embroidered & embellished: 85 stitches using thread, floss, ribbon, beads & more...

CRAFTS/Needlework/Embroidery

& CHRISTEN BROWN

Embroidered Embellished

85 Stitches Using Thread, Floss, Ribbon, Beads & More • Step-by-Step Visual Guide

The complete visual guide to hand embroidery & embellishing• Step-by-step photo instructions show exactly

how to sew 85 different stitches

• Includes 8 complete embroidery projects to stitch and embellish

• The essential embroidery reference for everyone from beginners to experts

C&

T PUBLISH

ING

Ch

risten B

rown

Em

broid

ered &

Em

bellished

Christen Brown

CHRISTEN BROWN

& Embroidered Embellished


Text and Photography copyright © 2013 by Christen Brown

Photography and Artwork copyright © 2013 by C&T Publishing, Inc.

Publisher: Amy Marson

Creative Director: Gailen Runge

Art Director: Kristy Zacharias

Editors: Liz Aneloski and Phyllis Elving

Technical Editors: Andrea Bishop and Gailen Runge

Cover Designers: Christina Jarumay Fox and April Mostek

Book Designer: Christina Jarumay Fox

Production Coordinator: Jessica Jenkins

Production Editor: Joanna Burgarino

Illustrator: Valyrie Friedman

Subject and Supply Photography by Christina Carty-Francis and Diane Pedersen of C&T Publishing, Inc., unless otherwise noted

How-to Photography by Christen Brown, unless otherwise noted

Published by C&T Publishing, Inc., P.O. Box 1456, Lafayette, CA 94549

All rights reserved. No part of this work covered by the copyright hereon may be used in any form or reproduced by any means—graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems—without written permission from the publisher. The copyrights on individual artworks are retained by the artists as noted in Embroidered and Embellished. These designs may be used to make items only for personal use. Donations to nonprofit groups, items for sale, or items for display only at events require the fol-lowing credit on a conspicuous label: Designs copyright © 2013 by Christen Brown from the book Embroidered and Embellished from C&T Publishing, Inc. Permission for all other purposes must be requested in writing from C&T Publishing, Inc.

Attention Copy Shops: Please note the following excep-tion—publisher and author give permission to photocopy pages 66, 89, 96, 116, 141, and 142 for personal use only.

Attention Teachers: C&T Publishing, Inc., encourages you to use this book as a text for teaching. Contact us at 800-284-1114 or www.ctpub.com for lesson plans and information about the C&T Creative Troupe.

We take great care to ensure that the information included in our products is accurate and presented in good faith, but no warranty is provided nor are results guaranteed. Having no control over the choices of materials or proce-dures used, neither the author nor C&T Publishing, Inc., shall have any liability to any person or entity with respect to any loss or damage caused directly or indirectly by the information contained in this book. For your conve-nience, we post an up-to-date listing of corrections on our website (www.ctpub.com). If a correction is not already noted, please contact our customer service department at [email protected] or at P.O. Box 1456, Lafayette, CA 94549.

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Library of Congress Cataloging-in-Publication Data

Brown, Christen (Christen Joan)

Embroidered and embellished : 85 stitches using thread, floss, ribbon, beads & more - step-by-step visual guide / Christen Brown.

pages cm

ISBN 978-1-60705-663-8 (soft cover)

1. Embroidery--Patterns. 2. Needlework--Patterns. I. Title.

TT771.B76 2013

746.44--dc23

2012043751

10 9 8 7 6 5 4 3 2 1

SPECIAL ACKNOWLEDGMENTSI have been fortunate to have the most wonderful people helping me throughout the process of designing, writing, editing, and photographing this book. I would like to thank each and every person whose expertise has touched these pages. Special thanks go to Maryanne, Liz, and Diane—you know how special you are, and I do appreciate you.

I would also like to thank my daughter, Gwen, for the use of her pretty hands in the step-out directions.

Thank you also to those who have bequeathed their precious bits of lace, fabric, trims, and buttons to me. I have enjoyed working with these materials and giving them a permanent home in my creations.

HAPPY CREATING!I dedicate this book to all of my students, both past and present. Thank you for giving me this opportunity to share my knowledge with you.

May you always find the time to enjoy the creative adventure.

Tandletons, 1˝ × 1˝

Hanah Silk habotai ribbon worked into button shapes and embroidered with traditional and raised and textured stitches, worked in Wildflower threads by the Caron Collection

MY BIGGEST FANSTo my husband, Kevin, and daughter, Gwen,

thank you for your unconditional love and support—and for allowing me to play in my room.

With love, Christen

Elizabeth’s Garden, 21/2˝ × 3˝

Silk broadcloth embroidered with silk embroidery ribbon, silk thread, silk rococo trim, and silk ribbonwork flowers

EMBROIDERY THREADS AND RIBBONS . . . 25

Floss n Designer and Specialty Flosses

Twisted Threads n Blended Threads

Metallic Threads

Silk Embroidery Ribbons

Designer and Specialty Ribbons n Storage

Taming Threads and Ribbons

BEADS AND EMBELLISHMENTS . . . 32

Glass Beads n Beading Threads n Buttons

Sequins n Charms n Shisha Mirrors

EMBROIDERING WITH CONFIDENCE . . . 41

Getting Started n Needles and Thread Lengths

Threading the Needle n That Knotty Issue

Working the Stitches n Tools and Gadgets

DEDICATION AND ACKNOWLEDGMENTS . . . 2–3

CONTENTS

A PASSION FOR EMBROIDERY . . . 6

STITCHING TECHNIQUES AND TERMINOLOGY . . . 10

Four Styles of Embroidery

Using the Stitches Effectively

Stitching Glossary

FABRICS, TRIMS, AND LACES . . . 17

Choosing Your Materials

Sewing Basics

Tools and Gadgets

TRADITIONAL EMBROIDERY . . . 50

The Stitches . . . 51

P R O J E C T S

Wisteria and Sunflowers Pillow . . . 61

Vintage Redressed Wallhanging . . . 67

SILK RIBBON EMBROIDERY . . . 73


P R O J E C T S

Silk Roses Etui . . . 85

Lovely Silk Gardens Wallhanging . . . 90

RAISED AND TEXTURED EMBROIDERY . . . 97


P R O J E C T S

Floral Garden Jewelry Holder . . . 111

Framed Lace Wallhanging . . . 117

BEAD EMBROIDERY . . . 123


P R O J E C T S

Bitty Beaded Beauty Purse . . . 135

Beautiful Beaded Blooms Wallhanging . . . 143

GALLERY . . . 149

RESOURCES . . . 158

ABOUT THE AUTHOR . . . 159

6 EMBROIDERED & EMBELLISHED

A Passion for Embroidery

California Poppies tote bag

My Needlework BeginningsI remember sitting alongside my

mom as a kid while she worked

magic with a needle and some

thread or yarn. She was self-taught

in many techniques, including cro-

chet, knitting, and tatting. One of

the skills that she was proficient at

was embroidery, which was the first

needle-art technique that I learned.

From that moment on, not a day

has gone by that I don’t have a

needle in my hand.

The first piece of fabric that I

ever set a needle and thread to

became a small tote bag. My mom

had designed this project for my

Bluebirds group (the junior division

of Camp Fire Girls). We embroidered

a California poppy in bright oranges

and greens on the front of a blue

canvas bag. I still use it for carrying

small projects. Hand embroidery continues to be my favorite form of needle arts,

because of the variety of techniques and materials it encompasses. I often

combine materials, pairing threads with beads, ribbons with threads, and

beads with ribbon. I am intrigued by the variety of colors and textures,

and I love the realistic, dimensional designs that can be created.

7A PASSION FOR EMBROIDERY

Stitches from Around the WorldOver the years I have collected many embroidered

textiles; some are stitched by hand, others by

machine. Whenever I find a discarded handkerchief or

table runner at the thrift store, I wonder who made it

and why the family didn’t keep it as an heirloom.

Embroidery and lacemaking continue to be living

art forms because of the creativity of the artists, the

designs, and the materials that continue to be devel-

oped. Every culture has embraced this form of needle

arts, creating new stitches and designs unique to that

region of the world and representing the materials

available there.

The very beginnings of embroidery aren’t certain,

but what is certain is that embroidery has been used

for almost as long as people have sewn cloth into

clothing. The basic outline, straight, and buttonhole

stitches are some of the earliest recorded stitches,

possibly used at first for garment assembly rather

than for decoration.

The embroideries of the Middle East and India are

known for symbolic geometric forms worked in bold,

rich colors. The chain and buttonhole stitches are

used both as borders and as fill-in stitches, along with

the satin stitch.

Shisha mirror embroidery, India

The cross-stitch, so popular today in counted canvas

work, is used throughout Europe and the Middle East

as a border and fill-in stitch, without the help of a

counted canvas or grid.

Cross-stitch, South Asia


The satin stitch shows up in rich polychromatic silk

shawls from Spain and China. The artistic use of color

and a single type of stitch throughout a design is

referred to as “needle painting” or “thread painting.”

The satin stitch, void stitch (satin with a thin line

separating the sections), and knotted stitch are liber-

ally used in rich, symbolically themed embroideries

from China.

From China, blue fabric satin stitch and Chinese knot, with chain and outline stitches on the ribbon trim

Laid and couched threads have been used with many

different materials over the centuries. In the begin-

ning, real metal was used to create rich, opulent, and

exquisitely embellished textiles, often incorporating

glass or real jewels. Now the threads are made of syn-

thetic fibers and materials, though they still retain a

rich opulence.

Kalaga tapestry, Burma

Goldwork embroidery, China

9A PASSION FOR EMBROIDERY

Tambour embroidery is a technique that came to us

from France. The continuous decorative chain stitch

is worked on fabric held taught in a frame, and is

formed using a tambour hook. The hooked needle is

stabbed through the right side of the fabric to catch

the thread lying underneath. The stitch is formed

with the thread pulled through the hole, forming a

small loop. The needle is stabbed back through the

fabric and through the loop a short distance away to

create each stitch.

Chain stitch embroidery, Afghanistan and India

This form of embroidery was adapted in the early

twentieth century as a technique for applying pre-

strung strands of beads and sequins to fabric. The

process is reversed, with the strand of beads held

against the right side of the fabric, which is held

upside down in the frame, and the chain stitch on

the wrong side of the fabric.

Bead embroidery can be found in both Native

American and African cultures, on garments, accesso-

ries, and ceremonial items, often in combination with

natural elements such as porcupine quills and shells.

Especially recognizable is the continuous stitch or

backstitch, used to cover an area entirely with beads.

Bead embroidery, French

Many different techniques are used to make lace with

fine cotton, silk, or rayon threads—tatting, crochet,

knitting, and needle lace among them. Many of these

methods share common knots, which are similar to

some raised and textured embroidery stitches.

Vintage laces


Stitch Techniques and Terminology

Jean’s Garden (full view on page 156)

Anemone Purse (full view on page 152)

Crazy for Aubergine (full view on page 154)

Marie’s Boudoir Pillow (full view on page 155)

11STITCH TECHNIquES AND TERMINOLOGY

Four Styles of EmbroideryAll of the embroidery techniques that I show you in

this book are considered “freehand” stitches, because

they are stitched by hand onto fabric rather than

onto a counted canvas or grid. I’ve categorized the

stitches into four basic types of embroidery: tradi-

tional, silk ribbon, raised and textured, and bead.

Each technique uses specific types of thread, ribbon,

or bead; specific needles or other tools; and specific

materials for the background canvas. Each technique

will be discussed in detail in later chapters, but here’s

a brief introduction.

TRADITIONAL EMBROIDERYTraditional embroidery may have adorned a favorite

blouse or your grandmother’s vintage crazy quilt. You

may already know some of the basic stitches; perhaps

you learned them from your mom, aunt, or older

sister. These stitches can be used in various ways,

and you’ll find that they cross over nicely with other

techniques.

Most commonly, six-ply cotton floss or perle cotton

is used, but any of the threads described in the

chapter Embroidery Threads and Ribbons (page 25)

will work.

Vintage Redressed Wallhanging (full view on page 67)

SILK RIBBON EMBROIDERYSilk ribbon embroidery became popular during

the French Rococo period of the eighteenth cen-

tury, when ribbonwork was combined with ribbon

embroidery. Many designs also included ribbonwork

flowers and lace yardage. I’ve combined traditional

ribbon embroidery techniques with newer ones that

have been created to capture the unique qualities of

silk ribbon.

These stitches can be worked with the silk embroi-

dery ribbon and silk threads described in Embroidery

Threads and Ribbons (page 25).

Lovely Silk Gardens Wallhanging (full view on page 90)


RAISED AND TEXTURED EMBROIDERYHistorically, needle lace and tatting have been used

to create sections of lace with embroidered compo-

nents. The techniques in this book are adaptations

of both forms of lace, creating textured and raised

stitches that rest on the fabric surface.

The stitches include traditional, needle lace, and

cast-on stitches, using a combination of threads

described in the chapter Embroidery Threads and

Ribbons (page 25).

Framed Lace Wallhanging (full view on page 117)

BEAD EMBROIDERYIn recent years, bead embroidery has expanded to

include techniques modified from traditional thread

embroidery stitches. To accommodate the bead

shape, the techniques are somewhat different from

those used with thread.

The stitches include a combination of traditional and

raised stitches, using the beads described in Beads

and Embellishments (page 32).

Beautiful Beaded Blooms Wallhanging (full view on page 143)

using the Stitches EffectivelyStitches can also be categorized by how and where

you will use them in a particular project or design.

Some stitches are stitched in a continuous line,

making them excellent for borders or base rows.

Others are stitched as individual components

that can be embroidered onto a base stitch or are

combined with another stitch to create a larger

component.

Some stitches can cross over from one category to

another, while others are designed to work specifically

with certain materials.


BORDER OR BASE ROW STITCHESThese stitches can be formed

along a straight or curved line,

including pieced fabric strips,

appliquéd fabric or lace, or the

edge of a hankie. They can also be

used to fill in an area entirely or

as the base of a design, with other

stitches embroidered to a tip or

edge of the base design.

Chain stitch

Split ribbon stitch

Open chain stitch

Continuous bead stitch

INDIVIDUAL STITCHESThese stitches are worked one at a

time and can be used alone or in

a grouping to create a shape or to

fill in an area. They can be embroi-

dered onto the tip of a base stitch,

or they can be combined with a

detail stitch to create a design.

Lazy daisy stitch

Ribbon loop stitch

Cast-on buttonhole stitch

Lazy daisy loop

COMBINED STITCHESThis technique may combine two

or more stitches, different threads

or ribbons, or a mixture of beads.

Sunflower

Woven ribbon rose

Buttonhole rose

French rose


CENTER OR DETAIL STITCHESThese small stitches can be worked into flower cen-

ters or used as a single detail in a background.

French knot

Gathered bud

Petite twisted rose

Single beads

STITCH VARIATIONSThe various basic stitching techniques can be short-

ened, lengthened, or combined with other stitches to

create new looks.

Zigzag chain stitch

Padded straight stitch

Feather fern

Beaded vine


CROSSOVER STITCHESThe techniques in each embroidery chapter have

been grouped to work with the threads, ribbons, or

beads suggested in that chapter. But that doesn’t

mean that a stitch will work only with the other

stitches in that chapter.

Stitching GlossaryStitching techniques can also be described by the way

they are formed, which becomes important when

you are stitching a design and need to know where or

how to begin a stitch. Some stitches are worked back-

ward; some, forward; and others, looped or knotted.

Some are worked from the center of a design to the

outer edges, and some are done in reverse, from the

outer edge into the center.

Backstitch—Stitched backward before moving a step

forward, ending with a forward stitch

Outline stitch vine (page 53), worked with three strands of cotton floss

Continuous—A row of the same stitch, each stitch

borrowing a loop from the previous one, ending with

the loop caught by thread

Feather stitch vine (page 75), worked in Wildflower thread

Independent—A stitch created as an individual

design; may be grouped with the same or another

stitch to create a larger design

Fly stitch (page 59), worked in fine braid #8


Knotted—A stitch that is a knot or that has a knot

at the end of the stitch

Pistil stitch (page 76), worked in 2mm silk ribbon

Looped—A stitch with a loop of thread or ribbon

caught by the same or another material

Pointed ribbon tip stitch (page 79), worked in 7mm silk ribbon

Sewn—A stitch sewn into the fabric, usually in a

single motion, down and up through the fabric a

short distance from the start of the stitch

Cast-on buttonhole stitch cherry blossoms (page 106), worked in perle cotton #8

Stabbed—A stitch stabbed up through the fabric,

with the thread then wrapped onto the needle and

the needle stabbed down into the fabric

Tatted stitch flower (page 108), worked in perle cotton #8

Textural—A stitch that has some dimension

to it or that is worked above the fabric surface,

either on a base of thread or wrapped around the

working thread

Woven ribbon rose variation (page 82), worked in two sizes of silk ribbon

17FABRICS, TRIMS, AND LACES

Fabrics, Trims, and Laces

Choosing Your MaterialsThe fabrics, embroidery threads, beads, and other components that you select for your projects should reflect

the type of project you are making. Each of the four basic styles of embroidery—traditional, silk ribbon, raised

and textured, and bead—has its own unique look or feel.


� Traditional embroidery can be worked on both

simple and complicated pieced backgrounds. It

can be worked with cotton, silk, linen, or rayon

embroidery threads, often with different stitches

combined to create elaborate designs.

Wisteria and Sunflowers Pillow (full view on page 61)

� Silk ribbon embroidery can be worked on a solid,

pieced, or appliquéd background, with silk embroi-

dery ribbon combined with silk or rayon threads to

create a feminine-feeling design.

Silk Roses Etui (full view on page 85)

� Raised and textured embroidery can be worked on

a solid or simply pieced background in a combina-

tion of cotton, silk, rayon, and metallic embroidery

threads to create highly detailed designs.

Floral Garden Jewelry Holder (full view on page 111)

� Bead embroidery can be worked on a solid or

pieced background of heavier fabric, with a variety

of bead sizes and finishes to create an intricate and

opulent design.

Bitty Beaded Beauty Purse (full view on page 135)


COLOR CHOICESColor will be the most important component of

your project, because it’s a reflection of your own

personal style. We all have favorite colors and color

combinations that make us happy and that blend

with our decor.

I’ve worked each project in colors that I find pleasing,

but you may want to work in a different palette. You

can easily substitute your own choices by using the

color table provided for each project. Remember

that this is ultimately your project, and you should be

happy with the colors and materials used in it.

If you aren’t sure where to start, I suggest beginning

with a print fabric that you like. Choose the colors

from within that print for the solid-color fabrics and

embroidery components. Some companies provide a

color guide in the selvage edge of their fabric.

Red print and solid fabrics with embroidery components—Note that the greens are a little warmer and that I added yellow in the same tones as the other colors.

Rose Gables, 43/4˝ × 43/4˝


FABRIC: THE BACKDROP

Solid fabrics in cotton, batiste, denim, linen, moiré,

and silk are suitable for all the techniques in this

book. Velvet and velveteen are suitable for solid

backgrounds when a heavier fabric is called for.

Subtle cotton prints and batiks can also be used, but

remember that fabric will show through the embroi-

dery stitches to some degree—you don’t want the

print to overpower the stitching.

One important thing to consider is that the weight of

the fabric should be able to hold up under extensive

hand stitching and whatever materials are being used.

Don’t work with fragile cotton batiste or silk fabrics

if you are going to do a lot of intricate stitching or

will be using bead embroidery. Do work with high-

thread-count cottons and quality silk, moiré, and

velvet fabrics.

Laces and Handkerchiefs

Lace yardage and appliqués can be used as part

of a design to add a feminine look. New laces

can be found in various widths, styles, and fiber

contents. Vintage laces will give your project an

heirloom quality.

Look for cotton handkerchiefs at swap meets and

vintage or resale stores. The handkerchiefs will prob-

ably be made from fine cotton batiste and may be

quite fragile. Iron-on interfacing will give them more

stability so that you can embroider without damaging

them. Cut away or around any areas that have started

to fray or have holes, as these will only get bigger

once you start to stitch.

DyeingFor an antique look, white and ecru lace yardage or

handkerchiefs can be dyed with Dritz Dylon Tea Dye.

tipI don’t recommend using a solution of steeped

tea for dyeing, because the tannin in the tea

will eventually ruin the lace by leaving brown

or discolored spots. Coffee also eventually

discolors fibers.


RIBBONS

Satin, grosgrain, and velvet ribbons can be stitched

onto a project to add a touch of color. They can be

machine or hand stitched to the background and

used as part of the design, with stitches worked along

the edge or down the center of the ribbon.

CORDING

Metallic, silk rouleau, and two examples of rayon cording

For an extra-special touch, cording can be applied to

the edge of a finished project. Silk rouleau, which is

made from Hanah Silk bias-edge ribbon, has a central

cord of cotton cording. Metallic cording can be found

in a variety of sizes and metallic colors. Rayon cording

is available in solid colors in two sizes: rattail 2mm and

mouse-tail 1mm. Any of these cords can be applied

with threads or beads.

Couching with Beads

1. Lay the cord against the edge seam. Stitch through the fabric from the back, close to the cord end. Thread enough seed beads (size 11° or size 15°) onto the needle to go around the cord.

2. Angling the row of beads, stitch through the fabric again, from back to front, next to the first stitch.

3. Repeat Steps 1 and 2 until the end of the cord. Knot and cut the thread.


Couching with Thread

Lay the cord against the edge seam. Thread a needle with twisted thread. Stitch the needle through the fabric close to the cord end. Follow Steps 2 and 3 of Couching with Beads (page 21) to attach the cord.

STABILIZERS

Poly-fil, heavy fast2fuse, light fast2fuse, craft batting, muslin, and lightweight interfacing

The projects in this book all use some form of

stabilizer, whether the project is pieced on muslin,

fused to a lightweight interfacing, or backed with

batting. Stabilizer is used to minimize wrinkling and

distortion of the fabric while stitching and to elimi-

nate the need for an embroidery hoop.

� Muslin (100% cotton) is used as a base to which

other fabrics are pieced and stitched.

� Lightweight iron-on interfacing is used to create a

firm background for a sheer fabric, such as a cotton

batiste handkerchief. It can also be used as an extra

stabilizer for pieced fabrics.

� Craft batting is used to give a project a softer

dimension, while still providing a stabilized surface,

as in the Floral Garden Jewelry Holder (page 111).

� Fast2fuse is a double-sided fusible interfacing that

comes in light, original, and heavyweight versions.

The lightweight type was used to hold the shape

of the Silk Roses Etui (page 85), and the heavy-

weight was used to hold the shape of the Beautiful

Beaded Blooms Wallhanging (page 143).

� Poly-fil stuffing is used to give dimension to pillows

or other forms, as in the Wisteria and Sunflowers

Pillow (page 61).

Tandletons, 1˝ × 1˝

Hanah Silk habotai ribbon worked into button shapes, then embroidered with traditional and raised and textured stitches worked in Caron Collections Wildflower threads


Sewing BasicsPIECING A PROJECT BASEHere are a few tips for working on a pieced fabric

base for a project:

� To keep fabric pieces in place while pinning and

stitching, I recommend using Sulky KK2000 spray

adhesive. A gluestick can be used for smaller pieces

of ribbon or lace.

� The pieced fabric base for each project uses a 1/4˝

seam allowance, unless otherwise noted.

� Do not backstitch at the beginning or end of a

pieced seam, as this adds bulk to the embroidered

sections.

� In some cases, a woven-edge ribbon is used to hide

the raw edges of fabrics that are butted together.

� Press the seam allowance toward the darker

fabric unless directed otherwise in the project

instructions.

� When using a paper pattern to cut fabric, pin lib-

erally around the curves and points to ensure an

accurate cut edge.

Avoiding Frayed EdgesI recommended that you serge or zigzag the outer

raw edges to prevent fraying while you work the

stitches. When serging an edge, pin any pieced

sections to keep the fabric from traveling off the

muslin base.

To help keep the base from further fraying, you can

apply Fray Check or Fray Block around the outer

edges (follow the product instructions).

ASSEMBLY AND FINISHINGFollow the specific assembly and finishing directions

for each project. Press the wrong side of the embroi-

dered piece to eliminate wrinkles, being careful not to

press the stitches flat.

Do backstitch at the beginning and end of any

assembly seam.

When stitching by hand, you’ll usually use a single

thread. Thread a small, sharp needle with an 18˝

length of thread and knot the end of the tail.

helpful hints � Prewash all fabrics before you begin piecing or stitching. This

way the fabric won’t shrink if the finished project ever needs to be washed. Press as needed.

� If vintage laces or handkerchiefs need to be cleaned, use a mild hand soap and water; dry flat on a towel and lightly press, if needed.

� When working with any stabilizer, be sure to follow the manu-facturer’s directions.


Tools and Gadgets

1

2

3

4

56

7

8

9

10

11

12

13

These are some basic tools and

supplies that I find essential.

� Fabric gluestick (1)

� Fray Check or Fray Stop, to keep

edges from fraying (2)

� Iron and ironing board (not

pictured)

� OttLite lamp (not pictured)

� Pincushion (3)

� Rotary cutter (4)

� Rotary mat (5)

� 18˝ quilter’s acrylic ruler (6)

� Seam ripper (7)

� Sewing thread to match the

project (8)

� Sewing machine needles (9)

� Scissors for every occasion, both

fabric and craft (10)

� Straight pins (11)

� Sulky KK2000 temporary spray

adhesive (not pictured)

� Tacky glue pen, for small areas

(12)

� Alex Anderson’s 4-in-1 Essential

Sewing Tool (13)

25EMBROIDERY THREADS AND RIBBONS

Embroidery Threads

There are so many wonderful fibers and colors to

choose from that you can’t go wrong! Traditional

embroidery stitches are usually worked in floss or

twisted threads, but some stitches can be worked

in silk ribbon, and all of them can be worked in

metallic threads.

Silk ribbon embroidery stitches are worked with silk

ribbon and floss or threads. However, ribbon floss can

be substituted for silk ribbon; cotton, rayon, or linen

floss can be substituted for silk floss; and perle cotton

can be used in place of buttonhole twist.

and Ribbons


Raised and textured embroidery stitches can be

worked in floss and twisted threads of any fiber, and

metallic threads will work for the simpler stitches.

FlossFloss is six-stranded filament that comes wrapped in

a skein. Various fiber contents are available in solid

and variegated or hand-dyed colors. Cotton floss

and silk floss have a subtle color and texture, linen

floss has soft color and some texture, and rayon floss

and some silk flosses have a shiny appearance and a

supple texture.

Soie Cristale, Waterlilies, Rajmahal, rayon floss, variegated floss, cotton floss, linen floss, and Silk Mori

Floss is worked using one or more strands. You cut a

length from the skein, separate the strands, and then

reassemble them in the quantity you’ll be working

with for a particular technique.

Cotton floss—Six-strand floss comes in a 36-yard

skein in a wide variety of solid, ombré, and variegated

colors. Finca, DMC, and Anchor all make fine threads.

Linen floss—This six-strand floss made by DMC

comes in an 8.7-yard skein in a select number of

colors. It has a slight texture and a muted finish.

Rayon floss—This six-strand floss made by DMC

comes in an 8.7-yard skein in a select number of

colors. This shiny, supple floss can be used alone or

combined with cotton floss or perle cotton for spe-

cial blending effects.

Variegated and ombré flosses—Prism makes a six-

strand cotton floss in an 8.7-yard skein, available in

a variety of solid and variegated colors. Iris makes a

six-strand cotton floss in an 8.7-yard skein that comes

in various ombré colors. DMC and Anchor also make

ombré flosses.

DESIGNER AND SPECIALTY FLOSSESRajmahal—This six-strand rayon floss comes in an

8-meter skein in a variety of colors. It is finer than the

rayon floss by DMC.

Silk Mori—Kreinik’s six-strand spun silk floss comes

in a 5.5-yard skein in a variety of colors. The soft tex-

ture and delicate colors blend nicely with silk embroi-

dery ribbons.

Soie Cristale—Made by the Caron Collection, this

six-strand spun silk floss comes in a 6-yard skein in a

variety of hand-dyed colors. The shiny texture and

unique colors give a design a contemporary look.

Waterlilies—Also by the Caron Collection, this

twelve-ply silk floss comes in a 36-yard skein in a wide

variety of hand-dyed variegated colors.


SPLITTING A SKEIN OF FLOSSIn most cases, you’ll be working with only a portion

of the six or twelve strands in a skein of floss. Here’s

how to separate the threads.

1. Cut an 18˝ length from the skein. Split the threads

at one end of the length so that you’re holding the

number you want between the thumb and forefinger

of one hand.

2. Hold the remaining threads in the other hand,

between forefinger and middle finger.

3. Hold the length loosely between your thumb and

ring finger. Slowly pull your hands apart to release

the strands from the skein, letting the thread flow

between your thumb and ring finger.

4. To eliminate tangling, separate each thread indi-

vidually and then reassemble.

Twisted ThreadsThese threads all have some twist, which gives the

stitches dimension. The twist should be running

down the thread. Normally, thread wound on a card

or spool can be threaded directly onto the needle

and then cut to the length needed. If you’re working

with the skein, you’ll need to determine which end of

a length to start with.

Perle cotton, buttonhole twist, and Wildflowers

Perle cotton—This two-ply twisted cotton thread

comes in a 27-yard skein or an 8.2-meter ball in a

variety of solid, ombré, and variegated colors. The

threads come in different sizes: #3, #5, #8, #10, and

#12 (the lower the number, the thicker the thread).

For the projects in this book, I recommend #8, #10, or

#12. Finca, DMC, and Anchor all make fine threads.

Buttonhole twist—YLI Corporation makes a highly

twisted fine silk thread that comes on a 20-meter

card in a variety of solid colors.

Wildflowers—This twisted cotton thread by the

Caron Collection comes in a 36-yard skein in a variety

of hand-dyed, variegated colors.


tipTo find the twist direction, hold the thread in

place with your finger and thumb and run the

fingers of your other hand up and down the

length. One end will feel smoother than the

other. Thread the smoother end into the needle.

Blended ThreadsA few of the stitches in the Raised and Textured

Embroidery chapter (page 97) call for using groups

of threads to create a fuller stitch. You’ll need a

chenille needle for these blended groups, with the

thread tails knotted to hold them together. Thread

Heaven conditioner can be used to keep the threads

from tangling.

TWISTED THREAD GROUPCut one length each of two or three colors of

perle cotton or buttonhole twist. Place the strands

together and thread them through the needle.

FLOSS GROUPCut one length each of two or three colors of floss.

Split the strands from each skein in half, keeping three

or six strands of each color and setting the rest aside.

(Do not separate the strands and then reassemble

them.) Place the three or six strands of each color

together and thread them through the needle.

COMBINATION THREAD GROUPCut one length each of two or three colors of rayon

floss, perle cotton, or buttonhole twist. Split a single

strand of floss from each length. Place all of the

single strands together and thread them through

the needle.

Working with Variegated Threads

When I’m working with variegated, space-

dyed, or ombré floss or thread and I need to

add thread, I simply cut a new length from the

working end of the skein; then I work with the

color as it comes along. I find this serendipitous

approach refreshing, rather than searching

for and cutting pieces apart to match a

previous color.


Metallic ThreadsMetallic threads can be used for any of the tech-

niques that call for floss or twisted thread. Simply

substitute the metallic floss or thread where those

threads are called for.

Metallic floss, Candlelight, Facets, very-fine braid #4 and #8, and Japan thread

Metallic threads and braids—Kreinik’s very-

fine braid #4 and fine braid #8 are tightly twisted

threads that come on a 12-yard spool in a variety of

solid colors.

Finca Mouline Metalizado—Made by Presencia, this

six-strand metallic floss comes on an 8-meter skein in

twelve colors.

Candlelight—YLI Corporation sells this slightly

twisted thread on a 200-yard spool in solid and varie-

gated colorways.

Japan thread—Kreinik makes this flat length of

synthetic gimp with a flat metallic material wrapped

around a central cord. It’s available in two sizes and

in various metallic colors. This thread is couched

down to the surface of a fabric rather than being

embroidered.

Facets—Also by Kreinik, this cord has a raised surface

that resembles beads on a string. Like Japan thread, it

comes in two sizes, in a variety of colors, and can be

couched the same way.

Silk Embroidery RibbonsRibbons made especially for silk embroidery have a

woven edge, a supple finish, and a lovely drape.

Ribbons in 13mm, 7mm, 4mm, and 2mm widths

Silk ribbon by YLI is a soft, pliable woven ribbon with

a finished edge that comes on a 5-yard reel in a wide

variety of solid and hand-dyed colors and a range

of sizes, with 2mm, 4mm, and 7mm being the most

popular. A width of 13mm or more is available in

fewer colors.

30 EMBROIDERED & EMBELLISHED 30

Designer and Specialty Ribbons

Woven satin ribbon, ribbon floss, and woven ribbon

Woven ribbons by Mokuba—These come in

2mm and 4mm widths in a small number of var-

iegated and ombré colors, with a woven or picot

edge. Some stitches in the Silk Ribbon Embroidery

chapter (page 73) are specifically designed for these

lovely ribbons.

Woven satin ribbons—Available in 1/8˝ to 1/2˝ widths,

these are sold by the spool or by the yard. Although

these ribbons have a tendency to be very stiff when

used for embroidery, they can be used successfully

for stitches raised above the fabric, such as the woven

rose and pointed ribbon tip stitch in the Silk Ribbon

Embroidery chapter (page 73).

Small, woven ribbons from 1/8˝ to 1/2˝ wide, though not

specifically sold as embroidery ribbons, can be used

for several stitches in the Silk Ribbon Embroidery

chapter (page 73). If your fabric has a tight weave,

however, I don’t recommend using them for stitches

that specifically call for silk ribbon because they’ll be

too stiff to pull through the fabric.

Ribbon floss—A 2mm rayon ribbon by YLI comes

on a 15-yard reel in both solid colors and solid colors

blended with metallic colors. This ribbon can be

used in a wider version for any of the stitches that

use thread and for most of the stitches that use silk

ribbon.


StorageKeep threads and ribbons clean and dust-free by

storing them in plastic bags with resealable closures.

I keep a separate bag for each project, as well as a

smaller bag for the leftover odds and ends from each

project. You never know when you may need just a

few inches of something to finish off a stitch.

TANGLE-FREE THREADSI’ve tried many ways to keep my threads from

forming into a bird’s nest, though I think they rebel in

the middle of the night! Here are some ideas:

For stranded floss—Take the paper wrapper off the

skein, slip the skein over a StitchBow thread holder,

and place the wrapper with the color number on the

small, rectangular portion of the holder.

For perle cotton—Take the paper wrappers off

the skein, cut the knot, place the loop of thread

over a chair, and wind the thread over a StitchBow

thread holder.

Or wind the thread into a ball by hand.

Or cut through one end of the skein and knot the

loop of threads together. You’ll have to untie the knot

each time you need a thread.

tipMost hand-dyed threads and silk embroidery

ribbons are colorfast. However, testing a sample

by hand washing it first is always a good idea.

Taming Threads and RibbonsAll threads and ribbons naturally twist. If you periodi-

cally hold your fabric base upside down and let the

stitching thread and needle dangle down, the thread

will unwind. Here are a few more tips:

� Run your length of twisted thread or floss over

Thread Heaven conditioner to prevent the thread

tail from knotting or wrapping around the working

portion of the thread.

� Buttonhole twist and rayon threads have a ten-

dency to retain the fold from the packaging.

Slightly moisten the length that you’re working

with and then gently pass the thread across the

upright plate of a warm iron.

� For most stitches, you want the ribbon to lie flat;

however, once it’s pulled through the fabric, it will

twist and curve. If the ribbon has a concave curve,

simply hold it next to the fabric and stitch. If the

ribbon is convex, rub the ribbon until it flattens or

becomes concave.


Beads and Embellishments

Glass BeadsWhen you think of beads, you probably think of little

round wonders. But beads come in many shapes and

sizes, and the colors and finishes that are available

are almost as extensive as what’s offered for threads

and ribbons. By mixing sizes, shapes, and finishes,

you can add dimension and interest to your bead

embroidery projects.

Beads, buttons, and charms come in all sorts of shapes,

sizes, colors, and finishes—certainly enough to satisfy

anyone’s imagination! The Bead Embroidery chapter

(page 123) uses these components exclusively for its

techniques. But adding a little touch of embellishment

here and there in the form of buttons or charms can

add a bit of sparkle to any project, giving your thread-

and ribbon-embroidered designs extra appeal.

33BEADS AND EMBELLISHMENTS

BEAD SHAPES

Rondels

Rondels, flat round or floral-shaped beads (with

a single hole in the center) can be used for a flower

center or detail decoration. These can be used in the

same stitches where you’d use sequins.

Larger beads are sized in millimeters, starting at 3mm

(though some vintage beads can be found as small as

2mm). The higher the number, the larger the bead.

These can be used as stamen tips, flower centers, or

extra flourishes.

Bugle beads

Bugle beads are long and round, and can be used

when you need flower stamens or extra flourishes.

These come in sizes 2mm through 20mm; in this case,

the smaller the number, the smaller the bead.

Size 15, 11, 8, and 6 seed beads

Round seed beads, or rocailles, come in sizes desig-

nated 5° to 18°—though vintage beads can be found

as small as 24°. The higher the number, the smaller the

bead. Seed beads will yield an even, uniform shape to

each technique.


Cut beads, cylinder, triangle, and square beads

Cylinder beads—called Delica beads or Antiques by

the manufacturer—are tube-shaped beads that come

in sizes 8° to 11°.

Triangle beads have three sides and are different

from round three-cut beads; they come in sizes 10°

to 15°.

Square- and rectangular-shaped beads have four

sides and are available in sizes from 4° to 15°.

Shapes such as cut beads, cylinders, triangles, and

square beads can be used in most stitches that call

for a round bead. Keep in mind that these will yield a

different look than round beads. The size numbering

for these is the same as for seed beads: the higher the

number, the smaller the bead.

Cut beads include Charlottes, which have a single cut

and come in sizes 12° and 13°; three cuts, which come

in sizes 9° to 13°; two cuts, which come in various

sizes; and hex cuts, available in 5° to 15°.


BEAD FINISHESGlass beads are made from sand, with metals and

other materials added to produce different colors.

Once the bead is made, additional effects can be

applied on the outside to enhance the color. Color

can also be added in the hole to change or enhance

the color of a transparent bead.

Transparent: clear colors with a shiny finish

Gold- or silver-lined: transparent color with gold or silver painted in the center

Color-lined: transparent color with a different color painted in the center

Aurora Borealis (AB): transparent color with an AB (pink, green, and gold) finish

Matte AB: transparent color with a matte AB (pink, green, and gold) finish

Luster: transparent color with gold-washed finish


Opaque: solid color with flat, nonreflective finish

Ceylon or pearlized: solid color with shiny, whitish finish

Satin or soufflé: solid color with creamy, shell-like finish

Metallic: heavy, solid metallic finish

Iris matte or shiny: multicolored hues of purple, blue, green, and gunmetal

Raku finish: matte with multiple hues


BEADING THREADS

Beading threads are what you use to stitch beads to

the fabric. They are used doubled and slightly waxed,

with a knot in the tail. These threads come in a

variety of colors; choose a neutral hue to match your

project fabric.

Nymo is a flat nylon thread that comes in sizes O, B,

and D (fine to strong). For the stitches in this book,

you’ll use Nymo B, a strong, supple thread that comes

on a small bobbin of 144 yards or a large spool of

2,505 yards.

Silamide is a strong, two-ply twisted beading thread

made of waxed nylon. It comes on a card of 40 yards

or a spool of 900 yards.

Sequins

Sequins can add a shiny bit of unexpected color and

sparkle to your project. For the most part, these are

made of plastic, nylon, or Mylar, in a variety of shapes,

colors, finishes, and sizes. Usually there’s a center hole

for attaching the sequin.

Metal sequins in a dull silver color are called pail-

lettes. They have a large center hole. These can be

heavier than plastic sequins, so make sure the project

is stabilized properly.

Vintage sequins will add a bit of nostalgia, and you’ll

find that their colors are usually softer than those of

new sequins. Shapes, colors, finishes, and sizes are also

more extensive. Some were made with center holes;

others, with side holes.


ButtonsButtons, of course, come in a variety of materials,

shapes, and sizes. They may have holes through the

middle of the face or a shank on the back for sewing

the button in place.

Most sew-through buttons have two or four holes

drilled through the center. Button shanks may be

molded as part of the button, wire pins molded into

the button material, or a different material attached

to the button.

ATTACHING BUTTONSSew-through buttons can be sewn down with sewing

thread, decorative thread, silk embroidery ribbon, or

beads. Shank buttons can be fastened with sewing

thread or perle cotton. The photos show how to

attach a sew-through button using beads.

1. Come up through the fabric and one hole of the button.

2. Thread enough size 11 seed beads onto the needle to cover the space between the button’s holes. Go down through the opposite hole and fabric (go back through the beads a second time). To finish, knot and cut the thread.

These buttons are attached with size 11 seed beads (right), 4mm silk embroidery ribbon (top), and perle cotton #8 (bottom).

tipSew-through buttons can also be stitched with a

stacked bead center (page 133).


BUTTON MATERIALSGlass buttons in various shapes and sizes come in

almost as many colors and finishes as do beads. Keep

in mind that these will be heavier than a shell or

plastic button, so make sure your project is stabilized

properly to hold the weight.

Shell buttons are made from both salt- and fresh-

water mollusks, each of which yields its own special

coloration. You’ll find round, square, or carved

buttons with sew-through holes. Buttons made from

a thicker shell may have a carved self-shank, but most

shell shank buttons have a metal or plastic shank.

Plastic buttons, made from a variety of synthetic

materials, come in an astounding range of shapes,

sizes, and colors. These are fairly lightweight, so they

won’t add bulk to your project.

Metal buttons in various shapes and sizes are made

from both pure metals and alloys. Although you may

find an occasional sterling, gold, or pewter button,

most metal buttons are made from brass, copper,

or nickel.

Vintage buttons can offer a personal touch of

history to your project. As you delve into your mom’s

button box, you may find a button that belonged to

your grandmother or a favorite aunt. These little bits

of the past are made of the same or similar materials

as their newer counterparts.


Charms

You’ll find charms in a wide variety of materials,

shapes, and sizes, with a hole drilled or molded into

the shape or a metal hanger glued or molded into the

material. The position of the hole determines how it

is sewn to the project. Charms can be sewn on with

sewing thread, decorative thread, silk ribbon, or beads.

CHARM MATERIALSPlastic and shell charms are fairly lightweight, so

they won’t add extra bulk to your project.

Glass charms come in almost as many colors and fin-

ishes as glass beads. These will be heavier than plastic

charms, so make sure the project is properly stabilized

to hold the weight.

Metal charms, made from pure metals or alloys, will

also be heavier than plastic charms, so the project

must be properly stabilized.

Shisha Mirrors

Shisha means “bits of glass” in Hindi, and a shisha

mirror is a small glass mirror embroidered onto a

piece of clothing or other item. There are two kinds

of shisha mirrors: Antique and Perfect.

ANTIQUEThe name Antique doesn’t refer to the age of the

mirror, though it is a lost art no longer being used

today. Rather, the name refers to the process by

which these mirrors were made. The mirrors come in

irregular shapes, because each one is formed individu-

ally by hand.

Antique shisha mirrors come in plain and colored

glass, with a mercury coating on one side to create

the mirror. Four colors, in addition to plain, are avail-

able: amber, celadon, azul, and red.

PERFECTThe name Perfect also refers to the process, as these

are machine cut into regular shapes. The most

common shape is round, but squares, ovals, and

triangles can be found, too. The back of the glass is

coated with paint to create the mirror.

41EMBROIDERING WITH CONFIDENCE

Embroidering with Confidence

Samplers representing the four basic types of embroidery: traditional (A), silk ribbon (B), raised and textured (C), and bead (D)

Getting StartedIt’s always a good idea to practice a new stitch before trying it in a

project. I suggest making a stitching sampler, using a piece of cotton

muslin backed with lightweight interfacing as your base. This will be

sturdy enough for drawing in lines on which to practice your stitches.

If you wish to create the sampler featured for each embroidery chapter,

use the Etui Embroidery Template (page 89) as an outline.

A

B

C

D


TRANSFERRING A DESIGN

Transfer pencils

If you want to use transfer pens or pencils to mark

a design on your project, be sure to read the manu-

facturer’s directions thoroughly. You need to know

whether the marks are permanent, will fade with

time, or will need to be washed out after the design

is completed.

I suggest transferring only the center point of a flower

and then working the rest of the stitches out from

there. Leaves and details can be worked around the

flower. I use the Ultimate Marking Pencil for centers

and for shapes, such as circles, that will be completely

covered with stitches.

For larger areas, such as a vine or the outline of a

shape, I use a chalk pen (with loose chalk). The

portion of the line that isn’t covered can then be

brushed away.

Another option is to baste the line with a single row

of straight stitches made with a single sewing thread.

Once the embroidery is worked, the basting stitches

can be removed if they’re not covered.

USING A FINGER FRAMEIt’s important to keep the fabric taut so that your

embroidered stitches don’t get pulled too tight, thus

puckering and distorting the fabric. To help prevent

this, I used a stabilizer of some sort for each project in

this book.

As you work the embroidery stitches, the fabric will

still need to be held taut. Instead of using a wooden

or plastic frame, I create a frame by holding the fabric

between the fingers of my nonstitching hand. I pinch

the fabric between my forefinger on top and my

middle finger underneath. I leave a space of fabric and

then pinch the fabric between my thumb on top and

ring finger underneath.

Hold the fabric taut between your fingers.

tipI don’t use a hoop or frame because I find it

difficult to hold one while trying to stitch. I also

find that a hoop will crush any work that gets

caught under the frame.


These are the needles commonly used

for embroidery:

Beading size 10—A thin short or long needle with

a small eye, used for all types of beading

Cotton darner 1/5—A long needle with an oval eye,

used for perle cotton #5, #8, #10, and #12

Chenille 18/24—A medium-length needle with a

long eye, suitable for silk embroidery ribbon

Embroidery 3/10—A fine thin needle with a long

eye and used for stranded floss

Sharp 7/9—A shorter fine needle with a small eye;

used for sewing thread

Straw or milliners 1/4—A long needle with a small

rounded eye and a shaft the same width for the

length of the needle; used for fine, single-strand

twisted threads

Milliners 3/9—A long needle with a small rounded

eye and a shaft the same width for the length of the

needle; used for fine, single-strand twisted threads

Needles and Thread Lengths Thread or ribbon Needle and size Thread length

Floss: 1–2 strands Embroidery 9–10 18˝

Floss: 3–5 strands Embroidery 3–8 18˝

Floss: 6–9 strands Chenille 22 18˝

Perle cotton #8 Cotton darner 1 18˝

Wildflowers, buttonhole twist Milliners 3 or cotton darner 3 18˝

Fine braids Milliners 3 16˝

Candlelight Embroidery 3–8 16˝

2mm silk ribbon Chenille 24 15˝




Beading thread Beading size 10 11/2 yards

Sewing thread Sharp 7–9 18˝

NEEDLESThe purpose of the needle is to make a hole in the

fabric big enough to allow the thread or ribbon to

pass through, but not so big that it will damage

the fabric. As a general rule, the shaft of the needle

should be the same thickness as the thread.

Needles are numbered from low (largest size) to

high (smallest).


Threading the Needle

There are, of course, a variety of needle threaders to

choose from. I use the Silver Lady for sewing threads

and one or two strands of floss. The flat metal hook

threader has two ends: one can be used for twisted

threads, the other, for silk ribbon.

helpful hints � Always cut the end of the thread or ribbon

straight across.

� Pinch the tip of the thread or wet the tip of the thread.

� Wet the eye of the needle—the moisture will attract the thread.

� A magnifying glass with a light source may help.

� Hire a teenager who has great eyesight to thread your needles. (Don’t laugh; I used to do this for a dear friend of mine!)

PAPER TRICK

This trick is great for metallic and blended threads.

1. Cut a piece of paper 1˝ long and the same width as the eye of the needle.

2. Fold the paper in half lengthwise; push the tail of the thread through the fold.

3. Thread the ends of the paper through the eye, dragging the thread along.

4. Remove the paper.

That Knotty IssueI am old-fashioned in that I knot the end of my

thread or ribbon. I usually use a stabilizer in my

project, so the small lump or bump made by a

knot doesn’t show. I prefer this method, because it’s

the safest way to keep a stitch from unraveling—

especially if you’ll be washing or cleaning the

item frequently.


TWISTED THREADS AND FLOSSQuilter’s KnotsThis knot can be used on any type of floss, twisted

thread, sewing thread, or beading thread. It provides a

small, firm knot that won’t unravel.

BEGINNING KNOTS

1. Hold the threaded needle in one hand, with the needle’s point facing the other hand. With your opposite hand, bring the thread tail to the point of the needle.

2. Place the thread tail on top of the needle and under your thumb.

3. Still using the opposite hand, wrap the thread around the needle 3 times; hold the “knots” under your thumb.

4. Again using the opposite hand, pull the point of the needle firmly through the knots.

5. Clip off any excess thread beyond the finished knot.


ENDING KNOTS

1. Take a small stitch on the wrong side of the fabric, but don’t pull the needle all the way through the fabric.

2. Wrap the thread around the needle; hold on to the thread wraps and the needle close to the fabric.

3. With the opposite hand, pull the point of the needle firmly through the knots. Clip off the excess thread.

SILK EMBROIDERY RIBBONSilk embroidery ribbon can fray over the eye of the

needle. The following knots will allow you to use

more of the ribbon and eliminate the fraying.

Beginning Eye Knot

1. Thread the ribbon through the eye of the needle with a 2˝ tail. Pierce the ribbon with the needle 1/4˝ above the end of the tail.

2. Pull the opposite tail to snug the ribbon up next to the eye.


Tail KnotOPTION 1

1. Thread the needle through the tail with a single running stitch. Pull the ribbon through the stitch until only a small loop of ribbon is left.

2. Thread the needle through the loop and pull the ribbon tight to form a knot.

Finished eye and tail knots

OPTION 2This knot gives a flatter, more professional look and is

the best solution for 7mm or wider silk ribbons.

Thread the needle through the fabric, leaving a 1/8˝ tail

on the underside of the fabric. Stitch the tail to the

underside with sewing thread. Use this technique for

both the beginning and end of the stitch.

METALLIC THREADBeginning Eye KnotMetallic threads, like silk ribbon, have a tendency to

fray over the eye of the needle and the tail of the

working thread end. This knot will keep the metallic

thread from fraying while you stitch. It is also a good

knot for blended threads.

To end your stitching, knot the tail as you would any

thread, using whatever knot you prefer.

1. Thread the needle and make a loop of thread over the tip of the needle.

2. Leaving a short tail, pull the working end of the thread to tighten the loop around the eye of the needle.

3. Use the quilter’s tail knot (left) at the opposite end of the thread.


Working the StitchesEach stitch includes a section called “Suggested for,”

listing the twisted threads, floss, silk embroidery

ribbon, or beads recommended for that stitch. The

project directions will refer to these simply as thread,

ribbon, or bead. In most cases, you’ll need only a por-

tion of the thread, ribbon, or beads suggested in the

supply list.

Individual stitches can be worked alone or in groups,

following the design or pattern; knot and cut the

thread when the design is completed.

Work the base row stitches to the end of the row

or pattern; then knot and cut the thread. If at some

point you need to add thread, see Adding Thread

(right) for suggestions.

STITCHING DIRECTIONWhen you embroider the base row or individual and

detail stitches, keep the direction of the stitches in

mind. For the best results, I suggest that you use the

diagram provided with each project and work the

stitches in the order they are listed.

Conserving ThreadTo conserve thread on a chain-stitch vine, work from

the base of the stitch to the tip; then knot and cut

the thread to begin again at the next vine.

For the feather stitch and its variations, begin detail

stitches at the last tip stitched and then work up to

the beginning and first stitch of the row.

Try to avoid leaving long lengths of thread or ribbon

trails on the wrong side of your project.

STITCH LENGTHThe length of the stitch should directly correlate with

the size of the thread or ribbon that you’re working

with. In general, the finer the thread or the fewer

strands used, the smaller the stitch. The same theory

applies to ribbon size: take a smaller stitch with

2mm silk ribbon than with 7mm silk ribbon.

VariationsChanging the stitch length can be a way to vary the

shape of the stitch. By altering the distance between

A, B, and C when you’re working the fly stitch

(page 59) or the feather stitch (page 75), you can

change the shape of the finished stitch.

A A AB B BC

CC

At left, the spacing between A, B, and C is equal. At center, A and B are closer, and C is farther apart. At right, A and B are farther apart, and C is closer.

ADDING THREADLooped Stitches: Feather, Buttonhole, or Chain

B

C

1. Stitch B of a looped stitch down through the fabric, but don’t pull the thread taut. Stitch a new thread through the loop at C. Pull the old thread to form the loop.

2. Stitch a stitch with the new thread; then knot and cut the old thread. Continue to stitch with the new thread.


Straight Stitches: Outline or Split Ribbon

C

B

Knot and cut the old thread after B; start the new thread at C.

Tools and Gadgets

1

2

3

4 5

6

7

8

9

10

11

12

13

These are some of the tools that I find indispensible.

� Bead scoop for picking up loose beads (1)

� Dritz Seam Gauge Creative Hearts Gauge-2, to

measure the distance between stitches (2)

� 6˝ clear quilter’s ruler (3)

� Needle gripper, to pull the needle through layers of

fabric (4)

� Pincushion (5)

� Porcupine quill (6) or cocktail straw (not pictured),

for use in silk ribbon embroidery

� Scissors, for both embroidery and ribbon (7)

� Segmented bead dish (not pictured)

� StitchBow organizers, to keep floss from tangling (8)

� Synthetic beeswax, to condition beading thread (9)

� Thimble (10)

� Thermal bead mat, to keep beads from sliding

around (11)

� Thread Heaven conditioner, to minimize knotting

of sewing and embroidery threads (12)

� Thread Zap pen, to fuse the raw edges of woven

ribbons used in silk ribbon embroidery (13)

Summer Rain, left (embroidered Japan Gold with sequins on hand-dyed Hanah Silk bias velvet ribbon), and Blue Raspberries (bead embroidery on vintage grosgrain ribbon)

50 EMBROIDERD & EMBELLISHED

Traditional Embroidery

Traditional embroidery is a familiar form of decoration on clothing, quilts, or perhaps your grandmother’s apron. Twenty-two stitches are described in this

chapter, and two projects are presented to showcase them: the Wisteria and Sunflowers Pillow (page 61) and the Vintage Redressed Wallhanging (page 67).

51TRADITIONAL EMBROIDERY

The StitchesThe directions that follow list suggested threads or combinations of

threads for each technique. See Embroidery Threads and Ribbons

(page 25) for guidelines on which threads are appropriate; for suggested

needles, see Embroidering with Confidence (page 41).

CHAIN STITCH

ZIGZAG CHAIN STITCH

CHAIN STITCH VINE

STRAIGHT STITCH

OUTLINE STITCH

OUTLINE STITCH VINE

BLANKET STITCH

SHORT-LONG-SHORT BLANKET STITCH

BUTTONHOLE CIRCLE

HEART

LAZY DAISY STITCH

LAZY DAISY KNOT TIP

LAZY DAISY FLOWERS

LOOPED TENDRIL

TULIP

SUNFLOWER

BUTTON FLOWERS

FLY STITCH

WISTERIA

WILD GINGER

FRENCH KNOT

FRENCH KNOT FLOWER

COUCHED STITCH

All of the stitches in the sampler and in the following directions were worked in either floss or Presencia’s Finca perle cotton #8.


NOTE

In most cases, the drawn pencil line in the following instructions represents the stitching line or fabric seamline. The stitches can be worked along the seam, to one side of the seam, in the center of a piece of fabric, or on the finished edge of a fabric shape. In some cases, the drawn lines form the outer edge of a shape or the positions of flower petals.

B

C

3. In one motion, go down at B (inside the previous loop), and come up at C. Repeat to continue the row of stitches.

D

4. To end the stitch, go down at D. Knot and cut the thread end.

Finished chain stitch

ZIGZAG CHAIN STITCHFollow the directions for the chain

stitch, but angle the first stitch

away from the seam and the next

stitch toward the seam. Continue

to work the row, angling the

stitches from side to side.

Finished zigzag chain stitch

CHAIN STITCH VINE

A chain-stitch vine can be worked using the base for the outline stitch vine (page 53).

Chain StitchThe chain stitch can be worked as

a single row (straight, curved, or in

a zigzag) or as a curved vine that

can be further embroidered

with branches.

Suitable for: twisted threads, floss,

or 2mm silk embroidery ribbon

A B

C

1. Come up through the fabric at A. Hold the thread toward you and to the left. In one motion, go down at B and come up at C. Loop the working thread under the tip of the needle.

2. Pull the needle up through the fabric.


Straight and Outline StitchesSTRAIGHT STITCHA single stitch that forms a line,

the straight stitch can be used

alone, to fill in an area, or to add

detail to another stitch.

Suitable for: twisted threads,

floss, or any size of silk embroidery

ribbon

A B

Come up at A. Hold the thread toward you and to the left. To end the stitch, go down at B a short distance from A. Knot and cut the thread end.

Finished straight stitch

OUTLINE STITCHThis stitch can be used to form

an outline around a shape or to

create a curved line with added

branches.

Suitable for: twisted threads, floss,

or 2mm silk embroidery ribbon

AB

C

1. Come up at A. Hold the thread above the line and to the right. In one motion, backstitch the needle down at B and up at C.

2. Pull the needle through the fabric.

C B

3. In one motion, backstitch the needle down at B and up at C. Repeat to the end of the row.

D


Finished outline stitch

Outline Stitch VineDraw a curved line meandering

on both sides of the seam. Work

the outline stitch along the line,

following the previous directions.

Work short branches beginning at

the top of each curve.

Finished outline stitch vine


Blanket and Buttonhole StitchesThe stitch is called “blanket” when the stitches are spaced farther apart

and “buttonhole” when they are close together. The tips of the stitch

can be embellished with individual or detail stitches.

BLANKET STITCHSuitable for: twisted threads

or floss

A

B

C

1. Come up at A. Hold the thread toward you and to the right. In one motion, go down at B and up at C. Loop the working thread under the tip of the needle.


B

C

3. In one motion, go down at B and up at C. Continue to stitch even, straight spokes, as shown.

D


Finished blanket stitch

Short-Long-Short Blanket StitchFollow the steps for the blanket

stitch. Work a group of stitches

with their tips altered from short

to long to short. Leave a space

between groups.

*D

Finished short-long-short blanket stitch

NOTE

The blanket stitch and its variations can end at D or a short distance away in a straight stitch (*).

BUTTONHOLE CIRCLE

A

1. Draw a circle and mark the center point. Come up at A on the circle. Hold the thread down and toward you to the right.

B

C

2. In one motion, go down at B and up at C.


B

C

4. In one motion, go down at B and up at C. Continue to work the stitches around the circle, as shown.


5. Stitch the last stitch onto the begin-ning of the first stitch.

D

6. To end the stitch, go down at D and cut the thread end.

Finished buttonhole circle

HEART

Heart Temp.

1. Trace the heart template onto the fabric; mark the center point. Come up through the fabric at the center.

2. Follow Steps 1 and 2 for the lazy daisy stitch (page 56) at the top of the heart.

B

C

3. In one motion, go down at B and up at C, following the outline of the heart.


5. Continue to work the stitches around to the bottom tip of the heart.

D

6. To end the stitch, go down through the fabric at D.

7. Come up through the first stitch.

D

8. Follow Steps 3–5 to work the other side. To end, go down at D next to the last stitch on the first side. Knot and cut the thread end.

Finished heart


LAZY DAISY FLOWERS

Draw a center point. Work a 5-petal lazy daisy (right), 6-petal lazy daisy knot tip (left), and 8-petal combination lazy daisy and lazy daisy knot tip (top).

LOOPED TENDRIL

1. Follow Steps 1 and 2 for the lazy daisy stitch.

C

B

2. In one motion, go down at B (outside, to the right, and longer than the pre-vious stitch) and up at C.

Lazy Daisy StitchThe lazy daisy can be worked as an individual stitch or combined with

other stitches to create a flower or other design or component.

Suitable for: twisted threads, floss, or any size of silk embroidery ribbon

A B

C

1. Come up at A. Hold the thread above and to the left. In one motion, go down at B and up at C. Loop the working thread under the tip of the needle.


D


Finished lazy daisy stitch

LAZY DAISY KNOT TIP

1. Follow Steps 1 and 2 for the lazy daisy stitch.

2. Follow Steps 2 and 3 for a 3-wrap French knot (page 60).

Finished lazy daisy knot tip


TULIP

1. Follow Steps 1–4 of the lazy daisy stitch; do not cut the thread.

A

2. Come up inside the first stitch at A.

B

C

3. In one motion, go down at B and up at C to the left of the first stitch.

D

4. Pull the needle through the fabric. To finish this petal, go down at D.

5. Repeat Steps 2 and 3 for the right side.

D

6. To finish this petal, go down at D. Knot and cut the thread end.

Finished tulip

3. Pull the needle through the fabric. Repeat Step 2 to stitch a third loop to the right and longer than the previous loop.

D


Finished looped tendril


SUNFLOWER

1. Temporarily stitch a 3/8˝ button for the center of the flower. Knot and cut the thread.

4. Remove the button.

5. Work a row of chain stitches (page 52) in a new color around the center of the flower with 2 strands of cotton floss.

6. Work a row of 2-wrap French knots (page 60) inside the chain stitch.

7. Work a second and third row of 2-wrap French knots. Fill in the center with 2 or 3 more French knots, and then work a row of French knots into the chain stitches. Knot and cut the thread end.

Finished sunflower

Button Flowers

Use the outline stitch (page 53) to work 3 stems in perle cotton #8. Work 2 lazy daisy stitches at the bottom of the stems (page 56). Stitch on buttons to form flowers at the tops of the stems.

tipYou could also create a center

circle by drawing around the

button rather than attaching it.

2. Come up at the edge of the button. Work a lazy daisy stitch (page 56) with 3 strands of cotton floss.

3. Continue to work petals close together around the button.


WISTERIA

4. Work 4 or more nestled fly stitches each below the previous one. Knot and cut the thread end.

5. To finish the wisteria, work 2 or 3 lazy daisy stitches (page 56) at the stem end on top of the last fly stitch. Knot and cut the thread end.

WILD GINGER

1. Work 4 fly stitch petals, following Steps 2–4 for the wisteria (center).

2. To finish the wild ginger, work a lazy daisy stitch (page 56) in the center of the first fly stitch. Knot and cut the thread end.

Fly StitchThis stitch can be worked as an

individual stitch or combined with

other stitches to create a flower or

other design or component.



ribbon

AB

C

1. Come up at A. Hold the thread above and to the left. In one motion, go down at B and up at C. Loop the working thread under the tip of the needle.


D

3. To end the stitch, go down at D, or end with a straight stitch going a short distance away. Knot and cut the thread end.

Finished fly stitch and fly stitch with tail

NOTE

Each group of flowers is worked upside down on top of the outline stitch. The leaves are worked right side up once the vine is embroidered.

1. Work an outline stitch (page 53) for the stem.

2. Work a single fly stitch (left) at the tip of the stem.

3. Work another fly stitch nestled around and below the first stitch.


French KnotThis versatile knot can be used for

the center of a flower, or several

can be stitched together to form a

small flower.



ribbon

Finished French knot

The number of wraps varies. If

you wrap the thread around the

needle three times, that’s a three-

wrap French knot, for example.

FRENCH KNOT FLOWER

Work a 3-wrap French knot for the center, surrounded by 5 or 6 more 3-wrap knots.

Couched StitchThis technique is used with a

heavier thread, cord, or other

fiber to create a solid straight or

curved line.


floss, or rayon cord

A

1. Thread a chenille needle with one end of 6 strands of floss or a heavier fiber. Go down at A; remove the needle and knot that end.

B

2. Using a second needle threaded with finer thread, come up at B.

C

3. Lay the second fiber across the first one and go down at C to make a straight stitch over the heavier fiber.

4. Pull the thread down through the fabric.

D

5. Repeat Steps 3 and 4 up to 1/2˝ before the end of the line. Cut the first (heavier) thread 1˝ longer than needed to end the row; thread and go down at D.

6. Continue couching to the end; then knot and cut both threads to finish the line of couched stitches.

NOTE

The greater the number of wraps, the larger the knot will be.

1. Come up through the fabric and hold the thread toward yourself.

2. Holding the needle close to the fabric, wrap the working thread around the needle once; this is one wrap.

3. Wrap the thread one or more times over the needle and pull tight; hold the end of the thread tail with your thumb. Go down through the fabric close to the beginning stitch; hold on to the working thread with your thumb. Pull the needle and thread through the thread wraps and fabric. Knot and cut the thread end.

61 WISTERIA AND SuNFLOWERS PILLOW

Wisteria and Sunflowers Pillow

T his sweet little pillow makes a perfect addition to a feminine girl’s room for a girl of any age. I’ve used a

combination of bright colors, but this piece would also be very pretty worked in white and ecru for use as a ringbearer’s pillow. For this design, I used a variety of Finca and Anchor perle cotton and floss.

Finished size: 63/4˝ × 61/2˝


Materials

� 1/4 yard solid or batik fabric in color A (1 scrap 3˝ × 8˝ is fine)

� 1/4 yard solid or batik fabric in color B

� 1/4 yard cotton muslin

� 1 yard of 5/8˝ satin ribbon in color H

� 1/4 yard lightweight iron-on interfacing

� 1 skein each of perle cotton #8 in colors B, D, E, and G

� 1 skein each of cotton floss in colors B, D, F, G, and H

� 1 skein each of variegated floss in colors CV and EV

� Sewing thread to match fabric and ribbon

� 5 butterfly charms, 1/2˝ size

� 1/4 yard craft batting (or scrap 8˝ × 8˝)

� 1 bag Poly-fil stuffing

� 1 yard rattail cording in color H

� Sulky KK2000 spray adhesive

� 11/2 yards of 5/8˝ satin ribbon for ringbearer’s pillow (optional)

CuttingThe pillow template is on page 66.

Enlarge 125%.

From fabric A: � 1 piece 3˝ × 8˝

From fabric B: � 2 pieces 21/2˝ × 8˝ and 1 piece

using pillow template

From the other materials: � 1 square of muslin 8˝ × 8˝

� 2 pieces of ribbon 8˝ long

� 1 piece of interfacing 8˝ × 8˝

� 1 piece of interfacing using pillow template

� 1 piece of batting using pillow template

SEWING1. Fold the 8˝ × 8˝ piece of mus-

lin in half, finger-pressing the fold.

2. Place the muslin square on a

flat work surface. Spray with Sulky

KK2000.

3. Fold the 3˝ × 8˝ strip of fabric

A in half to make a 11/2˝ × 8˝

folded strip; finger-press. Open

the piece and align the center line

over the center line of the muslin

square, right side up. Pin along the

center line.

4. Aligning raw edges, pin a

21/2˝ × 8˝ fabric B strip on each side

of the fabric A strip. Zigzag stitch

over the inner edges.

Fabric B Fabric A Fabric B

Fabrics, threads, ribbon Solid colors Variegated colors

Color A Light green

Color B Fuchsia

Color C Pink Variegated

Color D Red

Color E Purple Variegated

Color F Yellow

Color G Medium green

Color H Grass green


5. Iron the interfacing to the

wrong side of the muslin.

6. Fold the stitched square in

half, interfacing side facing in and

seams aligned. Fold the enlarged

pillow template in half, pin it to

the fabric, and cut around it.

7. Draw a chalk mark line 1˝ from

the center line on each side.

8. Apply the gluestick to the

back of one ribbon length. Lay the

ribbon over the zigzag stitches of

one seam, aligning the inner edge

on the chalk line. Stitch along

both ribbon edges. Cut off the

excess ribbon.

9. Repeat Step 8 for the

remaining piece of ribbon.

Stitch.

Trim.

EMBROIDERY AND EMBELLISHMENT

STITCHES USED

� Outline stitch vine (page 53)

� Wisteria (page 59)

� Lazy daisy stitch (page 56)

� French knots (page 60)

� Sunflower (page 58)

� French knot flower (page 60)

7. Lazy daisy stitch—color D,

perle cotton

8. Lazy daisy stitch—color G,

3 strands of floss

9. 3-wrap French knot—color F,

3 strands of floss

10. Sunflower—petal color D,

3 strands of floss; center color CV,

2 strands of variegated floss

11. 6-petal French knot flower—

color F, 3 strands of floss

12. Lazy daisy stitch—color H,

2 strands of floss

13. Sunflower—petal color CV,

3 strands of variegated floss; center

color B, 2 strands of floss


color E, perle cotton


3 strands of floss

16. Charms—stitch in place with

color H, 2 strands of floss

Using the stitching diagram as a

reference guide, work the stitches

in the following order.

1. Outline stitch vine—base color

G, perle cotton; vines color G,

3 strands of floss

2. Wisteria—color EV, 3 strands

of variegated floss; long 9 petal,

short 7 petal


3 strands of floss

4. 3-wrap French knots—color

EV, 3 strands of floss


color B, perle cotton


perle cotton


4

11

10

23

41

12

7

513

9 86

9

14

15

16

Stitching diagram


ASSEMBLY1. Iron the interfacing template shape to the wrong

side of the fabric B template shape to make the pillow

back. See Optional Ribbon Tie (below).

2. Place the batting piece on your work surface and

position the interfaced pillow back over it, right side

up (if using the ribbon tie, tuck the length of ribbon

inside and away from the seams). Place the embroi-

dered heart on top, right side down.

3. Mark the side opening. Pin around the edges

through all the layers.

4. Stitch a 1/4˝ seam around the edge, leaving the

opening free.

5. Trim the batting close to the seam.

6. Clip through all layers at the side opening, clip-

ping to 1/8˝ from the seam; clip close to the seam

at the center top dip, the side curves, and the

bottom point.

Leave open.

Clip.

Clipcurves.

Clip.

BattingWrong side

of back of pillow

Wrong side of embroideredfront of pillow

Trim batting and clip curves.

7. Turn the heart right side out, using a turning tool

to even out the curved edges and the point.

8. Insert stuffing to make the pillow

as firm as you want it. Pin the opening

and hand stitch it closed, using the

ladder stitch.

CORDING1. Tie a knot in the center and at each end of the

cording. Pin the center knot to the top center dip of

the heart.

2. Thread a needle with 1 yard of color E perle

cotton. Stitch through the fabric at the dip. Lay the

middle knot of the cord over the knot of thread.

3. Following the Couching with Thread directions

(page 22), lay the cord against the heart edge and

couch around to the bottom tip.

4. Bury the thread in the stitches through the seam.

5. Repeat for the other side.

Optionalribbon tie

Work to bottom.

Start here.

Work this way.

Start here.

Couch cord all around the heart.

Finish the opening, using the ladder stitch.

OPTIONAL RIBBON TIEHand stitch the middle of the length of ribbon to the

center back of the fabric cut from the pillow template

13/4˝ down from the center dip.


Leave open.

Pillow Template

Cut 1 from nished pieced block.Cut 1 from fabric B.

Cut 1 from interfacing.Cut 1 from batting.

Enlarge 125%.

Heart pillow template

67 VINTAGE REDRESSED WALLHANGING

Vintage Redressed Wallhanging


L ovely vintage handkerchiefs are combined with cotton print fabrics and satin ribbons to make this wallhanging. The hankies will be

your focal point, with the embroidery and detailed edges enhancing the design. Add some vintage buttons to complete the project. For this design, I used a variety of Finca and Anchor perle cotton and floss.


MaterialsUse a printed fabric that blends with the colors in the handkerchiefs.

From that print, choose the colors for the perle cotton; then use lighter,

darker, or variegated colors for the floss.

Colors Perle cotton solid colors Floss 1 Floss 2 Variegated Floss

Color A Green Darker Variegated

Color B Blue Lighter Darker

Color C Purple Lighter Darker

Color D Pink Lighter Variegated

Color E Red Variegated

Color F Yellow Lighter Variegated

� 1/2 yard solid or print cotton fabric, 40˝ wide

� 2–5 embroidered or printed handkerchiefs


� 11/2 yards of 5/8˝ satin ribbon


� 1 skein each of perle cotton #8 in colors A, B, C, D, E, and F

� 1 skein each of cotton floss in colors lighter than the corre-sponding perle cotton colors (B1, C1, D1, and F1)

� 1 skein each of cotton floss in colors darker than the corre-sponding perle cotton colors (A2, B2, and C2)

� 1 skein each of cotton floss in variegated colors similar to the perle cotton colors (AV, DV, EV, and FV)

� Sewing thread to match the fabric and ribbon

� 3/8 yard craft batting

� 3/8 yard fast2fuse

� 10˝ dowel

� Sulky KK2000 spray adhesive

� Fabric gluestick

� Buttons and appliqués of var-ious sizes (optional)

� Second fabric for binding and lining (optional)

CuttingFrom the solid or print fabric:

� 2 pieces 21/2˝ × 8˝

� 2 pieces 21/2˝ × 12˝

� 1 square 12˝ × 12˝

� 1 piece 3˝ × 10˝

� 2 pieces 3˝ × 12˝

� 2 pieces 3˝ × 14˝

From the other materials: � 1 piece of muslin 12˝ × 12˝

� 4 pieces of ribbon 12˝ long

� 1 piece of interfacing 12˝ × 12˝

� 1 piece of batting 12˝ × 12˝

� 1 piece of fast2fuse 12˝ × 12˝

tipHandkerchief squares with a

pretty edge but no decoration

can be layered with a pretty

square on top.

PREPARING THE HANDKERCHIEFS1. Cut each handkerchief into

4 equal squares. Decorations or

detailed edges can be used as

needed.

2. Cut squares of interfacing 1/8˝

smaller than each square of hand-

kerchief. Iron to the wrong side of

the squares to be used, following

the manufacturer’s directions.


ARRANGING THE HANDKERCHIEFS1. Place the muslin square on a flat work surface and

spray with Sulky KK2000.

2. Temporarily place the 2 fabric strips 21/2˝ × 12˝

along the horizontal edges of the 12˝ × 12˝ muslin

square. Place the 2 fabric strips 21/2˝ × 8˝ along the

vertical edges, tucking the raw edges under the hori-

zontal strips.

3. Arrange the handkerchief squares in the open

square in the center of the muslin, using your own

design or the arrangement shown here.

Overlapping�nished �ap

FOLD

FOLD

Suggested arrangement of handkerchief squares

4. Tuck the raw edges of the top squares under the

horizontal fabric strip. Tuck the squares below them

under the top squares. Fold over any overlapped

edges that meet in the center; pin in place.

5. Pin the fabric strips in place along the inner and

outer edges.

SEWING1. Zigzag over the inner edge of the rectangular

strips to hold in place.

2. Hand stitch folded sections or overlapping

finished flaps in place.

3. Apply the gluestick to the back of 2 lengths of

ribbon. Center the ribbon over the zigzag stitches of

the horizontal fabric strips. Stitch both edges of the

ribbon. Repeat this step for the vertical strips.

Step 3

Step 2Step 1

Zigzag the fabric strips, stitch the hankies, and glue and stitch the ribbon.

4. Iron the 12˝ × 12˝ square of interfacing to the

wrong side of the muslin square.

Handkerchief layout before embroidery


STITCHES USED

� Chain stitch (page 52)

� Zigzag chain stitch (page 52)

� Button flowers (page 58)

� Blanket stitch (page 54)

� Wild ginger (page 59)


� French knot (page 60)

� Short-long-short blanket stitch (page 54)

� Tulip (page 57)

� Looped tendril (page 56)


� Fly stitch (page 59)

� Couched stitch (page 60)

� Heart (page 55)

� Outline stitch vine (page 53)

� Lazy daisy flower (page 56)

� Outline stitch (page 53)





1. Chain stitch—color C,

perle cotton

2. Zigzag chain stitch—color C,

perle cotton

3. Button flowers—color AV,

2 strands floss

4. Blanket stitch—color A,

perle cotton

5. Wild ginger—color EV,

3 strands floss, with color D,

perle cotton


perle cotton

7. Lazy daisy stitch—color A2,

3 strands floss

8. 2-wrap French knot—color B2,

3 strands floss

9. Short-long-short blanket

stitch—color A, perle cotton

10. Tulip—color DV,

3 strands floss

11. Looped tendril—color A2,

3 strands floss

12. 2-wrap French knot—

color C1, 3 strands floss


color B, perle cotton

14. Sunflower—petals color F1,

3 strands floss; center color FV,

2 strands floss

15. Chain stitch–color A2,

3 strands floss

16. Fly stitch—color A2,

3 strands floss

17. Lazy daisy stitch—color FV,

3 strands variegated floss

18. Couched row—color B2,

6 strands floss, with color F1,

2 strands floss

Handkerchief Edges

Use the following suggestions to

fill in and add color to the already-

embroidered sections.

19. Heart—color DV,

3 strands floss

20. Outline stitch vine—

color AV, 3 strands floss

21. Lazy daisy stitch—color AV,


22. 6-petal lazy daisy flower—

color B1, 3 strands floss


colors D1 and C2, 3 strands floss

24. Fly stitch—color A,

perle cotton

25. Couched row—color B2,

6 strands floss, with color A,

perle cotton

26. Outline stitch—color A,

perle cotton

27. Chain stitch—color E,

perle cotton

28. 9-petal lazy daisy detail

flower—color DV, 3 strands floss


29. Lazy daisy stitch—color DV,



color F1, 3 strands floss

31. Buttonhole circle—color F,

perle cotton


color FV, perle cotton

1 3

2 6 8 20

2022

22

23 23C2 (k

not)

D1

(kno

t)

5 7 4 1416

1517

24

33

33

33

33

2930

3028

2625

27

9

27

18

13

12

1011

161514

23 C2

3321 20

22(petal)

23 D1(knot)

17

(knots)

31

32

19

petalknot

leaf 21leaf 21

22 petal

leaf 21

20

Stitching diagram

33. Buttons—stitch in place

using any color perle cotton


Assembly1. Position the hanging lining,

sleeve facing up, on the 12˝ × 12˝

square of fast2fuse; press to fuse.

2. Turn so the fast2fuse is facing

up; then cover with the 12˝ × 12˝

batting square. Place the embroi-

dered base right side up on the

batting.

3. Pin around the edges through

all layers. With your sewing

machine, baste through the layers

close to the edges.

4. Fold the 2 fabric strips

3˝ × 12˝ in half to make folded

strips 11/2˝ × 12 ;̋ press.

5. Align the raw edges of the

folded strips even with the left

and right edges of the embroi-

dered base (fold facing in). Pin and

stitch in place using a 3/8˝ seam

allowance.

6. Wrap the folded edge around

and pin to the lining. Thread a

small, sharp needle with sewing

thread and hand stitch the fold to

the lining.

Stitch the side strips to the lining.

Additional StitchingTo fill out the design and create a

consistent color palette among the

handkerchiefs, you may choose to

add outline stitch vines, lazy daisy

stitches, and French knots to the

existing embroidery. Select floss or

perle cotton in colors to match or

tie in with the other colors.

HANGING SLEEVE1. Press the 3˝ × 10˝ fabric strip

in half to make a 11/2˝ × 10˝ folded

strip. Unfold and press each end in

1/4 ,̋ right sides out; stitch along the

end folds.

2. Refold the strip and pin in

place 2˝ below the top edge of the

12˝ × 12˝ fabric square, raw edges

facing up.

3. Stitch the raw sleeve edge to

the lining. Fold the sleeve up from

the stitched raw edge and pin the

folded edge to the lining. Hand

stitch in place.

Fold

Stitch hanging sleeve in place.

7. Fold the 2 fabric strips 3˝ × 14˝

in half to make folded strips

11/2˝ × 14 ;̋ press. Repeat Step 5 to

stitch the strips to the top and

bottom edges.

8. Fold the raw edges of the top

and bottom strips over the side

edges, trimming to 1/2 .̋ Tuck in the

seam allowance on both ends. Pin

the edges in place and hand stitch

the fold to the lining. Insert the

dowel into the sleeve.

Fold over.Foldover.

Tuck in the ends and stitch the strips in place.

73SILK RIBBON EMBROIDERY

Silk Ribbon Embroidery

Silk ribbon embroidery reminds us of our past, elegant and pretty. I’ve combined traditional ribbon embroidery techniques with newer ones that

have been created to capture the unique qualities of silk ribbon. Twenty stitches are described in this chapter and are used on two projects: Silk Roses Etui

(page 85) and Lovely Silk Gardens Wallhanging (page 90).


The StitchesThe directions that follow list suggested ribbons or

threads, or sometimes a combination of both, for

each technique. See Embroidery Threads and Ribbons

(page 25) for guidelines on which threads and

ribbons are appropriate; for suggested needles,

see Embroidering with Confidence (page 41).

FEATHER STITCH

FEATHER STITCH VINE

SPLIT RIBBON STITCH

PISTIL STITCH

COUCHED RIBBON

PADDED STRAIGHT STITCH

RIBBON STITCH

PEONY

COLONIAL KNOT

POINTED RIBBON TIP STITCH

WILDFLOWER

RIBBON LOOP STITCH

RIBBON LOOP POSY

VINE FLOWER

TWISTED RIBBON ROSE

WOVEN RIBBON ROSE

WOVEN RIBBON ROSE VARIATION

ROSETTE

GATHERED BUD

PIN ROSE

All of the stitches here and in the following directions were worked with YLI’s silk ribbon, YLI’s buttonhole twist, Caron Collection’s Wildflower thread, or Kreinik’s Silk Mori floss.

NOTE



Feather StitchThis stitch can be used as a border

or base row, and the tips of the

stitch can be further embroidered

with individual or detail stitches.


floss, or 2mm silk ribbon

A B

C

1. Come up at A. Hold the thread toward you and to the right. In one motion, go down at B and up at C. Loop the working thread under the tip of the needle.


B

C

3. In one motion, go down at B (below and to the right of the first stitch) and up at C. Loop the thread under the needle.

4. Pull the needle through the fabric. Repeat Steps 3 and 4 to continue the row, alternating the stitches from side to side.

D

5. To end the stitch, go down at D. Knot and cut the ribbon or thread end.

Finished feather stitch

FEATHER STITCH VINE

1. Follow Steps 1–3 for the feather stitch; then work a third stitch below and to the right of the second stitch.

2. Work 2 stitches below and to the left of the last grouping. Repeat to con-tinue the row. End as in Step 5 for the feather stitch.

Finished vine base

3. Work feather stitch branches onto the original row to finish the feather stitch vine.


Split Ribbon StitchThe split ribbon stitch can be used

as a solid straight or curved border

or as a base row.

Suitable for: silk embroidery

ribbon in all sizes

1. Work a single straight stitch (page 53); do not cut the ribbon or pull it tight or flat.

A

2. Come up through the fabric and ribbon at A, about half the length of the first stitch.

B

3. Go down at B, at about 11/2 times the ribbon width. Repeat Steps 2 and 3 to continue the row.

C

4. To end the row, go down at C. Knot and cut the ribbon end.

Finished split ribbon stitch

Pistil StitchWork the pistil stitch as an indi-

vidual stitch, or combine it with




floss, or silk embroidery ribbon

A

1. Come up at A. Hold the ribbon or thread away from you and to the right.

B

2. Hold the needle close to the fabric; wrap the ribbon over the needle 1 to 3 times. Hold the tail end with your thumb. Go down at B.

3. Pull the needle and ribbon through the wrapped stitches and the fabric. Knot and cut the ribbon end.

Finished pistil stitch


Couched RibbonUse this technique to apply ribbon

to fabric, forming a solid straight

or curved line.

Suitable for: woven or silk

embroidery ribbon of any size

C

3. Lay the second thread over the ribbon. Go down at C, but don’t pull the thread too tight.

4. Insert a porcupine quill or straw into the loop of ribbon; pull the ribbon down around the quill.

5. Remove the quill and pull the second thread all the way through the fabric. Repeat Steps 2–5, stopping 1/4˝ before the end of the row.

D

6. Go down at D with the ribbon. Knot and cut the ribbon and thread ends.

Finished couched ribbon

Padded Straight StitchThis stitch can be worked by itself,

or it can be combined with other

stitches to create a flower or other

design or component.


ribbon of all sizes

1. Work a straight stitch (page 53), but do not cut the ribbon.

A

2. Come up at A, slightly below the first stitch. Hold the ribbon toward you and down.

B

3. Go down at B, slightly above the first stitch. Knot and cut the ribbon end.

Finished padded straight stitch

NOTE

A woven ribbon can be used for this stitch, as long as you can pull an end up through the fabric to begin and pull it down again at the end.

A

1. Thread a needle with ribbon. Come up at A; set the needle aside.

B

2. Thread a second needle with thread, floss, or a smaller width of ribbon. Come up at B.


Ribbon StitchThe ribbon stitch can be worked

as an individual stitch or be com-

bined with other stitches to create

a flower or other design

or component.


ribbon in all sizes

B

A

1. Come up at A. Hold the ribbon up and away from you, flat against the fabric. Go down through the ribbon and fabric at B for the desired stitch length.

2. Insert a porcupine quill, straw, or your needle through the loop of ribbon; carefully pull the ribbon through to the wrong side. Remove the needle and pull the ribbon to form a small curve. Knot and cut the ribbon end.

Finished ribbon stitch

PEONY

Draw a center point. From the center, work 11–13 ribbon stitches (left) to form petals, completing the peony.

Colonial KnotThis detail stitch can also be

worked off the tip of a border or

base row stitch.


floss, or silk embroidery ribbon of

any size

A

1. Come up at A. Hold the needle in one hand and the length of ribbon down and toward you, parallel with the needle.

A

2. Pass the needle over the ribbon, moving from right to left; then loop under the ribbon to the right at A.

3. Wrap the ribbon over the tip of the needle from right to left. The ribbon should form a figure eight, as shown.

A

4. Go down close to A, pulling the ribbon tight; hold the tail end with your thumb. Pull the needle and ribbon through the wrapped stitches and fabric. Knot and cut the thread end.

Finished colonial knot


Pointed Ribbon Tip StitchThe stitch can be worked as an individual stitch or be combined with


Suitable for: woven or silk embroidery ribbon of any size

C

3. Thread a small, sharp needle with sewing thread or a single strand of floss. Come up at C inside the loop just under the edge of the ribbon resting on the fabric.

D

4. Stitch down through ribbon and fabric at D, near the tip of the ribbon. Knot and cut the ribbon and thread ends.

NOTE


A B

1. Come up at A. Hold the ribbon to the left. Go down at B, looping the ribbon to the right.

2. Pull the ribbon through the fabric to form the stitch. Lay the ribbon flat against the fabric; a point should appear in the center of the ribbon. Set this needle aside.

Finished pointed ribbon tip stitch

WILDFLOWER

Draw a center point. Work 5-pointed ribbon tip stitches (left) outward from the center to complete a 5-petal flower.


Ribbon Loop StitchThe ribbon loop stitch can be worked as an individual stitch or be

combined with other stitches to create a flower or other design

or component.

Suitable for: all sizes of silk embroidery ribbon

Twisted Ribbon RoseThis stitch can be worked as a

single focal point or in groups to

fill in a larger area.


ribbon in all sizes

A

B

1. Come up at A. Hold the ribbon to the right; twirl the needle clockwise to twist the ribbon tightly. Hold the loop of ribbon with your thumb to the left, and go down at B.

1˝

2. Gently pull the ribbon through the fabric, leaving 1˝ of twisted ribbon above the fabric. Twist the ribbon on itself, forming a double curled length.

tipThe ribbon will automatically

kink. It helps to insert your

thumb into the loop until you

reach the 1˝ length.

VINE FLOWER

1. Work 2 ribbon loop stitches (left) side by side. Knot and cut the ribbon ends.

2. Work one straight stitch (page 53) to cover the fixed edges of the looped stitches.

3. Work 3 more consecutive straight stitches. Knot and cut the ribbon end to complete the vine flower.

A

B

1. Come up at A. Hold the ribbon up and away from you. Go down at B.

2. Pull the ribbon through the fabric, inserting a porcupine quill or straw into the center of the loop. Pull the ribbon around the quill to the desired stitch length; remove the quill. Knot and cut the ribbon end.

Finished ribbon loop stitch

RIBBON LOOP POSY

Draw a center point. Work 5 or 6 ribbon loop stitches (above) out from the center to complete the ribbon loop posy.


3. Carefully continue to pull the ribbon through. The end you’re pulling will straighten, while the other half curls to form the petals.

4. Coax the ribbon around itself to form the small rose. Set aside this needle.

5. Thread a small, sharp needle with sewing thread or a strand of floss. Come up at the ribbon edge, tackstitch a few times around the edge, and stitch once through the rose center. Knot and cut the ribbon and thread ends.

Finished twisted ribbon rose

Woven Ribbon RoseThis stitch can be worked as a single focal point or in groups to fill in a

larger area.

Suitable for: silk embroidery ribbon in all sizes

D

2. Pull the needle through the fabric. Go down at D.

E F

C

3. Come up at E, then down at C. Repeat for point F to C. Knot and cut the thread end.

Finished rose base

NOTE

If you are working a cluster of roses, stitch all of the bases at one time. Knot and cut the thread ends.

NOTE


ROSE BASE

A B

C

E

D

F

Draw a center dot and add 5 more dots equally spaced around it. The base of the rose should be twice the width of the ribbon you’re working with. If you want a smaller or larger rose, work the base accordingly.

A B

C

1. Thread a needle with a twisted thread that matches your ribbon. Come up at A. In one motion, go down at B and up at C. Loop the working thread under the tip of the needle.


ROSE PETALS

C

1. Thread a needle with ribbon. Come up at C. Twirl the needle clockwise to slightly twist the ribbon.

2. Working counterclockwise, thread the needle under the first available spoke. Gently pull the ribbon.

3. Skip a spoke and thread the needle under the next spoke. Gently pull the ribbon.

4. Continue to thread the needle over and under the spokes, pulling the center tightly and relaxing the weave as you reach the outer spokes of the base. The last few woven petals should cover the spokes of the base completely.

G

5. To end the stitch, go down at G between 2 spokes, under the last row of petals. Knot and cut the ribbon end.

Finished woven ribbon rose

G

2. Thread a needle with the narrower width of ribbon. Follow Steps 1–5 for the woven ribbon rose petals (left). Do not cover the spokes completely. Pull the ribbon tightly. Knot and cut the ribbon end.

Come up here.

3. Thread a needle with the wider ribbon. Come up 1 spoke behind the end of the first ribbon.

4. Continue to weave the ribbon, relaxing the weave as you reach the outer spokes. Follow Step 5 for the woven ribbon rose petals (left) to com-plete the woven ribbon rose variation.

WOVEN RIBBON ROSE VARIATIONYou’ll use two different ribbon

widths for this version of the

woven ribbon rose.

tipThis step can also be used to

add new ribbon to the woven

ribbon rose if you run out

of the one you started with

before the spokes are covered.

1. Work a woven ribbon rose base (page 81).


Ribbonwork FlowersThese small flowers are made using ribbonwork techniques. Woven,

silk bias, or silk embroidery ribbon is cut and stitched directly

to the fabric.

Suitable for: sizes 1/8˝ and wider woven or silk bias ribbon; 4mm and

larger silk embroidery ribbon

Ribbon Measurements

Ribbon width Ribbon length

Woven ribbon Silk bias ribbon

Silk embroidery ribbon Rosette Gathered bud

1/2˝ 13mm 31/2˝ 8˝

7/16̋ 31/16̋ 7˝

3/8˝ 25/8˝ 6˝

1/4˝ 7mm 13/4˝ 4˝

1/8˝ 4mm 7/8˝ 2˝

6. Come up through the fabric and ribbon at the inner edge; tackstitch.

7. Come up through the fabric and ribbon at the top edge; tackstitch. Knot and cut the thread end.

8. If you wish, tackstitch the flower to the fabric around the outer edges.

Finished rosette

ROSETTE1. Cut 1 length of ribbon according to the Ribbon Measurements chart. Thread a small sharp needle with thread to match.

Outer edge

Raw edge

Inner edge 1⁄8˝A,

2. Come up through the fabric and the wrong side of the ribbon at A, 1/8˝ from the ribbon’s inner raw and bottom edges.

Raw edge

1⁄8˝

3. Gather stitch along the ribbon’s bottom edge, stopping 1/8˝ from the edges; the needle should be on the right side of the ribbon.

4. Pull the needle and thread to gather the ribbon. Go down through the inner ribbon edge and fabric close to the beginning stitch.

5. Pull the thread to create the flower center. Knot the thread end.


GATHERED BUD1. Cut a length of ribbon according to the Ribbon Measurement chart (page 83). Thread a small, sharp needle with thread.

A

Raw edge1⁄8˝

2. Come up through the fabric and the wrong side of the ribbon at A, 1/8˝ from the raw edge at the center of the ribbon width.

1⁄8˝

3. Gather stitch through the ribbon center, stopping 1/8˝ from the raw edge; the needle should be on the wrong side of the ribbon.

B

4. Go down through the fabric at B.

5. Pull the needle gently through the ribbon. Tuck under the raw ribbon edges. Knot and cut the thread end.

Finished gathered bud

Pin RoseThis stitch can be worked as a




ribbon of all sizes

C

BA

1. Come up at A. Hold the ribbon away from you and to the left. In one motion, go down at B and up at C. Do not pull the needle all the way through.

2. Wrap the ribbon around the needle to the base of the stitch; keep the ribbon flat against the fabric. This is a single petal.

3. Repeat Step 2 to make a total of 3 petals.

D

4. Place a thumb on the ribbon wraps and needle; pull the needle through the fabric with your other hand. Go down at D.

E

F

5. Come up at E; go down at F. Knot and cut the ribbon end.

Finished pin rose

85 Silk RoSeS etui

Silk Roses etui

T his lovely little open-sided case is the perfect gift for anyone who works with needles. For the designs

embroidered onto the etui, I used silk embroidery ribbon by YLI and Soie Cristale and Wildflower threads by the Caron Collection.

Finished size: 5˝ × 101/2˝

86 eMBRoiDeReD & eMBelliSHeD

MaterialsSelect a subtle batik fabric for the etui, and then choose a variegated

thread for color A. Pick colors for the additional threads and silk ribbons

that are similar to or will complement A.

Silk ribbon and threads Variegated colors Solid colors

Color A Wildflower thread—Tiffany Rose

Color B Magenta

Color C Orchid

Color D Light purple

Color E Purple

Color F Dark purple

Color G Aqua green

Color H Loden green

Color I Teal green

Color J Purple and white variegated

� 1/4 yard 42 -̋wide cotton batik fabric


� 1 skein Wildflower variegated thread (color A)

� 1 skein each of silk floss in colors B, C, D, and G

� 1 reel each of 4mm silk embroi-dery ribbon in colors B, E, F, G, and I

� 1 reel each of 7mm silk embroi-dery ribbon in colors D and H

� 1 reel of 2mm silk embroidery ribbon in color D

� 11/2 yards of 1/4˝ woven ribbon in color J

� 1/4 yard light fast2fuse


� 1 rectangle of coordinating felt

� 1 yard of 3/8˝ satin ribbon in color F

� Sewing thread to match the fabric

� Dome snap fastener (optional alternative to the ribbon tie)

� Charms

CuttingFrom the fabric:

� 2 pieces 101/2˝ × 5˝

� 2 pieces 101/2˝ × 3˝

� 2 pieces 3˝ × 7˝

From the other materials: � 1 piece of interfacing 101/2˝ × 5˝

� 1 piece of light fast2fuse 101/2˝ × 5˝

� 1 piece of batting 101/2˝ × 5˝

� 1 piece of felt 9˝ × 4˝

� 2 pieces of 3/8˝ satin ribbon in color F, 18˝ long

PREPARATION1. Iron the interfacing to the

wrong side of a fabric piece

101/2˝ × 5 .̋

2. Fold the fabric piece in half,

interfacing sides together, to make

it 51/4˝ × 5 ;̋ press the fold. Fold

under the edge opposite the fold

1/4˝ to make a square; press.

3. Use a chalk pencil to tempo-

rarily draw the etui embroidery

template into the center of half of

the fabric piece; this will be

the front.

4. Temporarily mark the center

of the other half (the back) with a

chalk pencil.

Center fold Press.

Temporary fold to nd center

Fold the front and back sides in half in both directions to find the centers.

87 Silk RoSeS etui

EMBROIDERY AND EMBELLISHMENT STITCHES USED

� Woven ribbon rose base and petals (page 81)

� Split ribbon stitch (page 76)

� Feather stitch vines (page 75)


� Colonial knot (page 78)

� Gathered bud (page 84)

� Twisted ribbon rose (page 80)

� Pointed ribbon tip stitch (page 79)

� Rosette (page 83)

� Ribbon stitch (page 78)

� Feather stitch (page 75)

� Pistil stitch (page 76)



reference guide for the front of

the etui, work the stitches in the

following order.

1. Woven ribbon rose base—

color A, Wildflower thread

(on back)

2. Split ribbon stitch—color G,

4mm ribbon

3. Feather stitch vines—color A,

Wildflower thread

4. Lazy daisy stitch—color C,

2 strands of floss


2 strands of floss

6. Colonial knot—color B,

2 strands of floss

7. Woven ribbon rose petals—

colors B, E, and F, 4mm silk ribbon

8. Gathered bud—color E,

4mm silk ribbon

9. Twisted ribbon rose—color D,

7mm silk ribbon

10. Pointed ribbon tip stitch—

color H, 7mm silk ribbon

11. Lazy daisy stitch—color I,

4mm silk ribbon

12. Rosette—color J, woven

ribbon

13. Colonial knot—color C,

2 strands of floss

14. Gathered bud—color E,

4mm silk ribbon

15. Ribbon stitch—color I,

4mm silk ribbon

16. Lazy daisy stitch—color F,

4mm silk ribbon

17. Ribbon stitch—color G,

4mm silk ribbon


2mm silk ribbon

19. Colonial knot—color G,

2 strands of floss

20. Stitch charms with 1 strand

of floss

Etui Front

99

4&6

4&6

17

14

15

16

12&13

18&19

5&6

210 1&7E

3

810

20

11

1&7B1&7B

1&7B

1&7E

4&6

4&6

1&7F

Temp. drawn

template

10

20

Front stitching diagram


Etui Back

Tem

p. fo

ldto

�nd

cent

er.

Center

20

26

2527

24

28I

28I

23

28F

29

301&21

1&22

1&22

Both

the

sam

e

Back stitching diagram

Flip the fabric piece around and

continue to work the stitches

in the order listed, following the

stitching diagram for the etui back.


color D, 7mm silk ribbon


color E, 4mm silk ribbon

23. Gathered bud—color F,

4mm silk ribbon

24. Feather stitch—color A,

Wildflower thread

25. Lazy daisy stitch—color C,

2 strands of floss

ASSEMBLY1. Iron the remaining 101/2˝ × 5˝

fabric piece to one side of the

fast2fuse; this is the etui lining.

2. Pin the felt to the right side of

the lining. Place the batting against

the fast2fuse side of the lining.

3. Place the wrong side of the

embroidered fabric piece against

the batting. Pin all layers together.

Machine baste through the layers,

close to the raw edges.

4. Using a chalk pencil, mark

the center line on which the etui

will be folded to create front and

back sides; machine stitch along

this line.

5. Fold the 2 fabric strips

3˝ × 101/2˝ in half to create folded

binding strips 11/2˝ × 101/2 .̋

6. Pin the raw edges of the

binding strips to the right side of

the etui front, even with the long

etui edges. Stitch in place using a

1/4˝ seam allowance; press open.

7. Turn the folded edges to the

inside (lining); pin. Thread a small,

sharp needle with sewing thread

and hand stitch the fold in place.

8. Machine stitch close to the

outer fold of the binding to keep

the edge firm.

26. Pistil stitch—color G,

2 strands of floss

27. Colonial knot—color B,

2 strands of floss

28. Lazy daisy stitch—colors I

and F, 4mm silk ribbon


color B, 4mm silk ribbon



89 Silk RoSeS etui

9. Pin a raw end of each 18˝

ribbon piece to the center of the

unbound edges of the etui, raw

end of the ribbon even with the

raw edge of the etui.

10. Fold the pair of 3˝ × 7˝

fabric strips in half to make folded

binding strips 11/2˝ × 7 ;̋ press the

folds. Attach the binding as in

Steps 7 and 8.

11. Fold the raw ends of the top

and bottom strips over the side

edges, trimming to 1/2 .̋ Tuck in

both ends, pin, and hand stitch

in place.

12. Fold the etui in half along the line you previously stitched by

machine. Press the fold firmly.

LiningFelt

Binding

Ribbon tie

Assembly diagram

tipIf you prefer, you can hand

stitch a snap closure onto

the etui instead of using a

ribbon tie.

EtuiEmbroidery

Template


lovely Silk Gardens Wallhanging


A vintage handkerchief with an embroidered edge is combined with silk fabrics and silk ribbon embroidery in this wallhanging. Each

heart-shaped basket is made from an embroidered hankie quarter. For this project, I used silk embroidery ribbon and buttonhole twist by YLI and Silk Mori floss by Kreinik.

91 lovely Silk GaRDenS WallHanGinG

MaterialsChoose 4 solid colors of cotton, moiré, or silk fabric that complement

your embroidered handkerchiefs.


� 1/4 yard silk dupioni fabric in color A (1 scrap 6˝ × 6˝ is fine)

� 3/8 yard 40 -̋wide silk dupioni fabric in color B

� 1/8 yard 40 -̋wide silk dupioni fabric in color C

� 1–4 handkerchiefs with embroi-dered corner edges or 1/8 yard 40 -̋wide silk dupioni fabric in a neutral color

� 1 reel each of 7mm silk embroi-dery ribbon in colors C, E, H, I, and K

� 1 reel each of 4mm silk embroi-dery ribbon in colors B, D, G, H, J, and K

� 2 reels of 4mm silk embroidery ribbon in color F

� 1 reel each of 2mm silk embroi-dery ribbon in colors B, H, and I

� 1 reel of 4mm woven ribbon in color G

� 1 skein of buttonhole twist in color F

� 2 skeins of silk floss in colors C, D, and J

� 3 dragonfly appliqués

� 2 heart-shaped appliqués

� 5 heart-shaped buttons, 1/2˝ size

� 4 leaf-shaped buttons, 3/4˝ size

� 4 silver butterfly and dragonfly charms


� 3/8 yard light fast2fuse


� 11/2 yards of 1˝ silk bias ribbon in color B

� 3˝ piece of 3/8˝ satin ribbon in color F


� 11/2 yards of silk rouleau in color C (optional)

CuttingFrom fabric A:

� 1 square 6˝ × 6˝

From fabric B: � 4 pieces 31/2˝ × 9˝

� 1 square 103/4˝ × 103/4˝

From fabric C: � 4 pieces 3˝ × 6˝

From other materials: � 1 square of muslin 12˝ × 12˝

� 1 square of interfacing 12˝ × 12˝

� 1 square of batting 103/4˝ × 103/4˝

� 1 square of fast2fuse 103/4˝ × 103/4˝

� 4 pieces of silk bias ribbon 12˝ long

Colors Fabric, silk ribbon, buttonhole twist, silk floss

Color A Cream

Color B Mint green

Color C Lavender

Color D Wisteria

Color E Coral pink

Color F Shell pink

Color G Peony pink

Color H Deep pink

Color I Periwinkle blue

Color J Victorian green

Color K Light green


PREPARING THE HANDKERCHIEFS1. Cut each handkerchief into

4 equal squares. Cut interfacing

squares 1/8˝ smaller than the

handkerchief squares; iron on to

the wrong side of the hankies,

following the manufacturer’s

directions.

2. Align the pointed tip of the

basket template (page 96) with the

embroidered point of a handker-

chief section. Try to retain as much

of the handkerchief embroidery on

the finished outer edge as possible.

Raw edge

Finished edge

Incorporate the handkerchief embroidery for the heart edge.

SEWING1. Fold the muslin square in half

vertically and horizontally; finger-

press. Repeat this step for the

6˝ × 6˝ square of fabric A.

2. Pin the fabric A square into

the center of the muslin square,

matching centers, with the fabric

A corners aligned with the muslin’s

folded lines.

3. Pin a fabric B strip to one

edge of the fabric A square, right

sides together and raw edges

aligned. Join with a 1/4˝ seam, stop-

ping 1/4˝ before the corner of the

fabric square.

Muslin

Fold

Foldline

Fold line

Leaveunstitched.

Fabric A

Fabric B

}¼˝

Sew the first strip to the center square and press open.

4. Flip over the strip and press

the seam; then press under the

rest of the strip edge 1/4 .̋

5. Working counterclock-

wise around the center square,

position the next fabric B strip

over the edge of the square and

the previous strip end, right sides

together. Stitch a 1/4˝ seam the

length of the new strip. Flip the

strip over and press the seam flat.

Muslin

FoldFabric A

Fabric B

Fabric B

Add the second strip.

6. Follow Step 5 to attach the

third fabric B strip.

7. Pin the loose folded edge of

the first fabric B strip, out of the

way of the stitching line. Follow

Step 5 and attach the fourth

fabric B strip.

8. Unpin the first strip and lay it

flat so that the fold covers the raw

edge of the fourth fabric B strip.

Thread a small, sharp needle with

sewing thread and hand stitch

the opening closed, using a blind

stitch.

9. Pin a fabric C piece to a fabric

B strip edge, right sides together

and raw edges aligned. Stitch a

1/4˝ seam to join. Flip the fabric C


piece over and press. Repeat this step to sew the

remaining 3 fabric C pieces at the corners.

10. Flip the muslin square over and trim the edges

to remove any excess fabric. Iron the interfacing to

the back of the muslin.

Fold line

Fold line

Handstitch seam.Fabric A

Fabric B

Fabric C

First stripMuslinbase

Add the corner pieces and trim the edges.

11. Draw chalk lines diagonally between opposite

corners. Position each hankie heart with its bottom

tip close to the fabric C corner piece and the center

of the heart on the chalk line.

12. Pin the heart edges in place; machine appliqué

the raw edges.

13. Thread a small, sharp needle with thread and

hand stitch the finished handkerchief edges in place.

Fabric B

Fabric C

Fabric A

Hankie

Chalk line

Chalk line

Position the hankies and stitch in place.

EMBROIDERY AND EMBELLISHMENTFor each heart’s basket handle, use a chalk pencil

to mark a point 11/4˝ up from the heart’s center dip.

Draw another point 11/2˝ from the center line onto

each top curve. Draw a line from each point to the

center point.

STITCHES USED

� Couched ribbon (page 77)

� Feather stitch vine (page 75)

� Woven ribbon rose variation (page 82)

� Split ribbon stitch (page 76)

� Wildflower (page 79)

� Peony (page 78)


� Ribbon stitch (page 78)

� Six-petal ribbon loop posy (page 80)


� Pointed ribbon tip stitch (page 79)

� Rosette (page 83)


� Pistil stitch (page 76)

� Padded straight stitch (page 77)

� Twisted ribbon rose (page 80)

� Fly stitch (page 59)

� Vine flower (page 80)

� Pin rose (page 84)

1¼˝

1½˝

Chalk line


The Baskets

2819

20

21

4

8

13,14

5,7

2223

2625

112

3

6,7

6,79,10 11

2426

2

15,16

17,18

Heart stitching diagram




1. Couched ribbon—color I,

7mm silk ribbon, with color B,

2mm silk ribbon

2. Feather stitch vine—color J,

2 strands of floss

3. Woven ribbon rose variation—

for base, color F, buttonhole twist;

for petals, color F, 4mm silk ribbon,

and color E, 7mm silk ribbon

4. Split ribbon stitch—color B,

2mm silk ribbon

5. Wildflower—color D, 4mm silk

ribbon

6. Peony—color G, 4mm silk

ribbon

7. Colonial knot—color F,

4mm silk ribbon

8. Ribbon stitch—color J, 4mm

silk ribbon

9. 6-petal ribbon loop posy—

color C, 7mm silk ribbon

10. 5-wrap French knot—color I,

7mm silk ribbon


color K, 7mm silk ribbon

12. Ribbon stitch—color K,

7mm silk ribbon

13. Rosette—color G, 4mm

woven ribbon

14. 3-wrap French knot—color

C, 2 strands of floss

15. Lazy daisy—color F, 4mm

silk ribbon


16. Pistil stitch—color H,

2mm silk ribbon

17. Padded straight stitch—

color I, 2mm silk ribbon


color D, 2 strands of floss

19. Twisted ribbon rose—

color E, 7mm silk ribbon

20. Fly stitch—color B,

4mm silk ribbon

21. Colonial knot—color H,

2mm silk ribbon

22. Vine flower–color C,

7mm silk ribbon, with color H,

4mm silk ribbon

23. Lazy daisy stitch—color J,

2 strands of floss

24. Twisted ribbon rose—



7mm silk ribbon

26. Lazy daisy stitch—color B,

2mm silk ribbon

27. Hand stitch the appliqués

and charms with sewing thread.

28. Optional appliqué detail:

open chain—color C, 2 strands

of floss

The Center

1920

2931

30

32

Center stitching diagram

Continue working the stitches in the order listed.

29. Pin rose—color H, 4mm silk ribbon

30. Lazy daisy stitch—color K, 4mm silk ribbon

31. 3-wrap French knot—color J, 4mm silk ribbon

32. Buttons—stitch with color K, 4mm silk ribbon


Adding a HangerASSEMBLY1. Pin a 1˝ × 12˝ bias ribbon

along each vertical edge of the

embroidered square. Stitch a

1/4˝ seam.

2. Press the strip over the seam

allowance and then over to the

wrong side of the muslin; machine

topstitch close to the edge fold.

3. Pin a 1˝ × 12˝ bias ribbon

along each horizontal edge of

the embroidered square. Stitch a

1/4˝ seam. Repeat Step 2.

4. Iron the 103/4˝ × 103/4˝ fabric

B square to one side of the

103/4˝ × 103/4˝ square of fast2fuse.

Place the batting on the other side

of the fast2fuse square. Machine

baste through all the layers close

to the edge.

5. Place the wrong side of the

embroidered square on the bat-

ting; align the edges evenly.

6. Fold and pin the vertical edges

of the embroidered square over

the fabric-covered side of the

fast2fuse square.

7. Thread a small sharp needle

with thread and hand stitch the

fold of the bias ribbon to the

fabric-covered fast2fuse.

8. Repeat for the horizontal

edges. Tuck in the edges on both

ends and hand stitch the ribbon

to the fabric-covered fast2fuse.

Basket Template

Cut 4 from thecorners of a hankie.

tipFor an optional finishing

touch, stitch silk rouleau

around the outer edge with

buttonhole twist or two

strands of floss. Follow the

directions for couched cording

(page 22).

Fold under 1/4˝ on each raw edge

of the ribbon. Glue or hand stitch

the fold to the center of the top

edge of the fabric-covered back.

Fabric-covered fast2fuse

Back

97

[PAGE BREAK]

Raised and textured embroidery

The techniques used in this chapter are an adaptation of needle lace and embroidery, creating textured and raised stitches that rest on the surface of the fabric. Twenty stitches are described in this chapter and used on two projects:

Floral Garden Jewelry Holder (page 111) and Framed Lace Wallhanging (page 117).


the StitchesThe directions that follow list suggested threads or combination of

threads for each technique. See Embroidery Threads and Ribbons

(page 25) for guidelines on which threads are appropriate; for suggested

needles, see Embroidering with Confidence (page 41).

SPIDERWEB ROSE

PETITE TWISTED ROSE

BULLION STITCH

BULLION POSY

CAST-ON BUTTONHOLE STITCH

TATTED STITCH

TATTED POSY

SPIRAL TATTED STITCH

TATTED ROSE

CHINESE KNOT

CHRISTEN’S SHISHA MIRROR

OPEN CHAIN STITCH

COUCHED JAPAN THREAD

FLY STITCH LEAF

FEATHER FERN

WHIP-STITCH ROSE

WHIP-STITCH ROSE VARIATION 1


All of the stitches in the sampler and in the following directions were worked in Presencia’s Finca perle cotton #8, YLI’s buttonhole twist, Kreinik’s Silk Mori floss and fine braid #4, or DMC’s rayon floss.

BUTTONHOLE ROSE

CHERRY BLOSSOMS

99RaiSeD anD teXtuReD eMBRoiDeRy

NOTE


open Chain Stitch

Couched Japan threadThis technique is used to apply

a heavier thread, cord, or other

fiber to the surface of the fabric in

order to create a solid straight or

curved line.

Suitable for: Japan threads and a

strand of floss or sewing thread

A

1. Thread a chenille needle with one end of the Japan thread. Go down at A; remove the needle and knot that end.

B

2. Thread a second needle with floss or sewing thread. Come up at B.

3. Follow Steps 3–6 for the couched stitch (page 60) to complete the couched Japan thread.

This stitch can be worked as a

single straight or curved base row.



1. Work a chain stitch (page 52).

BC

2. In one motion, go down at B (outside the previous loop) and up at C. Repeat this step to continue the row of stitches.

D


Finished open chain stitch


Fly Stitch leafThe stitch can be worked as an

individual stitch, or it can be

combined with other stitches to

create a flower or other design or

component.

Suitable for: twisted threads, floss

or 2mm silk ribbon

1. Work a fly stitch (page 59), ending the stitch with a straight tail; do not cut the thread.

A

2. Come up at A, slightly below the tip of the previous stitch. Insert the needle through the tail, laying the thread against the previous stitch.

B

3. Go down at B, slightly below the tip of the previous stitch.

4. Work another stitch, repeating Steps 2 and 3. Knot and cut the thread end.

Finished fly stitch leaf

Feather FernThis stitch can be worked as a





1. Work a single feather stitch (page 75).

CB

2. In one motion, go down at B to the right of the first stitch (working close and slightly below the previous tip) and up at C (just below the bottom of the first stitch).

3. Repeat Step 2, working the stitch to the left this time.

4. Continue to work stitches in alter-nate directions.

D

5. To end the stitch, go down at D. Knot and cut the ribbon or thread end.

Finished feather fern


D

3. Continue to stitch even, straight spokes around the outer edge. To end, go down at D. Knot and cut the thread.

Finished rose base

ROSE PETALS

A

1. Thread a chenille needle with 30˝ of your choice of thread. Come up at A. Twirl the needle clockwise to slightly twist the threads together.

A

2. Thread the needle over the first spoke, directly to the right of A; then backstitch under 2 spokes to the left.

3. Push the needle against the edge of the spokes and then gently pull the threads to whip or wrap around the first spoke.

Whip-Stitch RoseThis stitch can be worked as a



Suitable for: base, twisted thread;

petals, three strands of twisted

threads or six strands of floss

ROSE BASE

A

1. Draw a circle (see note for sizes); draw a smaller circle in the center. Using a needle threaded with twisted thread, come up at A.

B

C

2. In one motion, go down at B (on the outer circle) and up at C. Loop the working thread under the tip of the needle; pull the needle through.

NOTE

� The smaller the base, the fewer the number of spokes.

� For a large 3/4˝ circle, use three twisted threads or six strands of floss for the petals.

� For a medium 1/2˝ circle, use two twisted threads or four strands of floss for the petals.

� For a small 1/4˝ circle, use one twisted thread or two strands of floss for the petals.


4. Hold the working thread firmly and away from the stitching area; repeat Steps 2 and 3.

5. Continue to the outer edges of the spokes, making sure to cover each tip completely.

B

6. The last stitch is whipped around the last exposed spoke. Go down at B. Knot and cut the thread.

Finished whip-stitch rose


1. Work a whip-stitch rose base (page 101).

A

2. Follow Steps 1–5 for the whip-stitch rose petals, stitching 2 complete rows around the center. Go down at A. Knot and cut the thread.

B

3. Thread the needle with a different color of thread. Come up at B. Thread the needle under the next spoke and finish as for rose petals.

Finished whip-stitch rose variation 1, shown with a Chinese knot (page 109) in the center

tipThis technique can also be

used to add thread if you run

out before finishing a whip-

stitch rose.

WHIP-STITCH ROSE VARIATION 2Suitable for: Blended Threads

(page 28)—Twisted Thread

Group, Floss Group, or

Combination Group

Follow the directions for the

whip-stitch rose, choosing a group

of blended threads. The stitch is

shown here with a petite twisted

rose center (page 103) and Chinese

knots (page 109) around the

outer edges.

Finished whip-stitch rose variation 2


Spiderweb Rose

4. Follow Steps 3–5 for woven ribbon rose petals (page 82).

Finished spiderweb rose

PETITE TWISTED ROSEThis stitch can be worked as a



Suitable for: 9 strands of floss;

see Blended Threads (page 28)—

Floss Group

A

1. Thread a chenille needle with floss and come up at A. Twirl the needle clockwise to twist the threads into a firm, evenly coiled strand.

B

1˝

2. Go down at B. Follow Steps 3–5 for the twisted ribbon rose (page 80).

3. Thread a small, sharp needle with a strand of floss. Come up at the edge of the outer petal. Stitch over the petal and into the center; repeat 2 more times around the edge. Knot and cut the floss and blended threads.

Finished petite twisted rose

The spiderweb rose stitch can be

worked as a single focal point or in

groups to fill in a larger area.

Suitable for: base, twisted thread;

petals, nine strands of floss; see

Blended Threads (page 28)—

Floss Group

1. Work a woven ribbon rose base (page 81).

C

2. Thread a chenille needle with floss. Come up at C. Twirl the needle clock-wise to twist the threads into a firm, evenly coiled strand.

3. Working counterclockwise, thread the needle under the nearest spoke. Gently pull the thread under the spoke.


Bullion StitchThe bullion stitch can be worked

as an individual stitch or be



component.

Suitable for: twisted threads

and floss

A

C

B

1. Come up at A. In one motion, back-stitch the needle down at B and up 1/4˝ away at C. Don’t pull the needle all the way through.

2. Wrap the working thread clockwise once around the needle.

3. Continue to wrap the working thread around the needle for the suggested number of wraps for each stitch (here, I‘ve wrapped 9 times).

4. Holding the needle and the wraps with your thumb and forefinger, gently pull the needle through the wraps, keeping the wraps even on the base.

tipTo evenly distribute the

wrapped thread, gently run

a needle under the loop. The

wrapped threads should cover

the length of the initial stitch—

a longer or shorter stitch will

require more or fewer wraps.

D

5. Pull the thread firmly through the wraps to form the stitch. To end, go down at D. Knot and cut the thread.

Finished bullion stitch

BULLION POSY1

4

52

3

The numbered points show the petal positions; there can be 3, 4, or 5 petals.

Work each 1/16̋ bullion stitch with 19 wraps to form a bullion posy


Cast-on Buttonhole StitchThis stitch can be worked as

an individual stitch, or it can be



component.


A

C

B

1. Come up at A. In one motion, back-stitch the needle down at B and up 1/4˝ away at C. Don’t pull the needle all the way through.

2. Place your finger back to front under the working thread.

3. Twist your wrist to the right and point your finger in the same direction as the needle; this will loop the thread over your finger. Place the loop gently over the needle.

4. Pull the thread firmly down to the base of the needle at the fabric; this is a single knot.

5. Continue to cast on the number of knots suggested for each stitch (here, I’ve cast on 15 single knots).

6. Holding the needle and knots with your thumb and forefinger, gently pull the needle through the knots, keeping them even on the base.

7. Pull the thread firmly through the knots to form the stitch. Thread the needle through the loop, as shown.

D

8. To end, go down at D. Knot and cut the thread.

Finished cast-on buttonhole stitch

tipFor both the cast-on button-

hole and the tatted stitches

(page 107), it’s easiest to

control the thread if you insert

the last three fingers into the

loop of working thread. The

forefinger will move back and

forth around the loop.


BUTTONHOLE ROSEChoose two different colors of

twisted thread.

1. Thread a needle with one of the thread colors. Work a 6-petal French knot flower (page 60). Knot and cut the thread.

cent

er

1

4

5

2

3

6

The numbered points show the petal positions.

A C

B

2. Thread a needle with the second color of thread. Come up at A close to a French knot. In one motion, backstitch the needle down at B next to the third French knot and up through C.

3. Work a 1/4˝ cast-on buttonhole stitch (page 105) with 15 cast-on knots to make a finished petal.

A

C

B

4. Come up at A, close to and behind the center of the previous stitch. In one motion, backstitch down at B next to the fourth French knot and up through C. Repeat Step 3.

B

5. Continue to work the petals around the French knots. Point B of the last stitch is worked inside the first stitch, close to the first French knot. Knot and cut the thread.

Finished buttonhole rose

CHERRY BLOSSOMS

NOTE

Each flower is worked upside down for the cherry blossoms stitch.

1. Work a 1/16̋ cast-on buttonhole stitch (page 105) with 15 cast-on knots.

2. Work a second stitch to the left and slightly above the first one. Work a third stitch to the right of the second stitch and slightly above the first stitch.

3. Work the fourth stitch between and above the last row of stitches. Knot and cut the thread to complete the cherry blossoms.

107RAISED AND TEXTURED EMBROIDERY

tatted StitchThe tatted stitch can be worked

by itself or be combined with




1. Follow Steps 1–4 of the cast-on buttonhole stitch (page 105) for the first half of the knot.

2. Place your finger front to back under the working thread.

3. Turn your wrist to the left and point your finger toward you to loop the thread over your forefinger. The thread coming out of the fabric overlaps the loop.

4. Place the loop gently over the needle. This completes a double knot.

5. Continue to cast on the suggested number of double knots (here, I’ve cast on 9 knots).

6. Holding the needle and knots with your thumb and forefinger, gently pull the needle through the knots, keeping the knots even on the base.

7. Insert the needle through the loop from right to left; firmly pull the needle and thread through the stitches.

D

8. To end, go down at D. Knot and cut the thread.

Finished tatted stitch


TATTED POSY3

1

2


Work 3 tatted stitches with 9 double knots to complete a tatted posy.

SPIRAL TATTED STITCH

1. Follow Steps 1–5 for the cast-on but-tonhole stitch (page 105). Here, I’ve cast on 15 single knots.

2. Holding the needle and knots with your thumb and forefinger, slightly twist the stitches counterclockwise on the needle.

3. Follow the Steps 6–8 for the cast-on buttonhole stitch to complete the spiral tatted stitch.

TATTED ROSEChoose two different colors of

twisted thread.

1. Thread a needle with one of the thread colors. Work a 1/4˝ spiral tatted stitch (left) with 15 cast-on single knots. Knot and cut the thread.

center

5

43

216


AB

C

2. Thread a needle with the second thread color. Come up at A, close to a French knot. In one motion, backstitch the needle down at B next to the third French knot and up through C.

3. Work a 1/4˝ tatted stitch (page 107) with 11 double knots to complete the petal.

tipThe diagram for the tatted

posy petals can also be used

for a fifteen-wrap bullion

stitch (page 104) or a fifteen-

knot cast-on buttonhole stitch

(page 105).


AC

B

4. Come up at A, close to and behind the center of the previous stitch. In one motion, backstitch down at B next to the center and up through C. Repeat Step 3.

B

5. Continue to work the petals. Point B of the last stitch is worked inside the first stitch, close to the center. Knot and cut the thread.

Finished tatted rose

Chinese knot

3. Go down close to where you came up, but don’t pull the needle all the way through.

4. Pull the thread firmly around the needle; pull the needle and thread down though the fabric.

Finished Chinese knot

This detail stitch can also be

worked off the tip of a border or

base row stitch.


floss, or silk embroidery ribbon of

any size

1. Come up through the fabric; hold the thread toward you.

2. Pinch the thread between your thumb and forefinger, twist your wrist away from you, and fold the loop next to the fabric.


Christen’s Shisha MirrorSuitable for: twisted threads

G

F

H

E

Secondstitch

Secondstitch

4. Turn the mirror diagonally from left to right. Come up at E and go down at F; stitch a second line close to this one. Come up at G and go down at H; stitch a second line close to this line.

I

5. For the spokes, come up at I next to the base of the mirror. Take the needle over the grid, away from you.

6. Thread the needle through the center opening. Pass the needle under all the threads, coming back toward you.

J

7. Pull the thread to form a stitch around the grid threads. Go down at J, about 1/4˝ from the mirror.

8. Continue to add spokes around the mirror. I suggest a short-long stitch pat-tern, with the longer stitch about 3/8 .̋ The base grid should be completely cov-ered when you are done.

Finished Christen’s shisha mirror

1. Place a dab of Tacky Glue on the back of the mirror. Place the mirror on the fabric and allow the glue to dry thoroughly.

A

B

Second stitch

2. For the base grid, come up at A and go down at B. Stitch a second line close to this one.

C D

Second stitch

3. Come up at C and go down at D. Stitch a second line close to this line.

111 FloRal GaRDen JeWelRy HolDeR

Floral Garden Jewelry Holder


A perfect little pouch for that precious piece of jewelry, this project combines silk fabrics, ribbons, and threads.

For the stitched designs, I’ve used a combination of perle cotton by Finca, buttonhole twist by YLI, Silk Mori floss from Kreinik, and rayon floss from DMC.


Materials

� 1/4 yard 40 -̋wide solid-color silk or cotton fabric in color A

� 1/8 yard 40 -̋wide solid-color silk or cotton fabric in color B



� 1 yard 3/8 -̋wide velvet, grosgrain, or satin ribbon in color H

� 1 skein each of perle cotton in colors A, C, D, E, G, and I

� 1 skein each of cotton floss in colors A, B, C, D, E, F, and G

� 1 card each of buttonhole twist in colors A, B, D, and H

� 1 skein each of rayon floss in colors A and D

� 1 skein each of variegated Wildflower thread in colors D and H

� 1 reel of Japan thread in gold, silver, or copper

� 1/4 yard cotton batting

� 1 button, 1/2˝ diameter

� 11/2 yards silk rouleau or rayon cord in color A

SEWING1. Place the muslin cut from the

template on your work surface.

Position the 31/4˝ × 7˝ fabric B strip

in the center of the muslin, right side

up, with the 31/4˝ fabric edge aligned

with the bottom straight edge of

the muslin.

2. Pin a 21/2˝ × 7˝ fabric A strip, right

side down, aligned along a raw edge

of the fabric B strip. Sew together

using a 1/4˝ seam. Press open.

3. Follow Step 2 to attach the

remaining strip of fabric A to the

other side.

4. Pin a 7˝ length of ribbon over

each seam. Stitch along both edges

of the ribbon pieces.

RibbonFabric B

Fabric A

Muslin

Sew ribbon over the seams.

Fabrics, threads, and ribbon

Color A Light pinkColor B Medium pinkColor C Shell pinkColor D LilacColor E YellowColor F CeleryColor G TurquoiseColor H Olive greenColor I Light blue

� 6 charms (optional)


CuttingThe jewelry pouch template is on

page 116. Enlarge 140%.

From fabric A:

� 2 pieces 21/2˝ × 7˝ � 1 piece using the jewelry pouch

template for lining

From fabric B:

� 1 piece 31/4˝ × 71/4˝

� 1 piece 31/4˝ × 7˝

� 1 piece 3˝ × 81/4˝

From the other materials:

� 1 piece of muslin using the jew-

elry pouch template

� 2 pieces of ribbon 7˝ long and

1 piece of ribbon 71/4˝ long

� 2 pieces of interfacing using the

jewelry pouch template

� 1 piece of batting using the jew-

elry pouch template


5. Pin the 31/4˝ × 71/4˝ fabric B

piece to the pieced strips, right

sides together, with raw edges

aligned at the top of the strips.

Join with a 1/4˝ seam; press open.

6. Pin the 71/4˝ piece of ribbon

over the seam; stitch both ribbon

edges in place.

7. Flip the piece to the wrong

side and trim the fabric, using the

edge of the muslin as a guide.

8. Iron the interfacing to the

wrong side of the muslin.

3. Large whip-stitch rose

variation 2—for base, color A,

perle cotton; for petals and center,

1 strand each of color B, but-

tonhole twist, and color C, perle

cotton, and color A, rayon floss;

for Chinese knots, color B, button-

hole twist

4. Large whip-stitch rose

variation 2—for base, color D,

perle cotton; for petals and center,

color D, 3 strands of cotton floss

and rayon floss; for Chinese knots,

color D, 1 strand of rayon floss

5. Feather fern—color H,

Wildflower thread

6. Spiderweb rose—for base,

color A, perle cotton; for petals,

colors A, B, and C, 3 strands each

of cotton floss


6 strands of cotton floss

8. 2-wrap French knot—color B,



color A, perle cotton; for petals,

colors A, D, and E, 3 strands each

of cotton floss




color D, 3 strands of cotton floss

12. Buttonhole rose—for center,

color G, perle cotton; for petals,

color D, Wildflower thread


buttonhole twist


color C, perle cotton

15. Tatted posy—color D, but-

tonhole twist






STITCHES USED

� Couched Japan thread (page 99)

� Whip-stitch rose variation 2 (page 102)

� Feather fern (page 100)

� Spiderweb rose (page 103)



� Buttonhole rose (page 106)

� Tatted posy (page 108)

� Petite twisted rose (page 103)

Ribbon

Fabric B

Fold line

Sew ribbon over the horizontal seam and trim the top edge.




1. Japan thread—couched in

1 strand of cotton floss color G

2. Large whip-stitch rose varia-

tion 2—for base, color A, perle

cotton; for petals and center,

1 strand each of colors A and

B, buttonhole twist, and color

A, rayon floss; for Chinese knots,

color A, buttonhole twist



A, buttonhole twist

19. Petite twisted rose—colors

A, B, and C, 3 strands each of

cotton floss

7

7

8

8

6

19

7

7

8

8

6

19

20

4

33

18

20

20

5

20

21

Foldline

20

15&1616

17

18

Button placement

1413

1214

13

12

10 1197 86181

18

1

15&16127

4

86

13&1413&14 996

10517

18

21

10

2

23

11

11

8715&16

125

18

10 11 9 5 6 8 7 5

¼˝ seamallowance

15&16 15&162318 1717

1 1


C, perle cotton

21. Stitch the charms in place

using 1 strand of cotton floss.

Stitching diagram

22. Sew the button in place.


ASSEMBLY1. Iron the interfacing to the

wrong side of the lining. Use the

jewelry pouch template to cut a

piece from the interfaced lining.

2. Place the batting cut from

the template on the work surface.

Place the lining right side up and

the embroidered base right side

down over the batting.

3. Pin around the edges through

all the layers; don’t pin the bottom

straight edge.

4. Stitch a 1/4˝ seam around the

outer edge, leaving the bottom

edge open. Trim the batting close

to the seam and clip the curves.

Leave open.

Trimbatting.

Clip curves.

Trim the batting and clip the curves.

5. Turn the jewelry holder right

side out, using a turning tool to

smooth the curved edges.

6. Fold the width of the 3˝ × 81/4˝

strip in half and press the fold.

7. Pin the raw edge of the folded

11/2˝ × 81/4˝ strip even with the

bottom straight edge of the

embroidered base.

Attach the fabric strip.

8. Fold and pin the raw edges

over the sewn edges. Pin the fold

to the lining.

9. Thread a small, sharp needle

with thread and hand stitch the

fold of the strip to the lining.

10. Turn up the straight edge of

the pouch to the fold line marked

on the template. Pin the side

edges together.

11. With sewing thread, hand-

stitch the sides closed with the

ladder stitch (page 65).

Cording1. Pull out 1˝ of the inner core at

one end of the silk rouleau. Tuck in

the raw edges and tie a knot close

to the folded edge.

2. Thread a needle with Wild-

flower thread in color H. Couch

the cord (page 22) to the outer

edges of the jewelry pouch,

starting at the bottom of one

side seam.

3. Work around the outer edge,

creating a loop in the center of the

flap for the button, as shown. Stop

about 11/2˝ before the end of the

second side.

4. Cut the rouleau, leaving 1˝

more than needed. Repeat Step 1.

Tuck underraw edges.

Tuck underraw edges.

Button

Binding

Loop opening

Knot

Knot

5. Finish couching the rouleau

to the edge of the jewelry case.

Knot the thread and bury the tail

through the lining.

tipAs an alternative, you can

create a button loop by folding

the rouleau into a loop and

then catching the center of the

loop with a stitch.

Fold line

Floral Garden Jewelry Holder Template

Cut 1 from muslin.Cut 2 from interfacing.

Cut 1 from batting.

Enlarge 140%.Fold line

Jewelry pouch template


117 FRaMeD laCe WallHanGinG

Framed lace Wallhanging

Finished size: 10˝ × 10˝

A solid-color bengaline fabric is the base for this wallhanging. Precious scraps of vintage lace are used to create center and outer

frames. For the stitching, I’ve used a combination of cotton floss and perle cotton from Finca and Anchor, as well as Soie Cristale by the Caron Collection.


MaterialsChoose a solid celery-colored silk,

moiré, bengaline, or cotton fabric.

Color A Light olive

Color B Medium olive

Color C Dark olive

Color D Light pink

Color E Medium pink

Color F Dark pink

Color G Magenta

Color H Light coral

Color I Medium coral

Color J Dark coral

Color K Copper

CuttingFrom the fabric:

� 1 square 12˝ × 12˝

� 1 square 10˝ × 10˝

From the lace:

� 4 pieces of 13/4˝ lace, 6˝ long

� 4 pieces of 11/2˝ lace, 9˝ long

From the other materials:

� 1 square of interfacing 12˝ × 12˝

� 1 square of batting 10˝ × 10˝

� 1 square of fast2fuse 10˝ × 10˝

� 4 pieces of bias ribbon 3˝ × 12˝

� 1 piece of satin ribbon 3˝ long � 1/2 yard 40 -̋wide silk, moiré, or bengaline fabric, in color A

� 11/2 yards of 13/4 -̋wide flat-edge lace

� 2 yards of 11/2 -̋wide flat-edge lace

� 1 skein or ball each of perle cotton #8 in colors A, B, C, E, F, G, H, and I

� 1 skein of cotton floss in colors A, C, D, E, G, and I

� 1 skein each of silk floss in colors B, C, I, and J

� 1 reel of buttonhole twist in colors A and C

� 1 spool of fine braid #8 in color K

� 1 spool of Japan thread in color K

� 1 skein of metallic floss in color K

� 1/2 yard lightweight interfacing


� 1/2 yard fast2fuse

� 2 yards of 1˝ silk bias ribbon to match the fabric

� 1/4 yard of 3/8˝ satin ribbon

� 16 buttons in 3/8˝–1/2˝ diameters

� 9 butterfly charms and 4 bee charms

� Sewing thread to match the fabric and lace

� 2 yards silk rouleau in color I (optional)


SEWING1. Place 2 pieces of 13/4˝ lace right sides together.

2. Along the inner edge, measure down from the

end the same distance as the lace width; mark with a

chalk pencil. Draw a diagonal line from this point to

the outer tip of the lace.

3. Sew along the marked line, using a small

stitch; backstitch at the beginning and end. Trim

off the excess lace. Press the seam flat to create a

mitered corner.

Outer edge

Inner edge

Mark and sew

diagonal.

Cut near

seam.

Widthof lace

Rawedges

Stitch diagonally across the corner.

4. Repeat the same process for the 3 remaining

corners. You will end up with a square lace frame.

Complete the frame.

5. Apply the gluestick lightly to the wrong side of

the lace frame.

tipDraw a chalk mark diagonally from corner to

corner of your fabric square in both directions.

Align the mitered corners of each lace frame

with these points.

6. Pin the lace frame in the center of the 12˝ × 12˝

fabric square. Hand stitch around the outer and inner

edges of the lace.

7. Repeat the same process with the 4 pieces of 11/2˝

lace, pinning the second lace frame around the center

lace frame. Hand stitch around the outer and inner

lace edges.

Fabric

Lace frame

Lace frame

Chalk line

Chalk line






STITCHES USED

� Couched Japan thread (page 99)

� Tatted rose (page 108)

� Feather fern (page 100)




� Chinese knot (page 109)

� Fly stitch leaf (page 100)

� Spiderweb rose (page 103)

� Petite twisted rose (page 103)



� Bullion posy (page 104)

� Cast-on buttonhole stitch (page 105)

� Cherry blossoms (page 106)

� Lazy daisy knot tip (page 56)

� Feather stitch (page 75)

� Whip-stitch rose (page 101)

� Buttonhole rose (page 106)

� Tatted posy (page 108)

� Cast-on buttonhole stitch (page 105)

� Open chain stitch (page 99)

9. Petite twisted rose—colors

D, E, and G, 3 strands each of

cotton floss

10. Lazy daisy stitch—color A,


11. Colonial knot—color G,


12. 25-wrap bullion posy,

5 petals—color H, perle cotton

13. Colonial knot—color F,

perle cotton

14. 15-knot cast-on buttonhole

stitch—color B, perle cotton


perle cotton

16. Cherry blossoms—color H,

perle cotton

17. Lazy daisy knot tip—color C,

6 strands of silk floss

18. Colonial knot—color A, but-

tonhole twist

19. Feather stitch—color C, but-

tonhole twist

20. Colonial knot—color I,

perle cotton

These are options for additional

stitches to use on the patterns in

the lace frame:

� Open chain stitch—color A,

perle cotton

� Chinese knot—color K, braid #8

Outer Edges of Frames1. Couched Japan thread—color

K with color C, 1 strand of silk floss.

Follow the outline of your lace.

Inner Frame2. Tatted rose—for center, color

F, perle cotton; for petals, color E,

perle cotton

3. Feather fern—color B,

perle cotton

4. 3-wrap French knot—color B,

perle cotton

5. Large whip-stitch rose varia-

tion 1—for base, color I, perle

cotton; for center ring, color I,

6 strands of silk floss; for outer ring,

color J, 6 strands of silk floss; for

center detail, three-wrap French

knot, color B, 6 strands of silk floss;

for outer detail, Chinese knot,

color B, 3 strands of silk floss

6. Medium whip-stitch rose

variation 2—for base, color I, perle

cotton; for petals, colors G and I,

1 strand of perle cotton; for center

detail, 3 Chinese Knots, color

G, perle cotton; for outer detail,

Chinese knot, color I, perle cotton

7. Fly stitch leaf—color C,

perle cotton


color G, perle cotton; for petals,

colors D, E, and G, 3 strands each

of cotton floss


Outer FrameFor the outer frame, continue

working the stitches in the

order listed.

21. Large whip-stitch rose—

for base and petals, color G, perle

cotton; for center detail, 3-wrap

French knot, color B, 6 strands of

silk floss; for outer detail, Chinese

knot, color B, 3 strands of silk floss

22. Medium whip-stitch rose

variation 1—for base, color E, perle

cotton; for center ring, color I,

6 strands of cotton floss; for outer

ring, color E, 6 strands of cotton

floss; for center detail, 3-wrap

French knot, color E, perle cotton;

for outer detail, Chinese knot,


23. Fly stitch leaf—color B,

perle cotton

24. Buttonhole rose—for center,

color H, perle cotton; for petals,

color I, perle cotton

49

31

44 43

43

50

50

50

5050

43

44

4047

3938

42

4138

43

50

50

49

49

49

49

42

16

43

47

4122

22 21

2326

2424

48

25 330

50

50 49

40

38

38

39

153

4

2

22

1

10

119 15

47

33

32

6

6

5

7 31

30

48

42

16

29

27

27 28

50

49

34464535

3736

35

35

22

2221

7

6

6

5

50

47

5

49

50

30

48

27

2728

29

3233

4826

35

3535

3036

34

37

31

2324

24

25

50

15

20

19

6

6 5

7

15

98

88

1011

1718

16

1718

1615

14

1213

1213

14

Fabric

Outer frame

Inner frame

Stitching diagram


25. Buttonhole rose—for center, color H, perle

cotton; for petals, color F, perle cotton

26. Lazy daisy stitch—color C, 6 strands of

cotton floss


cotton; for petals, color E, perle cotton


cotton; for petals, color G, perle cotton

29. Lazy daisy stitch—color B, 6 strands of

cotton floss

30. 3-wrap French knots—color H, perle cotton

31. Colonial knot—color A, buttonhole twist

32. 13-knot tatted posy, 3 petals—color G,

perle cotton

33. Colonial knot—color D, 6 strands of

cotton floss

34. 15-knot cast-on buttonhole stitch—color A,

perle cotton

35. Spiderweb rose—for base, color E, perle

cotton; for petals, colors D, E, and I, 3 strands each

of cotton floss

36. Lazy daisy stitch—color A, 6 strands of

cotton floss

37. Colonial knot—color E, 6 strands of cotton floss

38. 25-wrap bullion posy, 5 petals—color F,

perle cotton

39. 25-wrap bullion posy, 5 petals—color E,

perle cotton

40. Colonial knot—color G, perle cotton

41. 15-knot cast-on buttonhole stitch—color A,

perle cotton

42. Cherry blossoms—color I, perle cotton

43. Lazy daisy knot tip—color C, 6 strands of

silk floss

44. Colonial knot—color A, buttonhole twist

45. Lazy daisy stitch—color K, 1 strand of

metallic floss

46. Chinese knot—color K, braid #8

47. Feather fern—color C, buttonhole twist

48. Open chain stitch—color A, buttonhole twist

49. Buttons—color K, braid #8

50. Charms—color C, 1 strand of cotton floss

Outer Frame OptionsIf you wish, the outer edge of the outer lace frame

can be embellished further:

Repeat stitches 43 and 44.

Following the tatted posy diagram (page 108), work

three-petal cast-on buttonhole stitch posies in

colors G, H, F, E, and I, using perle cotton. Work lazy

daisy and colonial knot stitches in color B, using

perle cotton.

ASSEMBLYFollow the directions for Assembly and Adding a

Hanger for the Lovely Silk Gardens Wallhanging

(page 96). In Assembly Step 4, use the 10˝ × 10˝

squares of fabric, fast2fuse, and batting.

123BeaD eMBRoiDeRy

Bead embroideryIn recent years, bead embroidery has expanded from its basic roots to

encompass embroidery stitches that resemble traditional embroidery stitches. The techniques in this chapter include a combination of basic stitches and

stitches that I have created. Twenty stitches are described and are incorporated in two projects: Bitty Beaded Beauty Purse (page 135) and Beautiful Beaded

Blooms Wallhanging (page 143).


the StitchesThe directions that follow list suggested beads and sizes. See Beads and Embellishments

(page 32) for guidelines on which beads are appropriate; for suggested needles, see

Embroidering with Confidence (page 41).

CONTINUOUS BEAD STITCH

BEADED VINE

LAZY DAISY STITCH

LAZY DAISY VARIATION

LAZY DAISY LOOP

LAZY DAISY FLOWERS

BEADED STAMEN

SUNFLOWER

BUTTON ROSE

FRENCH ROSE

SEQUIN ROSE

SEQUIN ROSE VARIATION

FLAT LEAF

LAZY DAISY LEAF

STACKED BEAD CENTER

PICOT TIP

BEAD CASCADE

SINGLE BEAD

BEAD COMBINATIONS

CHARMS

All of the stitches in the sampler and in the following directions were worked in size 11° seed beads, unless otherwise noted.

NOTE

In most cases, the drawn pencil line in the following instructions represents the stitching line or fabric seam-line. The stitches can be worked along the seam, to one side of the seam, in the center of a piece of fabric, or on the finished edge of a fabric shape. In some cases, the drawn lines form the outer edge of a shape or the posi-tions of flower petals.

125BeaD eMBRoiDeRy

Continuous Bead StitchThis stitch forms a thin solid line of beads that can be used as a straight

or curved border or base row (for a curved line, use 4 beads instead of 6).

Suitable for: seed, hex, tube, triangle, or square beads of all sizes

D

5. End the row with any number of beads (6 or fewer). Go down at D at the last bead. Repeat Step 3. Knot and cut the thread end.

Finished continuous bead stitch

BEADED VINESuitable for: seed, hex, tube, or

triangle beads in size 11° or 15°

A

1. Work a curved row of continuous beads (as described above), using 4 beads instead of 6. Come up at A and go through the first 2 beads at the beginning of the row.

2. Thread 9 beads onto the needle for the leaf loop. Take the needle back through the second bead in the vine.

B

3. Go down at B through the bead on the opposite side of loop; knot the thread.

C

4. Skip 1 bead; come up at C and go through the next 2 beads in the row.

5. Continue adding beads in the same way. Stop stitching 2 or 3 beads before the end of the row to complete the beaded vine.

A

1. Come up at A. Thread 6 beads onto the needle and pass the beads down flat against the fabric.

B

2. Go down at B, just beyond the last bead.

C

3. Come up at C, between the third and fourth beads in the row. Take the needle through the remaining beads in the row.

4. To continue stitching the row, repeat Steps 2 and 3.


lazy Daisy StitchThe lazy daisy stitch can be worked in by itself or be combined with


Suitable for: seed, hex, or triangle beads in size 6° or 8°; 11° or 15°

4. Lay the loop of beads flat against the fabric. Insert the tip of the needle into the middle bead to arrange the beads; remove the needle.

D E

5. Stitch up through the fabric at D, to the left of and through the middle bead. Go down at E; knot and cut the thread.

Finished lazy daisy stitch

LAZY DAISY VARIATION

1. Follow Steps 1–3 (left) for the lazy daisy stitch, using 1 size 8° and 10 size 11° beads.

C

2. Lay the row of beads flat against the fabric. Come up at C, inside the bead loop.

D

3. Thread 5 size 11° beads onto the needle and pass them down to the fabric inside the loop. Go down at D; knot and cut the thread.

Finished lazy daisy variation

A

1. Come up at A. Thread 1 size 8° bead and 11 size 11° beads onto the needle and pass them down to the fabric.

B

2. Take the needle back through the size 8° bead. Go down at B.

C

3. Come up at C, inside the loop and to the edge of the size 8° bead. Repeat Step 2; knot the thread.

127BEAD EMBROIDERY

LAZY DAISY LOOPSuitable for: seed, hex, or triangle

beads in size 8°, 11°, or 15°

A

1. Come up at A. Thread 12 size 11° beads onto the needle and pass them down to the fabric.

B

2. Take the needle back through the first size 11° bead. Go down at B; knot and cut the thread.

Finished lazy daisy loop

LAZY DAISY FLOWERS

5-petal lazy daisy variation (A), 6-petal lazy daisy stitch (B), and 7-petal lazy daisy loop

tip � Stitch a stacked bead

(page 133) as a flower center and then stitch the petals around it.

� When working with an uneven number of beads in a looped stitch, use the needle to pull the middle bead to a point. Remove the needle to finish the stitch.

Beaded StamenSuitable for: seed, hex, tube, tri-

angle, or square beads of all sizes

1. Come up through the fabric. Thread on 3–5 size 11° beads, a size 8° bead, and a size 15° bead; pass them down to the fabric.

2. Holding the size 15° seed bead apart, thread the needle back through the 8˚ and 11° beads. Go down through the fabric.

3. Insert the needle into the size 15° seed bead to pull the thread tight; then remove the needle. Knot and cut the thread.

Finished beaded stamen


SunflowerThis stitch can be worked as a



Suitable for: seed, hex, or triangle

beads in sizes 8°, 11°, and 15°;

1/2 -̋diameter shank button

1. Stitch the button shank to the base 2 or 3 times with beading thread; knot the thread.

A

2. Come up at A, close to the shank. Thread enough size 8° seed beads (about 11 or 12) onto the needle to fit around the shank.

B

3. Take the needle back through the first 2 beads. Go down at B; knot the thread.

C

4. Come up at C, through 1 bead in the loop.

5. Thread 7 size 11° beads, 1 size 8° bead, and 1 size 15° bead onto the needle. Pass them down to the size 8° bead in the loop.

6. Holding the size 15° seed bead, thread the needle back through the size 8° seed bead. Insert the needle into the size 15° seed bead and pull the thread tight.

7. Thread 7 more size 11° seed beads onto the needle and pass them down to the size 8° bead in the petal. Take the needle back through the same size 8° seed bead in the bead loop (in the same direction).

D

8. Go down at D; knot the thread. Repeat Steps 4–8 for each remaining size 8° seed bead in the original loop; knot and cut the thread end after the last petal.

Finished sunflower

129BEAD EMBROIDERY

Button RoseSuitable for: seed, hex, or tri-

angle beads in sizes 8° and 11°;

1/2 -̋diameter shank button

1. Follow Steps 1–3 for the sunflower (page 128).

C

2. Come up at C, through 1 of the size 8° beads in the loop.

3. Thread 11 size 11° beads onto the needle; pass them down to the size 8° bead. Take the needle back through the same size 8° bead in the loop (in the same direction).

D

4. Go down at D; knot the thread.

5. Repeat for each remaining size 8° bead in the loop.

6. Repeat Step 2, going through the same bead that started the first row of petals.

7. Thread 9 size 11° beads onto the needle; pass them down to the size 8° bead in the loop, resting them on top of the previous row of petals. Take the needle back through the same size 8° bead and the next bead in the loop (in the same direction).

8. Repeat Step 7 for the remaining size 8° beads in the loop. After the last petal, go down through the fabric; knot and cut the thread.

Finished button rose


French RoseSuitable for: seed, hex, or triangle

beads in size 8°, 11°, and 15°

1. Work 7 stacked bead centers (page 133) with size 8° and 15° seed beads. Knot the thread.

center

1

4

52

3

6

The numbered lines show the length and position of the petals.

A

B

2. Come up at A and thread 8 size 11° beads onto the needle; pass them down to the fabric. Go down at B and knot the thread.

C

3. Come up at C, close to and behind the center of the previous stitch.

D

4. Thread 6 size 11° beads onto the needle, pass them down to the fabric, and go down at D; knot the thread.

D

5. Continue to stitch the petals by repeating Steps 3 and 4. Point D of the last stitch is worked inside the first stitch, close to the center. Knot and cut the thread.

Finished French rose

131BEAD EMBROIDERY

Sequin RoseSuitable for: seed beads and

sequins in size 11°

1. Draw a 1/2 -̋diameter circle onto the fabric.

2. Come up through the fabric on the line. Follow the directions for making a stacked bead center (page 133), using a sequin for the base and a size 11° bead.

3. Repeat Step 2, stitching around the entire circle.

4. Come up inside the first row of sequins.

5. Stitch a sequin inside the first row, following Step 2. Stitch 3 more sequins.

Finished sequin rose

SEQUIN ROSE VARIATION

Follow the directions for the sequin rose, but stitch bead cascades (page 133) around the circle to complete the sequin rose variation.


Flat leafThis can be worked as an indi-

vidual stitch or be combined with




beads in size 6°, 8°, 11°, or 15°

A

1. Come up at A. Thread an even number of size 11˚ seed beads onto the needle—22 for a large leaf, 18 for a medium leaf, 14 for a small leaf, and 10 for a tiny leaf—and pass them down to the fabric.

2. Follows Steps 1 and 2 of the lazy daisy loop (page 127), using the chosen number of beads. Knot but do not cut the thread.

3. Follow Steps 4 and 5 of the lazy daisy stitch (page 126); do not cut the thread.

C

B

4. If you want to keep the loop straight, come up at B and go down at C. Pull the thread so that it goes between a pair of beads in each row; pull firmly so the thread doesn’t show. Knot and cut the thread end.

Finished flat leaf

lazy Daisy leafYou can work the lazy daisy leaf

as an individual stitch or com-

bine it with other stitches to


component.


beads in size 8°, 11°, or 15°

A

1. Come up at A. Thread 16 size 11° beads onto the needle.

B

2. Take the needle back through the first 3 beads. Go down at B; knot the thread.

3. Follow Steps 4 and 5 for the lazy daisy stitch (page 126). Knot and cut the thread.

Finished lazy daisy leaf

133BeaD eMBRoiDeRy

Stacked Bead CenterThis can be stitched as a flower center or other design component.

Suitable for: base bead, larger beads (3mm and larger), sequins, rondels,

seed beads in sizes 6° and 8°; stopper bead to cover the hole of the large

bead without falling through, seed beads in sizes 6°–15°

PICOT TIPThis is a variation of the stacked

bead center. Use the same beads

as suggested for that technique

(left).

1. Come up through the fabric at the base bead; thread 3 smaller beads onto the needle, and pass them down to the base bead.

2. Take the needle back through the base bead and the fabric. Finish as in Steps 3 and 4 of the stacked bead center (left). Knot and cut the thread.

Finished picot tip

BEAD CASCADEThis is a variation to the stacked

bead center. Use the same beads

as suggested for that (left).

1. Come up through the fabric and base bead or sequin; thread 5 smaller beads onto the needle, and pass them down to the base bead.

2. Go down through the fabric beyond the base bead or sequin. Knot and cut the thread end to complete the bead cascade.

1. For the base, come up through the fabric and a larger bead.

2. Thread a stopper bead onto the needle and down to the larger bead.

3. Take the needle back through the base bead and fabric.

4. Insert the tip of the needle into the smaller bead to adjust its position; remove the needle. Knot and cut the thread end.

A

BC

D

A: 1 size 6° and 1 size 11° seed bead; B: 1 size 8° and 1 size 15° seed bead; C: 1 sequin and 1 size 11° seed bead; D: 1 6mm bead and 1 size 11° seed bead


Single BeadThis can be stitched as a flower

center or other design component.

Suitable for: seed, hex, tube, tri-

angle, or square beads of all sizes

A

1. Come up at A. Thread a bead onto the needle and pass it down against the fabric.

B

2. Go down at B, beyond the edge of the bead.

3. Bring the needle through the bead a second time and then go down again; knot and cut the thread end.

Finished single beads: Row 1—15°, 11°, 8°, 6° seed beads; Row 2—size 6 bugle bead, 11° triangle, 10° hex, 4mm square bead

BEAD COMBINATIONSuitable for: seed, hex, tube, tri-

angle, or square beads of all sizes;

choose 2 different colors and bead

sizes or shapes

1. Follow the same steps as for the single bead (left), using a group of 3 beads of different sizes or shapes, threading them on the needle at the same time. Knot but do not cut the thread.

D

C

2. Come up at C, between large and small beads. Go down at D to couch the bead thread. Couch on the other side of the large bead. Knot and cut the thread.

AD

B

C

A: 1 size 8°, 1 size 6°, and 1 size 8° seed bead; B: 1 size 11°, 1 size 8°, and 1 size 11° seed bead; C: 1 size 10° hex bead, 1 size 4° square bead, and 1 size 10° hex bead; D: 1 size 8° seed bead, 1 size 6 bugle bead, and 1 size 8° seed bead

Charms and larger Beads

For a charm or bead with a side-to-side hole, stitch in place with a size 8° seed bead on either side of the charm. Follow the directions for bead combinations (left).

For a charm or bead with a front-to-back hole, stitch through the charm, add a group of size 11° seed beads, and go down through the fabric. Knot and cut the thread end.

For a charm or bead with a top-to-bottom hole, stitch in place with a size 11° seed bead on either end of the charm. Follow the directions for bead combinations (left).

135 Bitty BeaDeD Beauty PuRSe

Bitty Beaded Beauty Purse

T his tiny purse makes the perfect little evening bag, or it could be used as a gift bag for a

trinket that you are giving to a special friend. A subtle cotton batik fabric is combined with satin ribbons and beads—lots of them!

Finished size: 4˝ × 81/8˝


Color A Light amethyst

Color B Medium amethyst

Color C Dark amethyst

Color D Light aqua blue

Color E Light green

Color F Teal green

MaterialsUse a subtle batik fabric for the purse; for the beads,

choose colors that are in the batik or that will com-

plement the batik.

CuttingThe templates are on pages 141 and 142. Enlarge the

back / front flap template 135%.

From the fabric: � 2 pieces using the back/front flap template

� 2 pieces using the front template

From the batting: � 1 piece using the back/front flap template

� 1 piece using the front template

From the ribbon: � 3 pieces 91/2˝ long

� 3 pieces 51/2˝ long

Beads and other components

� 1/4 yard batik fabric


� 1 package or tube each of size 11° seed beads in colors A, B, C, D, E, and F

� 1 package or tube each of size 8° seed beads in colors A, B, and F

� 1 package or tube of size 6° seed beads in color D

� 1 package or tube of size 15° seed beads in color C

� 1 package of sequins in color B

� 6 flower rondels, size 8mm, in color A

� 19 round beads, size 4mm, in color A

� 10 leaf charms with side-to-side holes, size 12mm × 6mm, in color F

� 10 leaf charms with front-to-back holes, size 10mm, in color E

� 11/2 yards of 1/4˝ satin ribbon in color A

� 11/2 yards of silk rouleau in color A

� 1 button, 3/4˝ diameter

� Sewing thread to match the fabric

SEWING1. Lay the batting piece cut from the back / front flap

template on your work surface. Place a piece of fabric

cut from the same template on the batting, right side

up. Pin.

2. Machine baste around the edges of the 2 layers.

3. Use a chalk pencil to draw a line down the center of

the piece; draw a line 1˝ to each side of the center line.

Mark the fabric.


4. Place a 91/2˝ piece of ribbon

over the center line. Machine

stitch or zigzag the edges of the

ribbon. Sew the remaining 2 pieces

of ribbon over the other 2 lines.

5. Turn the fabric over and trim

off the excess ribbon.

6. Follow the same steps for the

fabric and batting cut from the

front template, using the 3 pieces

of 51/2 -̋long ribbon.

10

9

9

9

9

3 3

33 3 3

6

6

6

11

11

10 9

9

9

6

5

5

6

6

12

11

11

11

11

10

10

6

6

8

1½˝

1½˝

¼˝

Top �ap

Bottom

10

10

11

1111

11

11

10

1

4

2

11

119

11

99

4

7

Fold line

Back/flap stitching diagram

DIAGRAM OUTLINEPurse Back / Front Flap1. Straight beaded vine—colors F and D, size 11° bead


� Straight beaded vine (page 125)

� Bead combination (page 134)

� Single bead (page 134)

� French rose (page 130)

� Lazy daisy variation 1 (page 126)

� Sequin rose (page 131)

� Stacked bead (page 133)

� Continuous bead stitch (page 125)

� Bead cascade (page 133)

Using the stitching diagram

as a reference guide, work the

stitches in the following order.


NOTE

Stitch the group of beads and charms together and then stitch through a second time. Couch between the size 11° bead and the charm.

NOTE

On the bottom portion, stitch a 11/2˝ continuous row. Leave a 1/4˝ space and then stitch another 11/2˝ continuous row.

2. Bead combination—color A,

3 size 11° beads; color B, 1 size

8° bead

3. Single bead—color F,

leaf charm

4. Single bead—color A,

size 4mm bead

5. French rose—for center, color

A, size 8° bead, and color C,

size 15° bead; for petals, color B,

size 11° bead

6. Lazy daisy variation 1—color F,

size 8° bead; color E, size 11° bead

7. Sequin rose—color B, sequin;

color C, size 11° bead

8. Bead combination—color F,

size 11° bead; 2 leaf charms; color F,

size 11° bead

9. Stacked bead—color D, size

6° bead; color F, size 11° bead

10. Stacked bead—color A,

rondel; color C, size 15° bead

11. Stacked bead—color B,

sequin; color C, size 11° bead

PURSE FRONTFor the purse front, work the

stitches in the following order.

1. Continuous bead stitch—

color F, size 11° bead

2. Bead cascade—color E, leaf

charm; color C, 7 size 15° beads

3. Stacked bead—color B, sequin;

color C, size 11° bead

4. Single bead—color A,

size 4mm bead

5. Use sewing thread to stitch the

button in the center of the ribbon,

11/2˝ up from the bottom edge.

1

42 3

3

3

3

3

3

5

3

3

3

3

2

2

2

2

2

4

4

4 4

4

4

4

4

1

Buttonplacement

Front stitching diagram


ASSEMBLY1. Place the remaining fabric piece cut from the

back/front flap template on your work surface, right

side up. Place the embroidered piece on top, right

side down.

2. Mark the side opening indicated on the template.

Pin around the edges through all layers.


opening free. Trim the batting close to the seam. Clip

the seam allowance 1/8˝ from the side opening, clip-

ping through all layers. Clip the curves.Le

ave

open

4. Turn right side out, using a turning tool to

smooth the curved edges. Press flat.

5. Hand stitch the opening shut using the ladder

stitch (see drawing, page 65).

6. Place the remaining piece of fabric cut from the

front template on your work surface, right side up.

Place the stitched piece front piece on top, right

side down.

7. Pin around the edges through all the layers,

leaving the short straight edge open.


opening free. Trim the batting and clip the curves.

Turn right side out, smoothing the curves.

9. Press the raw open edges under 3/8 .̋ Topstitch

across the seam.

Topstitch to close the opening.

10. Pin the 2 purse pieces together, lining side in.

With sewing thread, hand stitch the sides closed with

the ladder stitch (page 65).


CORDING1. Pull out the inner core of the silk rouleau 1˝ at

one end. Tuck the raw edges into the center.

2. Tie a loose knot 3˝ from the fold. Pin the knot to

the bottom of the purse.

3. Lay the rouleau against the seam. Follow the

directions in Couching with Beads (page 21), using

the size 11° color A beads. Stop about 11/2˝ before the

other end.

4. Cut the rouleau 4˝ longer than needed. Pull out

the inner core for 1˝ at the end; tuck the raw edges

into the center.

5. Slip the tail into the original knot; pull tight.

6. Knot the thread and bury the tail through

the lining.

Lining

Back/Front Flap

Front

Couch around the edge with rouleau and beads.

Button Loop1. Bring a needle up through the lining of the front

flap; knot the thread.

2. Thread onto the needle a size 8° bead and

enough size 11° seed beads to form a loop for the

button. Bring the needle back through the size 8°

bead. Knot the thread.

3. Stitch through the loop a second time to

strengthen it. Knot the thread and bury the tail

through the lining.

Front

BeadedBack/Front Flap

Purse front with beaded loop

Fold line

Back/Front FlapTemplate


Cut 2 pieces from fabric.Cut 1 piece from batting.

Enlarge 135%.

Leav

e op

en.




Cut 2 pieces from fabricCut 1 piece from batting

Front Template

143 BeautiFul BeaDeD BlooMS WallHanGinG

Beautiful Beaded Blooms Wallhanging

Finished size: 13˝ × 13˝

M oiré fabrics are paired with lavish beading to create an opulent-looking wallhanging that hints

at an earlier era. You can embellish to your heart’s content on this project!


MaterialsChoose two solid colors of cotton, moiré, or silk fabric for the base.

Fabric, beads, and other components

Color A Light greenColor B Medium greenColor C Dark greenColor D Light pinkColor E Medium pinkColor F Victorian roseColor G Dark pinkColor H Light raspberryColor I Dark raspberryColor J CranberryColor K Antique goldColor L Light copper

� 1/2 yard solid fabric in color A

� 3/8 yard solid fabric, in color C

� 1/4 yard cotton print matching colors A and C

� 1/2 yard muslin


� 2 packages or tubes of size 11° seed beads in color A

� 1 package or tube each of size 11° seed beads in colors B, C, D, E, F, G, H, J, and K

� 1 package or tube each of size 8° seed beads in colors D, E, and G

� 1 package or tube each of size 6° seed beads in colors C and I

� 1 package or tube each of size 15° seed beads in colors A, D, G, I, and K

� 1 package or tube of size 8° hex seed beads in color B

� 1 package or tube of size 10° tube beads in color K

� 1 package or tube of size 15° hex beads in colors C and L

� 1 package each of sequins in colors E and K

� 48 size 3mm oval Czech beads in color A

� 4 size 8mm oval Czech beads in color J

� 8 size 10mm flower beads in color D

� 16 size 8mm flower rondels in color D

� 16 size 8mm flower buttons or charms in color J

� 12 size 10mm × 6mm flower beads with top-to-bottom hole in color D

� 12 size 8mm × 6mm flower beads with top-to-bottom hole in color J

� 2 size 15mm flower rondels in color C

� 10 size 15mm leaf beads in color C

� 20 size 12mm × 6mm leaf charms with side-to-side hole in color B

� 13 clear 3/8 -̋diameter buttons with shanks

� 8 butterfly charms in color K

� 1/2 yard heavyweight fast2fuse


� 10˝ dowel

CuttingFrom solid fabric A:

� 1 square 7˝ × 7˝

� 2 pieces 21/2˝ × 91/2˝

� 1 square 131/2˝ × 131/2˝

� 2 pieces 3˝ × 131/2˝ for binding (or cut from a cotton print)

From solid fabric C: � 1 square 7˝ × 7˝

� 2 pieces 21/2˝ × 131/2˝

� 2 pieces 3˝ × 15˝ for binding (or cut from a cotton print)

From the other materials: � 1 square of muslin 131/2˝ × 131/2˝

� 1 square of batting 131/2˝ × 131/2˝

� 1 square of fast2fuse 131/2˝ × 131/2˝

� 1 piece of cotton print 3˝ × 111/2˝


SEWING1. Cut the 7˝ × 7˝ squares of fabrics A and C in half

on the diagonal.

2. Pin a fabric A triangle to a fabric C triangle, right

sides together; sew a 1/4˝ seam along a short side.

Repeat with the remaining 2 triangles.

Fabric A

Fabric C

Join triangles of each fabric.

3. Sew the 2 sections together along the long

pieced side.

Fabric

A

Fabric

C

Fabric

C

Fabric

A

Join the sections to form a square.

4. Place the batting on your work surface; place the

muslin on top. Pin the pieced fabric square in the

center of the muslin.

5. Pin a 21/2˝ × 91/2˝ fabric A piece to each side of the

square, right sides together. Sew a 1/4˝ seam. Fold the

seam open and press.

6. Pin the 21/2˝ × 131/2˝ fabric C pieces at the top and

bottom edges of the square, right sides together. Sew

a 1/4˝ seam to attach. Fold open and press.

Fabr

ic A

Fabr

ic A

Fabric

A

Fabric

C

Fabric

C

Fabric

A

Fabric C

Fabric C

Sew strips to the top and bottom.

PREPARATION1. Using the seams between the center square and

the fabric strips as a guide, draw a chalk line 1˝ out

from the seam into the strips.

2. Draw a second chalk line 1˝ inside the seam in

the center square.

3. Draw a third chalk line 1˝ inside the second line.

Seam

line

Seam

line

Seamline

Seamline1

2

3

Draw guidelines for working the stitches.



� Continuous bead stitch (page 125)

� Button rose (page 129)

� Bead combination (page 134)

� Bead cascade (page 133)


� Flat leaf (page 132)

� Curved continuous bead stitch (page 125)

� Sequin rose variation (page 131)

� French rose (page 130)


� Stacked bead (page 133)

� Lazy daisy variation (page 126)

� Lazy daisy leaf (page 132)

� Lazy daisy loop (page 127)

� Single bead (page 134)

� Beaded stamen (page 127)

� Charm with front-to-back hole (page 134)

� Picot tip (page 133)





color K, 10° tube


color L, 15° hex

15. Stacked bead center—

color I, 6° bead, and color H,

11° bead; for petals, 7-petal lazy

daisy variation, color D, 8° bead,

and color H, 11° bead

16. Stacked bead center—

color I, 6° bead, and color E,

11° bead; for petals, 7-petal lazy

daisy variation, color D, 8° bead,

and color E, 11° bead

17. Lazy daisy leaf—color A,

11° bead

18. 5-petal lazy daisy loop—

color D, 11° bead; single bead,

color E, 8° bead

19. 5-petal lazy daisy loop—

color J, 11° bead; single bead,

color E, 8° bead

20. 3-beaded stamen—

color C, 5 size 15° hex beads;

color A, size 3mm bead; color I,

size 15° bead

21. Stacked bead center—color J,

8mm bead; color K, 11° bead

22. Bead cascade—color D,

10mm × 6mm flower bead;

color K, 5 size 11° beads

23. Bead combination—color C,

3 size 11° beads; color I, 6° bead

24. Stacked bead—color J,

8mm × 6mm flower bead; color K,

11° bead

3. Button rose—color E, 8° bead;

colors J and D, 11° bead

4. Bead combination—color K,

11° bead; color C, 15mm leaf; color

K, 3 size 11° beads

5. Bead cascade—color C, 15mm

rondel; 1 color I, 6° bead; 6 color F,

11° bead

6. Sunflower—color D, 8° bead;

color G, 11° bead; color I, 15° bead

7. 18-bead flat leaf—color B,

11° bead

8. Curved continuous bead

stitch—color C, 15° hex

9. Sequin rose variation—color E,

sequin; color F, 11° bead

10. 10-bead flat leaf—color C,

11° bead

11. French rose—for center, color

E, 8° bead, and color D, 15° bead;

for petals, color H, 11° bead

12. French rose—for center,

color D, 8° bead, and color G, 15°

bead; for petals, color E, 11° bead

13. Lazy daisy stitch—color B, 8°

hex; 9 color A, 11° bead

14. Stacked bead center—color I,

6° bead, and color F, 11° bead; for

petals, 7-petal lazy daisy varia-

tion, color D, 8° bead, and color F,

11° bead


1

Fabric C

Fabric CFa

bric

A

Fabr

ic A

31

8

2

31

66

6

6

6

7

6

28

27

34

34

35

3534

1311

1226

1311

1226

25

25

25

31

17

1624

24232226

7

6

2631

432

33

28

28

2930

3324

7

2714 17

17

16

28

31

20

19

2118

4

17

15

25

9

9

9

10

9

5

5

4

6

3

3

3

3

31

3

33

Stitching diagram


25. Stacked bead—color D, 8mm rondel; color K,

11° bead

26. Attach an 8mm flower button or charm

with thread.

27. Charm with front-to-back hole—color K and

color C, 11° bead each

28. 14-bead flat leaf—color C, 11° bead

29. Stacked bead—color E, 8° bead; color D,

15° bead

30. Picot—color K, sequin; color A, 15° bead

31. Bead combination—color E, 8° bead; color D,

10mm flower bead; color E, 8° bead

32. Bead combination—color K, 2 size 15° beads;

color B, 12mm × 6mm leaf; color K, 2 size 15° beads

33. Stacked bead—color C, 6° bead; color E,

11° bead

34. 5-petal lazy daisy loop—color G, 15° bead;

single bead, color F, 11° bead

35. 5-petal lazy daisy loop—color I, 15° bead; single

bead, color F, 11° bead

Assembly1. Follow the Vintage Redressed Wallhanging direc-

tions (page 67) to make a hanging sleeve, using the

131/2˝ × 131/2˝ fabric A square and the 3˝ × 111/2˝

cotton print strip for the sleeve.

2. Place the fabric square, sleeve side up, on the

131/2˝ × 131/2˝ square of fast2fuse; iron to fuse.

3. Turn the fast2fuse right side up and cover with

the 131/2˝ × 131/2˝ square of batting. Place the embroi-

dered base right side up over the batting.

4. Pin around the edges through all the layers.

Machine baste close to the edges.

5. Using the 3˝ × 131/2˝ fabric strips, follow Steps 4–6

of the Vintage Redressed Wallhanging assembly direc-

tions (page 72) for the side binding. Continue through

Step 8, using the 3˝ × 15˝ fabric strips for the top and

bottom binding.

6. Insert the dowel into the hanging sleeve.

149GalleRy

Gallery

Poinsettia Basket, 131/8˝ × 101/4˝

Silk dupioni embellished with satin ribbon and buttons, with silk ribbon embroidery worked in 2mm, 4mm, and 7mm ribbons, and ribbonwork flowers

Oliver the Owl, 7˝ × 7˝

Pieced and appliquéd felt with traditional embroidery stitches worked in cotton embroidery floss

Vintage Roses, 12˝ × 12˝

Pieced cotton fabric with vintage handkerchiefs, satin ribbon, and vintage buttons, with traditional embroidery stitches worked in cotton embroidery floss

Mold on Blueberries, 81/2˝ × 7˝

Reverse appliquéd felt with traditional embroidery stitches worked in cotton embroidery floss


Elegant Garden Vignettes, 125/8˝ × 221/4˝

Pieced moiré background, vintage lace and cotton hankies, and ribbonwork flowers, with silk ribbon embroidery worked in 2mm, 4mm, and 7mm silk ribbon with silk buttonhole twist, silk and rayon floss, and Wildflower cotton thread

Vintage tatted lace and buttons with silk ribbon embroidery

Vintage lace and buttons with silk ribbon embroidery and ribbonwork flowers

Vintage handkerchief and buttons with silk ribbon embroidery and ribbon-work flowers

151GalleRy

La Vie en Rose Purse, 71/2˝ × 12˝

Silk dupioni fabric embroidered with raised and textured stitches worked in perle cotton, rayon, and cotton floss

My Cherrie Amour, 8˝ × 63/4˝

Silk dupioni fabric embroidered with raised and textured stitches worked in perle cotton, rayon, and cotton floss

Needle Case, 53/4˝ × 3 ,̋ and Etui, 21/4˝ × 31/2˝

Crazy-pieced silk needle case with tatted flowers and traditional and silk ribbon embroidery; moiré etui covered in ribbon-work flowers


Anemone Purse, 71/2˝ × 91/2˝

Cotton batik fabric by Hoffman with Hanah silk bias cording, bead-embroidered with glass seed beads, charms, and shell buttons Puzzle Pieces Purse, 73/4˝ × 12˝

Crazy-pieced silk and cotton fabrics, machine quilted, then embroidered and embellished with shisha mirrors and beads

A. Pieced silk, ikat, and cotton fabrics, embroidered with silk ribbon and beads

B. Pieced silk fabrics with vintage taffeta ribbon, embroidered with hand-dyed silk ribbon and beads

Climbing Wisteria Purses, A. 71/2˝ × 91/2 ,̋ B. 9˝ × 111/4˝

153GalleRy

Harvest Quilt, 24˝ × 23˝

Strip-pieced cotton batik fabrics by Hoffman, with traditional embroidery stitches worked in perle cotton #5 and #8, Wildflower thread, and cotton floss

Beadazzled Stitches, 141/2˝ × 141/2˝

Strip-pieced cotton batik fabrics by Hoffman, machine quilted with Sulky metallic threads and bead-embroidered with glass seed beads in sizes 6°, 8°, 11°, and 15°; bugle beads; hex and triangle beads in size 12°; and glass charms and shell buttons


Gypsy Treasures, 81/2˝ × 51/2˝

Cotton batik fabric by Hoffman, textured, machine stitched with novelty yarn details, and embellished with raised stitches, bead embroi-dery, shisha mirrors, and buttons

Embellished Silk Treasures, 11˝ × 101/2˝

YLI silk painter’s hankies embellished with specialty threads, beads, and silken bits

Copper Gardens by Maryanne Gross, 8˝ × 51/2˝

Silk dupioni fabric encrusted with bead embroidery, glass charms, and buttons

Crazy for Aubergine, 111/2˝ × 73/4˝

Crazy-pieced silk, rayon, satin, and cotton fabrics, with silk bias ribbon binding and traditional embroidery stitches worked in Wildflower threads, with seed bead embellishments

155GalleRy

Colors of Spring Silk Pillow, 71/2˝ × 83/4˝

Crazy-pieced silk fabrics with silk ribbon embroidery worked in 2mm, 4mm, and 7mm silk ribbon, silk buttonhole twist, and Silk Mori floss

Marie’s Boudoir Pillow A, 71/2˝ × 83/4˝

Silk pieced background with vintage ribbons and silk lace, with silk ribbon embroidery worked in 2mm, 4mm, and 7mm silk ribbon, silk buttonhole twist, and Silk Mori floss

Marie’s Boudoir Pillow B, 63/4˝ × 81/2˝

Silk Gardens Purse, 6˝ × 8˝

Silk dupioni fabric embellished with ribbonwork and silk ribbon embroidery worked in 2mm, 4mm, and 7mm silk ribbon and silk buttonhole twist


Spring Fields Purse, 53/8˝ × 5˝

Silk embroidered with raised and tex-tured stitches worked in perle cotton, silk buttonhole twist, Wildflower thread, and rayon floss

Jean’s Garden (needle case), 10˝ × 53/8˝

Silk embroidered with raised and textured stitches worked in perle cotton, silk buttonhole twist, Wildflower thread, and rayon floss

157GalleRy

Colors of Rajasthan Vest

Vintage cotton vest with satin stitch embroidery worked in cotton threads with shisha mirrors, overembroidered with traditional stitches worked in perle cotton #5

Currents Vest

Cotton batik fabric machine quilted with Sulky threads, embellished with cotton batiks and velveteen fabrics, and embroidered with glass seed beads, bugle beads, and glass and metal charms

Quelque Fleurs Vest

Silk dupioni and cotton batik by Hoffman Fabrics with new and vintage laces, embellished with ribbonwork flowers made from satin ribbons; silk ribbon embroidery worked in 4mm silk ribbon with silk buttonhole twist; and glass beads, vintage sequins and buttons, charms (shell, metal, and glass), tatted flowers, freshwater pearls, and garnet chips

Urban Gypsy Vest

Upholstery tapestry fabric with bead embroidery, using glass beads, charms, and vintage sequins


ReSouRCeS

Joggles LLCFabrics, ribbons, threads, and morewww.joggles.com

The Store on the CornerVintage and new ribbons and buttons, cotton and silk threads, and morewww.christenbrown.com

Thai SilksSilk fabricswww.thaisilks.com

I would like to extend my special

thanks and gratitude to these

wonderful vendors, who so gener-

ously provided the supplies that I

used for the samples and projects

in this book:

C&T PublishingTimtex, fast2fuse, and other productswww.ctpub.com

The Caron CollectionHand-dyed perle cotton and silk threadswww.caron-net.com

Kreinik Manufacturing CompanySilk floss and metallic threadswww.kreinik.com

Presencia America, a Colonial Needle Company

Perle cotton, cotton, and metallic flosswww.presenciaamerica.com

YLI CorporationSilk embroidery ribbon and buttonhole twistwww.ylicorp.com

I also want to extend my gratitude

to family members and friends

who have bestowed on me gifts

that I can use in my work.

Sunrise over the Sangre de Cristo Mountains, 191/2˝ × 91/2˝

Pieced and quilted silk and cotton fabrics embellished with vintage buttons, shisha mirrors, and traditional embroidery, worked in perle cotton

Be-jeweled Wallhanging, 11˝ × 11˝

This wallhanging combines silk fabric with metallic threads. I used a com-bination of stitches from Traditional Embroidery (page 50) and Raised and Textured Embroidery (page 97), worked in rayon threads from DMC and metallic threads from Kreinik, Presencia, and YLI.

I encourage you to shop at your

favorite local store or online small

business. These store owners and

their employees know what they

have in stock, how to use their

products, and where to get special

items not available at some of the

larger chain stores.

Colonial Needle CompanyNeedleswww.colonialneedle.com

Hoffman California FabricsBali batik fabricswww.hoffmanfabrics.com

159aBout tHe autHoR

aBout tHe autHoR

Christen began her career in the

wearable art field in 1986. Her

work has been shown in galleries

and fashion shows all over the

world, and she has been invited on

multiple occasions to participate

in the Fairfield and Bernina fashion

shows. A few of the publications in

which her work has been included

are The Costume Maker’s Art,

The Button Craft Book, Michael’s

Arts and Crafts magazine, Martha

Stewart Weddings, and Visions:

Quilts of a New Decade.

Christen is now concentrating

on writing and publishing. Her

first book is Ribbonwork Gardens,

published by C&T Publishing.

She has written several articles

for PieceWork, a magazine that

explores the history of needlework,

and she has also been published in

Threads magazine.

Having already had a remarkable

journey through life, Christen says

she has set several goals for the

future: to continually be inspired,

to be creative, and to be neces-

sary. She works out of her home

studio in San Diego, California, and

teaches several times a year, locally

and online.

Christen’s website: www.christenbrown.com

Woven Silk Roses Bracelets, 71/2˝ × 1˝ and 8˝ × 1˝

Hanah Silk habotai ribbon worked into button shapes, then embellished with silk ribbon embroidery

Christen Brown was born in

Manhattan Beach, California,

and spent her formative years in

Torrance, California. She became

interested in fiber arts as a child by

making clothing for her dolls. After

high school, she studied at the

Fashion Institute of Merchandise

and Design in Los Angeles, where

she graduated with an AA in

fashion design. She continues to

be interested in craft and fine art

and to experiment and learn in

the area of design, in general—

specifically in the techniques of

embroidery, quilting, ribbonwork,

and beadwork.

http://www.christenbrown.com/about/pubs/fairfld.html

http://www.christenbrown.com/about/bio/bernina/bernina1.html

http://www.christenbrown.com/about/bio/bernina/bernina1.html

http://www.fidm.com/

http://www.fidm.com/

160 Embroiderd & Embellished

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Tips and Techniques can be found at www.ctpub.com > Consumer Resources > Quiltmaking Basics: Tips & Techniques for Quiltmaking & More

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For quilting supplies:

COTTON PATCH1025 Brown Ave. Lafayette, CA 94549 Store: 925-284-1177 Mail order: 925-283-7883

Note: Fabrics shown may not be currently available, as fabric manufacturers keep most fabrics in print for only a short time.

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Embroidered & Embellished Download

Copyright © 2013 by C&T Publishing, Inc.

ISBN 978-1-60705-664-5

Published by C&T Publishing, Inc., PO Box 1456, Lafayette, CA 94549. www.ctpub.com

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CRAFTS/Needlework/Embroidery

& CHRISTEN BROWN

Embroidered Embellished


The complete visual guide to hand embroidery & embellishing• Step-by-step photo instructions show exactly

how to sew 85 different stitches

• Includes 8 complete embroidery projects to stitch and embellish

• The essential embroidery reference for everyone from beginners to experts

C&

T PUBLISH

ING

Ch

risten B

rown

Em

broid

ered &

Em

bellished

Christen Brown

embroidered & embellished: 85 stitches using thread, floss, ribbon, beads & more...

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