Every story has its villains. So who and/or
In a nutshell, what is fast fashion? What chains who manufacture clothing. And what is responsible?
are the issues with it? as consumers we have a responsibility to The pandemic exposed the huge power
Fast fashion is a growing trend of low-cost question: why does a garment cost £3? We imbalance at the heart of the fashion
clothing brought to market in less than three need to advocate for more transparency, as industry. It demands suppliers in some of the
weeks. It has an enormous environmental somebody, somewhere is paying the cost. poorest countries in the world bear upfront
footprint for both its production and There are additional challenges. The production costs while buyers pay nothing
disposal. But there is still too little awareness textile fibres that make up the clothing in until weeks or months after factories ship
concerning the social and environmental our wardrobes are often blended and make the goods. The wealth across the fashion
crisis caused by the global fashion industry. recycling problematic. There has been industry isn’t distributed proportionally
In 2013, the Rana Plaza building, a garment radical innovation within the concept of a and that needs to change. Orders made by
factory in Bangladesh, collapsed. More than circular economy – where some fibres can brands were either cancelled, or suspended,
Interview
It encourages people to think again about keep asking questions to play our part
how they can extend the lifetime of clothing in influencing a future fashion industry
they already own. There are inspirational that is fairer, more ethical and more
examples of best practice, such as the visible environmentally conscious.
mending by Celia Pym and Bridget Harvey.
Or the second-hand Levi’s denim jacket How do you manage your own wardrobe?
from Depop, embellished with a gorgeous I love fashion because it’s a means for self-
sequin snake by textile designer Chloe expression. It manifests cultures and identities
Patience (see below) to show the impact while enabling us to present who we want to
of customisation. be, and our own clothing plays a part in our
leading to the emotional wellbeing by bringing us joy.
waste of around Make do and mend used to be a way of Most of my wardrobe comprises of old
982 million garments and the possibility life. What happened? fast-fashion pieces, second-hand findings
of up to half of the four million garment Ready-to-wear clothing bears the air of shop or gifted and swapped items from friends.
workers in Bangladesh losing their jobs finish and doesn’t call for repair, alteration When I buy new, I look for ethical and
(BBC ref, 2020). or unpicking. There are very little alteration fairer pieces of clothing. Buying sustainable
services or shops left on our local high clothing is important, in order to encourage
What needs to happen to make a change? streets. However, while conceptualising conscious brands to continue their work. For
And the biggest challenge along the way? this project/exhibition, the team was really outerwear I love Kerrie Aldo, for accessories
The business of fashion needs a new inspired by an older publication by Singer - Emily Millichip or Nublvk, and for clothing -
model; one that re-thinks over-production, titled Clothing Care and Repair (1985). A lot Kalopsia Collective.
over-consumption and the relentless drive of the tips, ideas and techniques haven’t
for the new. We need to adopt a people- dated and are very relevant today! Finally. The champions. The campaigners.
centred approach and call for the design and Who’s work do you admire?
investment of new supply chains that have What’s the reception been? Fashion Revolution and the positive
dignity, equity and equality at the heart of them. ‘Sewing Box For The Future’ has had different activism they have catalysed globally.
Consumers will need support to adopt a feedback from different generations. For Thereafter, we’re now at a point where the
bold shift in their mindsets around what to those who have grown up without these Government’s Industrial Strategy is looking
buy, own and use. basic skills, it has been more novel and new at the circular economy. People such as
but they’ve enjoyed being empowered to Greta Thunberg and Sir David Attenborough
And the heroes… experiment, be creative and learn. have flicked a switch on to raise awareness
A lot of people have been campaigning For those with more advanced knowledge, of sustainability. This creates many
for change for a very long time, including it has provided a space to come together and challenges for an industry that is traditionally
Orsola DeCastro, the co-founder and share nostalgia around making. It has facilitated so wasteful, but it also means there’s
Creative Director of Fashion Revolution. She some really lovely conversations across tremendous opportunity for innovation and
declares: “if you really enjoy wearing clothes, different generations that have been a highlight. new collaborations.
then you should commit to the clothes you A mother wrote us a letter after visiting
are wearing in an emotional way. If clothes the museum with her 6-year-old son earlier ‘Sewing Box for the Future’ is a pop-up
are our ‘second skin’, shouldn’t we care this year. He had a lot of fun and kept asking exhibition currently on show at V&A Dundee
about its origin and composition?” to come back. They visited five days on the in the upper foyer until Jan 2021.
trot; it gave them a space to sit down, sew www.vam.ac.uk/dundee/exhibitions/
How is the V&A raising awareness? and have conversations. They felt welcome, futuresewingbox
In 2019, V&A London had a wonderful relaxed and inspired. At the end of the week If you can’t make it then explore
exhibition titled ‘Fashioned from Nature’; it he asked to spend his pocket money on an the downloadable resources at:
is currently touring. This contributed to a embroidery hoop! www.vam.ac.uk/
cross-party parliamentary UK government dundee/info/sewing-
Environmental Audit Committee What can we do? box-for-the-future-
investigating the sustainability of the fashion Small, individual acts can be powerful resources ❤
industry. They hosted an open hearing at collectively. So start with what you already
the V&A where some of the questions from have in your wardrobes and homes. Be more
expert witnesses were based on issues raised aware of where your clothing comes from.
in ‘Fashioned from Nature’. Question the fibres and fabrics that make
up your wardrobe. Take responsibility to
Closer to home, what is happening at care for your clothing in the best ways you
V&A Dundee? can. Embrace these as life skills that grow
‘Sewing Box for the Future’ is a live research with you, in your home, around your own
project and pop-up exhibition in partnership family, friendships and beyond.
with the University of Dundee. Using the idea
of the sewing box as a metaphor, it raises What impact do you think this year’s
awareness about diminishing sewing skills and events might have on how people
explores what materials, skills and knowledge consume fashion?
people need to help them take proactive steps The pandemic and lockdown have
towards reducing fashion waste. catalysed a resurgence around making
The exhibition is organised around again; this needs to be nurtured.
three themes: care, repair and customise. But we need to be vigilant and
Latest
For Your Bookshelf

email sales@cleopatrasneedle.co.uk
LACE REIMAGINED A PASSION FOR BUTTERFLY STITCHES

By: Elizabeth Healey NEEDLEWORK: By: Catherine Redford
Publisher: Search Press BLAKISTON CREAMERY Publisher: C&T Publishing
ISBN: 978-1-78221-742-8 Publisher: Inspirations Studios ISBN: 978-1-61745-986-3
RRP: £12.99 ISBN: 978-0-6482873-9-1 RRP: £16.99
There are tired old stereotypical ideas RRP: £33.99 A group of butterflies is called a
of lace that this book merrily sets The concept is simple: a dozen kaleidoscope. And that’s exactly what
about challenging and blowing apart. embroideries from the same number ‘Butterfly Stitches’ gives you: a collection
Elizabeth Healey takes lace in all sorts of of designers assembled in one location. of twelve designs of winged creatures.
directions, making for an unexpected and The execution, however, is so much Each design is worked two ways. The first
entertaining journey. Throughout stories more. It involves all the care and option uses a range of surface stitches on
are interwoven giving not just historical attention to detail you’d expect from the fabric. The second builds up the design
context but bringing the skill to life. Inspirations Studios team. The resulting in layers of wool appliqué, finished with
Although it’s Elizabeth’s refreshing book is a treat on every level. stitch and bead embellishment. The
definition of lace that is the real triumph. There are the coffee table pages: effects are startlingly different; you don’t
Certainly, she pays proper respect to beautiful photography, beautifully staged. instantly recognise them as being based
the tools and techniques: bobbin lace, The imagery elevating the embroideries on the same design. This encourages
tatting, net darning, needlelace and to objects of unquestioned beauty. you to give things your own twist which
more are covered. But it’s when the Then there are the business pages where ultimately is what Catherine wants.
projects start that the fun begins: using the art of achieving the same results In line with her folk-art influences,
a soldering iron to make a paper-lace for yourself is boiled down to clear and Catherine’s designs start with chain
bowl and embroidering spray painted confident instruction. stitch. So it’s no surprise, this is the
leaves run alongside a magical set The designers come from all over the stitch with deeper instruction on its
of fairy wings and an heirloom scarf world. Their stunning designs embrace formation and multiple variations.
fashioned from happy memories. By the traditional, the quirky and the practical: Thereafter, there is a degree of
dipping into other skills and inspiring William Morris inspired crewelwork, a sea assumed knowledge. The book doesn’t
creative experimentation, Elizabeth’s turtle sculpted in goldwork and handy lack anything because of this. To the
book offers so much more than was little pots with stumpwork lids. All are contrary, it means the focus is firmly
ever expectedemail sales@cleopatrasneedle.co.uk
and becomes even more aimed at those with experience. And all on creating the butterflies. In fact, it’s
appealing. You’ll never think of lace in are exquisite. This is a glorious celebration email sales@cleopatrasneedle.co.uk
a fun and colourful combination of
the same way again! of top-end hand embroidery at its best. entomology and embroidery!
Project
Let It Snow!
FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 59
Be entranced by this delicate, everlasting snowflake. Achieve beautifully intricate

results with just the humble buttonhole stitch and some careful construction!
BY JAY HOOPER OF DIZZY & CREATIVE
Project
1 2 3
7 8 9
A B C
“You can make this snowflake with regular stranded cotton, or thread with a
metallic element. The latter can fray and knot when stitching tightly over wire, but
the results are worth the effort. My best advice is to use short lengths of thread,
a new needle, stock up on patience and all will be well!”
YOU WILL NEED PREPARATION

MATERIALS • Light/heat fading pen or gel pen for 1 Place one piece of fleece centrally over
• Soluble fleece: 2 pieces, each 30 x 30cm design transfer Template A and transfer the design using
• Thread: • Needle: crewel your choice of pen. Lay a second piece of
- 1 skein DMC Light Effects E5200 • Small sharp scissors fleece behind your marked piece and gently
(metallic), or • Clean towel/tea towel secure the fabric in the embroidery hoop. 1
- 1 skein DMC Colour Variations 4020 • Bowl
(stranded cotton) • Low-tack masking tape (optional) 2 Take one length of wire, bend and fold it
• Covered wire, 26 gauge: 12 x 30cm lengths following the outline of Template B to create
• Sewing thread: white STITCHES a snowflake arm, keeping 1cm free at the
• Seed beads, size 11: silver-lined crystal • Buttonhole Stitch start. Use pliers to help make each fold tight
• Translucent sequin: 1 and crisp, and stick exactly to the template.
See Stitch Guide for details on stitch The end of the wire should just cover the
EQUIPMENT formation. length of one side of the largest hexagon;
• Wire snips you may have to trim off a tiny amount.
• Small pliers Finished dimensions: Repeat for all six arms. 2 A
• Embroidery hoop: 10in/25cm diameter diameter 14cm, depth 4cm
Project
4 5 6
10 11 12
D E F
3 Lay the wire arms on the snowflake spoke line at the edge of the sequin, and
design on the fleece, making sure the work back up the thread to cover it using Neat and Tidy TECHNIQU
E
angles are all correct. Use a single strand of buttonhole stitch. Repeat for the remaining FOCUS
sewing thread to oversew the wire lightly in five central spokes. 5 6 7 8 D E • STARTING: Make a slip
place against the fleece. Repeat with all six knot in a new thread. Use
arms, overlapping each one along the sides TOP TIP! I find a hands-free hoop this to anchor your thread
of the outer hexagon. 3 4 B C really helps with this kind of project. over a wire or another thread. Take the
thread through the last stitch worked,
GET STITCHING! 6 Work straight stitches around each side of and resume stitching.
4 From this point: use one strand of the inner hexagon (indicated in black). Be
metallic thread, or two strands of sure to catch your thread in each arm. 9 F • CONTINUING: If you are part way
stranded cotton. All ends of thread can through stitching a section, finish the
be incorporated into stitching, getting 7 Join the thread at b. F Work buttonhole thread by looping it around a wire/thread
covered as the project progresses. fill stitch around the wire hexagon, inserting and take the needle back through the
a bead into each stitch. Make four stitches loop to create a knot. Repeat, then trim
IMPORTANT! When stitching on in each section, taking the thread over and the thread leaving a short end. When
soluble fabric, it is VITAL that all threads around the covered thread line at each you resume stitching with a new thread,
are anchored over a wire, through spoke intersection. You’re working between position the slip knot over the remaining
another stitch or over a running thread. the two red hexagon bands; with the beads thread end for extra security, then
This ensures that your work doesn’t secured to the middle hexagon. 9 10 E incorporate and cover any loose ends of
unravel when the fleece is washed away! threads as you continue stitching.
8 Once the full round is complete, take
The Snowflake Centre the thread down to the next stitched • FINISHING: Once you have completed
5 Join the thread at the base of an arm at line (made in Step 6) by making tiny stab stitching a section and covered all the
point a. D Take the thread along the marked stitches through the stitched covering of wire/thread using buttonhole stitch,
spoke line and down through the centre the central line. Work a second round of finish by making a few tiny stab stitches
of a sequin, positioned in the centre of the buttonhole fill, reducing to three stitches backwards and forwards through the
hexagon. Bring the thread up on the same (each with a bead). 11 12 F ➜ stitched covering. Trim close.
Project
13 14 15
19 20 21
G H J K
9 Take the thread down once more, to the and then on to point g. Make a stitch with a 17 Work buttonhole stitch from junction
edge of the sequin. Work a final round of bead as at Step 11, and use buttonhole stitch k to junction i, covering all threads and
buttonhole fill (without beads), making just to cover the wire back to junction f, covering winding stitches as you work. 17 H
one stitch in each section. Once the round all the winding stitches as you work. 16 H
is complete, work a buttonhole stitch over 18 Repeat Steps 13- 17 in reverse, securing
the stitch threads, close to the edge of the TOP TIP! As you start to stitch the beads at points n, o, p and q. This time
sequin. 13 14 G snowflake arms, covering the arms not cover the wire and threads between
being worked with masking tape may junctions as you work back to the base of
The Snowflake – Central Arms help to prevent the thread from catching the arm at junction d. 18 H
10 Use the illustration as your stitching guide and snagging on the wires.
and follow the order indicated. H 19 You have now completed one arm
14 Once again, make a couple of stitches of the snowflake. From junction d, work
11 Join the thread at c. Make a buttonhole tightly over the wire to take the thread up buttonhole stitch along one side of the
stitch right at the end of the wire, inserting to the end of the upper point h, add a bead hexagon, covering all threads and wires. 18
a bead. Make a second buttonhole stitch and use buttonhole stitch to cover the wire
on the wire alongside, taking the needle down to junction e, covering all threads 20 At the junction of the next arm, take
through the previous stitch. This will help to and winding stitches. 16 17 H the thread up to c and repeat Steps 11-19.
anchor the bead at the end of the wire. 15 H Continue until all six arms are covered. 19
15 From junction e, take the thread up
12 Work down the wire to junction d using to junction i and on to point j. Make a The Snowflake – Individual Arms
buttonhole stitch to cover the wire, and stitch with a bead and use buttonhole 21 You will now create another set of
also cover any thread ends and windings stitch to cover the wire down to junction arms. These are stitched individually
as you work. 15 H i covering all threads and winding stitches and will add dimension to your finished
as you work. 17 H snowflake. Repeat Steps 1-3 to create
13 From junction d, take the thread up to the wire frames. However, this time trace
the next junction e by making a couple of 16 Repeat in this way to the tip of the arm, five arms using Template B and one using
stitches tightly over the wire, then continue until l and m are worked and you’re back Template C (this one will be at the top so
in the same way to take the thread up to f at junction k. 17 H has a hoop for hanging). J K
Project
16 17 18
22 23 24
25 26
27
22 Position the tracing onto the fleece within 25 To assemble, start a thread on the main
your hoop to fit in all six. Splay the legs of snowflake at junction k. Slot an individual
each arm and leave sufficient stitching room arm over the main snowflake arms, matching
around each. 20 21 22 junctions. Use a single strand of thread
to make tiny stab stitches through the
23 Repeat Steps 11-20 for each arm. You’ll buttonhole stitching to secure both pieces
need to start by covering the end up to d in together. 24 25 26 H
buttonhole. Then work each side and section
in turn. Remember to run catching stitches 26 Repeat this for all six arms. Adjust the
to each point, secure a bead then work wires to make sure the individual arms sit at
buttonhole stitch to cover the wire and stray 90 degrees.
thread. Work through in alphabetical order, this
time covering the sections between junctions 27 Hang your finished snowflake where it
in buttonhole as you come to them. H can sparkle and shine! 27 ❤
FINISHING
24 When the snowflake and all six arms
ABOUT ME
are stitched, remove the fleece from the As a lifelong stitcher, I have always loved experimenting with shape, form
hoop and trim off any excess fabric. Place and colour. Transforming something into a stitched version has always
in a bowl of warm water and gently rub to held a fascination; the satisfaction in seeing a finished piece is always
dissolve the fleece. Rinse briefly in clean immense. Helping to sow the seed of inspiration in others and see their
water and press flat in a towel or tea towel. confidence grow as they discover the magic of stitching is something I love. Dizzy & Creative
Place somewhere warm and flat to dry. 23 lets me explore this further with our wide range of embroidery and sewing kits. We cater
for everyone: from the tentative first-timer to the experienced stitching enthusiast. There’s
TOP TIP! Place your snowflake also our monthly embroidery subscription service, ‘Strand & Deliver’: beautiful embroidery
pieces on a sheet of grease proof paper projects chosen especially for you and delivered straight to your letterbox.
to avoid any remaining glue causing
unwanted sticking. www.dizzyandcreative.co.uk www.strandanddeliver.com
Project
Black Magic
Conjure up a mischievous life-size raven from cotton fabric and wire! He’s bold,
beautiful and brilliantly broken down into bite-size steps for you to follow.
BY LINDA FJELDSTED BLUST
1 2 3
4 5 6
THE LEGS 3 Break off a chunk of polymer clay, knead 5 Stand the legs upside-down in a glass or
1 Cut two 8cm pieces of brass tubing and it until soft, and shape into a roll about 1cm vase lined with a plastic bag for protection.
eight 30cm lengths of wire. 1 in diameter and 20cm long. Cut the clay roll Allow the glue to cure overnight. 5
into eight equal pieces. Shape the pieces
TOP TIP! There are tutorials on the into pointed claws and push one talon onto 6 The next day, gently twist one of
internet for making simple wire legs. the end of each toe. Remove the claws and the claws to make sure the glue has
These may be strong enough for small bake them in your oven according to the thoroughly cured. If the claw moves, leave
birds, but you need something sturdier directions on the clay packaging. 3 4 it alone for a few more hours. Once you’re
to support these large ravens. My sure the claws are securely attached,
solution is to encase the wires in metal TOP TIP! Due to long drying times, it squeeze a few drops of super glue into the
tubes! They are readily available from takes several days to complete a pair of bottom end of each tube. Again allow to
hobby or model making supply shops. legs. Use the downtime to work on the cure overnight. 6
body and feathers.
2 Thread four wires through each tube, TOP TIP! The toes have a tendency
and then use the pliers to bend the wires 4 Once cooled, squeeze a bit of super glue to turn sideways, so hold them in place
into 4cm toes – three in front and one onto the end of the toe wire, and attach the with a food bag/chip clip while the glue
in the back. 2 claws. Repeat for all eight toes. 3 4 dries inside the tube. 6 ➜
Project
YOU WILL NEED

MATERIALS EQUIPMENT
• 18 gauge steel wire, 1mm: 3m • Polyester fibre filling: I recommend Fairfield • Mini tube cutter or hacksaw with blade
• Brass or aluminium tubing, 6mm: 20cm Poly-fil Quick Craft or Crafter’s Choice. suitable for cutting metal
• Polymer oven-bake clay, any colour: Avoid anything labelled ultra soft. • Wire cutters
small pack • Acrylic paint: black & silver • Small needle-nose pliers
• Large-hole round beads: 2 • Roll of florist tape, any colour • Paint brushes
• Cotton fabric, in shades of black: 1.5m cut • Upholstery thread: black • Ball-head straight pins
into fat quarters • Machine thread: black • Chalk pencil
• Water-soluble stabiliser • Embroidery floss: black • Sewing scissors
• Temporary spray adhesive • Buttons for eyes: 2 • Sewing machine
• Mod Podge Matte glue and sealer • Heavy black guipure lace • Black marker pen
• Mod Podge Stiffy or other liquid • Disappearing marker
fabric stiffener Finished dimensions, approximately: • Needle: long upholstery or doll
• Super glue 46cm long x 38cm tall x 12cm wide • Protective gloves
“A group of ravens is sometimes called an

“unkindness” or a “conspiracy.” I prefer the latter,
because when these birds congregate it’s easy to
imagine them plotting mayhem. These photos were
taken as I worked on a conspiracy of four ravens.”
FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 58
Project
7 8 9 10
15 16 17 18
23 24 25 26
27 28 29 30
7 The next day, turn the legs right side up 10 Paint the wrapped legs with at least two 14 With right sides together, sew one
and squeeze some super glue into the upper coats of black paint. Allow to dry. 11 underbody to one body piece, backstitching
end of the tube. Then thread a big-hole bead at the leg opening. 17
over the wires and glue it atop the tube. 7 11 Brush Mod Podge Matte over the
painted legs and toes and wrap them with 15 Sew one side of the head gusset to the
8 Paint the claws with at least two coats of embroidery floss and any other strings or top of the raven, placing the gusset front at
black paint or nail polish and let dry. 8 yarns of your choosing. 12 the upper edge of the beak, and the back at
the notch. 18
TOP TIP! For extra pizzazz use shiny TOP TIP! Get creative with colour and
lacquers or sparkly nail polish. texture: wrap with left-over embroidery 16 Pin the assembled body to the remaining
strands, metallic threads, fuzzy yarns or body piece, right sides together, being careful
9 Brush a coat of Mod Podge Matte over the colourful bits of string. 13 to keep the previously stitched sides of the
legs and toes, and wrap with the florist tape. head gusset and underbody out of the way.
Start wrapping just above the bead, down The body Stitch all around, leaving the leg open. 19 20
the brass tube and along each toe, and then 12 Fold one fat quarter of black fabric in half
all the way back up the tube. Brush on more and lay on the pattern pieces. Cut them out 17 Clip all curves and trim the seam
glue and repeat, this time adding extra layers and transfer markings to each piece with a allowance at the beak point. 21
to the toes. The more layers, the stronger chalk pencil. 14 15
the toes will be. Allow to dry. 9 10 18 Turn the body right side out and stuff it
13 Machine stitch the underbody pieces with fibre fill. Use a stick or long screwdriver
TOP TIP! I like Mod Podge Matte together along the top edge, leaving an to pack it into the head and beak as tightly as
because it dries clear and not too shiny. opening between the two notches. I used you can. 22 23
You could use PVA glue thinned with contrasting thread to make it easy to see, but
just enough water to make it spreadable. you should use black thread. 16 The beak
Run a test to make sure you like the 19 Paint the beak with at least two coats of
appearance after it dries. silver paint. 24
Project
11 12 13 14
19 20 21 22
31 32 33 34
20 After the paint dries, sketch the mouth Attaching the legs and down to the bead on the other leg. Sew
line with chalk or a disappearing marker. 23 Spread a little Mod Podge Matte on the the wire in place with upholstery thread. 30
It’s important both sides match. 25 upper legs above the beads and push one
into each of the body’s leg openings. Stand 26 Turn the bird on its back and run another
21 Trace over the line with a black marker the bird up to make sure it sits upright piece of wire up the inside of the leg from
pen, smearing it a little with your finger or and balanced. Once you’re satisfied with one bead across the belly to the other bead,
an eraser. 26 the bird’s stance, pin the fabric of the leg bending it at right angles at the tops of the
openings tightly around the legs, and allow legs. Stitch in place. 31
22 To shape the beak, thread the long the glue to dry. 28
upholstery or doll needle with black 27 Cut a remnant of black fabric large enough
upholstery thread and tie a knot at the end. TOP TIP! A table vice is handy for to cover the bird’s belly. Brush one side with
Take a stitch on the back of the head and holding the bird steady on its back. Mod Podge Matte, and spread the remnant
then push the needle into the back of the Alternatively, prop him between books smoothly over the wire and stitching. 32
head and out at one corner of the beak. or boxes.
Reinsert the needle close to where it came 28 Cut some fabric strips, brush them with
out, push it through to the same spot on 24 When the legs are set, turn the bird on its Mod Podge Stiffy, and wrap them around the
the opposite side of the beak and pull the back and stuff more filling into the opening, upper legs and over the back, completely
thread tightly. Then reinsert the needle and pushing it around and between the wires covering all the bare wires. Finally brush a
push it through to the other side close to until the legs barely move. Whip stitch the thin coat over the entire body. This hardens
the previous stitch, again pulling tightly. opening closed with upholstery thread. 29 the fabric, makes the raven sturdier and
Continue stitching in this manner all the way protects from moisture. 33
along the mouth to the point of the beak 25 For added stability, and to keep the toes
and back again. When you reach the starting pointed forward, it’s a good idea to create a 29 Coat the bare upper legs with Mod Podge
point, take a long stitch to the back of the wire exoskeleton. Start by cutting a piece of Matte and wrap them with yarn or embroidery
head and tie a knot. 27 wire long enough to reach from the bead on floss. Pin the ends of the yarn out of the way
the outside of one leg over the bird’s back and snip them off after the glue dries. 34 ➜
Project
35 36 37 38
39 40 41 42
43
The feathers
30 You will need 12 large, 10 medium and 21
small feathers.
TOP TIP! Mix up the fabrics for the

feathers: use prints, batiks or even
vintage wools or linens.
31 To create the fabric sandwich for the

feathers, cut the remaining fat quarters in half.
Spritz some spray adhesive on the reverse of THE FINISHING TOUCHES it back in place. Remove the pins after the
one half, cover it with a piece of water-soluble 35 Turn the raven on its back and pin one long glue dries. 41
stabiliser, spray again with adhesive, and cover feather on the tail end with about 7cm sticking
with the other fabric half, right side up. out behind the body. Sew in place with a few TOP TIP! Instead of lace, cover the
stitches. Overlap two more feathers on either upper body with embroidered pieces,
32 Trace the feather templates onto your side of it and stitch in place. 38 torn fabric bits, paint or beadwork.
fabric sandwiches with chalk. 35 The possibilities are as endless as your
36 Turn the raven over and sew more long imagination!
33 Machine stitch along the chalk lines. 36 feathers on the top and sides, overlapping as
you go. 39 40 Sew buttons at the eye markings, and watch
TOP TIP! Have fun embellishing the your raven’s personality come alive! 42 43 ❤
feathers with your choice of machine or 37 Place medium feathers on the sides and
hand embroidery stitches or fabric paints. back a little higher up the body but still
overlapping the large feathers. 40
34 Cut out the feathers close to the stitching ABOUT ME
lines and soak them for a few minutes in fabric 38 Add two rows of small feathers, each a After a long career
stiffener. This will also dissolve the stabiliser little further up the sides and back. The only designing ballroom
and remove the chalk marks. Spread them on placement rule is that the feathers should dance costumes in Las
an old towel to dry, and then iron them flat. 37 overlap, but otherwise you can arrange them Vegas, Nevada, I am now
however you like. happily retired in Reno
TOP TIP! My favourite fabric stiffener and devoting my creative energies to textile
is Mod Podge Stiffy diluted with 25 39 Cut the guipure lace into small motifs art. My specialty is 3D wildlife sculptures,
percent water. If you can’t find it, you and pin them to the upper body and head, especially birds, which I’ve exhibited in
can try other liquid stiffeners, but overlapping the feathers and the top of galleries and quilt shows all over the world.
experiment with the amount of water to the beak. When you’re satisfied with the
use. The feathers need to be stiff enough arrangement, remove one piece of lace at www.wildthingsbylindab.com
to hold their shape, but not so hard that a time, spread a thin layer of Mod Podge WildThingsByLindaB
you can’t push a needle through. Matte on the back, and then carefully pin @lindablust1
Fantastic
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Project
The Little Mermaid
FIND
TEMPLATES
FOR THIS
PROJECT ON
PAGE 61
Immerse yourself in this simple underwater delight. Perfectly executed

swirls of back stitch and a sprinkling of French knots breathe life into a
magical fairy tale creature.
BY ELAINE MORK
Project
1 2 3 4
9 10 11 12
“The first books I remember were written by Hans PREPARATION

1 Press the fabric and turn in 1cm on all sides.
Christian Andersen. His tales were a joy to read. So I Machine in place with a zig-zag stitch. Iron the
couldn’t resist doing an embroidery based on The Little lightweight stabiliser onto the reverse. Press well
to make sure it is properly fused in place. 1
Mermaid and celebrating my family’s connections with
Denmark. I loved stitching this piece, so simple but TOP TIP! Don’t skip the stabiliser:
effective with her long flowing locks of hair and swishing the batik fabric needs it to give a bit of
firmness for embroidering.
tail. I hope you enjoy her too.”
2 Place the fabric right side up on a
moveable flat surface like a cutting mat and
secure with masking tape. Place a piece of
YOU WILL NEED transfer carbon paper face down on top of
MATERIALS the fabric and tape in place. Photocopy the
• Batik fabric, medium/light green: • Sewing machine with zig-zag foot mermaid design template then tape on top
1 fat quarter • Masking tape of the fabric and carbon sheet. 2
• Lightweight iron-on stabiliser: 45 x 45cm • Stylus or blunt ended tool for transferring
• Sewing machine thread: to match fabric the design 3 Use the stylus to transfer the design. Having
• DMC Light Effects: • Embroidery frame taped it to the mat means you can turn it to
- E3849, E316 • Needles: access each area easily. It also protects table
• DMC Coloris: - Embroidery: No9, or tops as you will need quite a lot of pressure to
- 4504 - Chenille: No24 transfer the details effectively.
• DMC stranded cotton: • Scissors
- 948, 950, 3687, 3688, 3808, 3809, • Thimble 4 Remove the design sheet and carbon
3810, 3811 • Thread conditioner paper. Check over and fill in any missed or
• Transfer carbon pattern paper: Burda yellow lightly marked areas with a pencil. Place your
• Tissue paper STITCHES & TECHNIQUES fabric into the embroidery frame and secure.
• Back Stitch, French Knots, Waste Knot Use tissue paper to keep your design clean.
EQUIPMENT
• Iron & ironing board See Stitch Guide for stitch formation details. TOP TIP! Try to keep the batik taut
• Cutting mat in the frame but not so tight that the
• Pencil Stitched area: 18.5 x 19.7cm stabiliser on the back ‘gives in’: be gentle
and don’t overstretch.
Project
5 6 7 8
TECHNIQU
E 7 Take a length of metallic thread E316, split
A Tidy Start FOCUS
it into two fine strands and run it through
the thread conditioner. This makes it easier
THE IN-LINE WASTE KNOT to work with. Work all the tiny wispy hairs
As the design involves lines of back stitch, coming off the main strands in back stitch.
try the in-line approach to secure your Rather than using a waste knot, you can
threads and keep your embroidery tidy. secure the thread by weaving into the back
1 Make a large knot in the end of your of the work already completed. 4
thread.
2 Take the thread through from the right 8 Work the mermaid’s face and chest area
side of the fabric, but do so on the design in light pink 950 and back stitch. Use one
line. This needs to be a small distance strand to complete the lips in 3687 and the
from where you want to start. eye in 3809. 5
3 Now work two or three tiny seed or back
stitches towards your start point to secure 9 Continue with the outline of the tail fin,
the thread. working with one strand each of 3808 and
4 Start stitching and once you reach the 3810 in your needle. 6
knot, simply snip it close to the fabric FINISHING
surface and continue. 10 Work the tail outline from the top left 16 My mermaid is framed and will hang
starting with a few stitches in 3810 before proudly in my home. However, she would
GET STITCHING! switching to 3808 to complete the flipper look wonderful monogrammed on to a
5 Thread an embroidery needle with two outline. Travel back up the right side switching pillowcase or swimming bag! ❤
strands of the variegated thread Coloris to 3809 then 3810 to match where the scales
4504 and work all the design lines of the will be lighter in colour. 7
mermaid’s hair in back stitch. It’s best to use
a waste knot to start. 3 11 The scales of the tail are worked from ABOUT ME
the bottom up starting with 3808 at the tip, Having always had a
TOP TIP! Use the needle sizes through 3809 for the majority and finishing passion for sewing/
indicated; a needle that’s too large will with the last 5 rows in 3810. 8 embroidery, creating
leave unsightly holes. If you struggle heirloom garments
to thread the embroidery needle, a 12 Create the detailing in the flipper with and treasured gifts for
Chenille No24 has a bigger eye and extra rows of 3810 and 3809. Sit the lightest family, friends and customers, I decided
makes a good alternative. shade, 3810 in the middle. 9 it was time to hone my skills and now
study the RSN Certificate Course with
6 Your back stitches need to be small and 13 Create single wrap French Knots to sit Tracy A Franklin in Durham. I love the
evenly sized (1-3mm depending on the at the join of each scale. Change from dark journey stitching has taken me on:
area). Towards the ends of the strands of pink 3687 to light pink 3688 as you work to creating, teaching and meeting new
hair reduce the stitch length to create a nice the top of the tail. 10 friends. Living in the Lake District with my
taper. For sharp points on the hair, tuck the Danish husband, three grown-up children
last stitch of the second row into the middle 14 Work back stitch in two strands of 948 for and two dogs means we always have
of the last stitch in the first row. 4 both shells. 11 somewhere new to discover with plenty
of inspiration.
TOP TIP! When starting, a small ruler 15 The water bubble outlines are completed
to keep your stitches the same length in 3811. Highlights are added with metallic www.etsy.com/uk/shop/
may prove useful. Once you get into thread E3849 as two tiny back stitches in the UnicornQuilter
the rhythm, you’ll be able to judge the left side of each bubble. 12 @elainemorkembroidery
length automatically. Unicorn Quilter
Stitch Guide
Lazy Daisy Stitch

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

secure. Start a new row – always from the same end.
Keep your tension consistent, neither too loose, nor
too tight. Pack the design shape with stitching until
no fabric is visible underneath.
Running Stitch
Templates
Pass the needle in and out All the templates, guides and patterns
of the fabric, making the you will need to complete this
surface stitches of equal
issue’s projects. Please note
length. The stitches on the
underside should also be the scale before starting.
of equal length, but half
the size or less than the
upper stitches.
Satin stitch
Work straight stitches
so they lie side-by-side.
The number of strands of
thread used for stitching
will vary depending on the
effect desired.
Seeding
This is a small filling
stitch made up of small
straight stitches placed
at random over the
surface.
Split Stitch
Following the line to be
covered, take a small
back stitch so the needle
comes up through the
working thread.
Stab Stitch
This is a very small tack stitch used to hold fabric
layers together without visible or distorting lines of
stitching on the fabric surface.
Stem Stitch
Work from left to right,
taking regular small
stitches along the line of
the design. The thread
always emerges on the left
side of the previous stitch.
This stitch is used for flower stems, outlines, etc. It
can also be worked as a filling stitch if worked closely
together within a shape until it is completely filled.
Straight Stitch
Single, spaced stitches sometimes of varying size.
The stitches should lie flat on the surface and not be
loose or pulled too tight.
Trellis Stitch
Work long, evenly
spaced stitches
diagonally over the
area to be filled.
Work long, evenly
spaced stitches at
right angles over the
first layer of stitches
to create a grid. Now
secure the grid by
working small upright stitches over the intersections
where the lattice stitches cross.
Waste Knot
Make a knot in the end of the
thread. Take the needle through
from the right side of the fabric,
Checkmate!
about 5cm from where you
want to begin stitching. Bring
Page 25
the needle back through to the
surface at the point where you
want to start stitching. Once
you’ve worked 3-4 stitches, snip
Scale:
off the knot and darn the end
into stitching on the back of the 100%
work. Snip off excess.
Layer 3
Felt patterns
Templates
Cut onepatterns
of each Layer 3
Felt
Cut one of each
Layer 3
Felt patterns Circle 2
Cut one of each Circle 2
Circle 2
Circle 3
Circle 3
Circle 3 Circle 1
Circle 1 Layer 2
Layer 2
Circle5 Circle 4 Circle 1
Circle5 Circle 4 Layer 2
Leather pattern
Circle5 Circle 4
Leather pattern
Leather pattern
Layer 1
Layer 1
Layer 1
Winter Mandala
Page 7
Scale:
100%
Templates
Call Of The Wild

Page 13
967
Scale:
965
100%
962
961
568
COLOUR CHART STITCH DIRECTION GUIDE
58
Templates
Placement of
head gusset
Scale:
70%
Page 44
www.stitchmag.co.uk
Black Magic Body
Side Body
(cut 2 back to back)
Includes 1cm seam allowance
Front
Leave open
cen
wa
Underbody gusset
t 1) et
allo
u
ad
(cut 2 back to back)

m
.5c
(c guss
12
sea
He
Includes 1cm seam allowance

1cm
es
lud
Inc
Back
38cm
Templates
12.5cm
End
Black Magic Feathers Small feather
Page 44
Scale: 17.5cm
End
70% Medium feather
23.75cm
End
Large feather
Let It Snow!
Page 39
Scale:
100%
TEMPLATE A
TEMPLATE B TEMPLATE C
Templates
Robin:
Double fold & hem
Brown
Mark corners
Outer bag template

11cm
Front & back
(finish design before cutting)
Cream/grey
Red
9cm
You Need Hands Brown
Page 19
Place to fold
Scale:
100%
Dandelion:
White
10cm
Inner bag template Yellow
Green
Place to fold
8cm
Templates
The Little Mermaid

Page 51
Scale:
100%
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