preview elegant hardanger embroidery by yvette stanton
DESCRIPTION
Do you want to try Hardanger embroidery but think it looks too difficult? Have you mastered the basics and want new challenges? This manual will take you step by step from novice to advanced stitcher, with helpful diagrams and hints and tips at every stage. Stunning Hardanger projects, graded beginner, intermediate and advanced, will guide you to your next level of expertise. You will refer to this manual again and again.You will discover:- how to create the stitches of Hardanger embroidery- how to work those harder stitches that you don't get in beginners books- hints and tips that you normally only learn in classes- that you don't need to be afraid of cutting the fabric threads- how to fix mistakes- how to use your skills to work elegant Hardanger projects.This manual has taught thousands of stitchers how to create elegant Hardanger embroidery, and it will teach you too.Purchase your copy from your favourite needlework store or from Vetty Creationshttp://www.vettycreations.com.au/hardanger-book.htmlTRANSCRIPT
A STEP-BY-STEP MANUAL FOR BEGINNERS TO ADVANCED
Yvette Stanton
HardangerEmbroidery
ELEGANT
HardangerEmbroidery
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You can find the instructions for these projects on the pages listed.
Clockwise from top left:
Waterlily cushion, pages 56–7;
Karen doily, pages 46–7;
Scissors case, pages 39–40;
Handtowel, page 38;
Patchwork cushion, pages 33–5;
Star cushion, pages 44–5;
Claire doily, pages 52–3;
Genevieve framed doily, page 58.
More projects shown inside back cover.
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3
Contents
Introduction ................................................................4
Before you begin.........................................................5
Fabric for Hardanger...............................................6
Thread ....................................................................6
Other equipment ....................................................7
Preparing fabric for stitching...................................7
Reading a Hardanger chart .....................................8
Stitching order ........................................................8
Caring for embroidery ............................................9
Hardanger discussion forum .................................10
Stitch instructions and techniques .............................11
Notes....................................................................12
Starting with a waste knot....................................12
Starting a new thread...........................................12
Kloster blocks .......................................................13
Satin stitch............................................................14
Buttonhole edge...................................................14
Eyelets ..................................................................16
Algerian eyelet stitch ............................................16
Four-sided stitch ...................................................17
Faggot stitch.........................................................17
Cutting and removing threads for needleweaving...18
Needleweaving .....................................................19
Wrapped bars .......................................................22
Dove’s eye stitch ...................................................22
Greek cross...........................................................23
Spider’s web .........................................................24
Knotted picot .......................................................25
Looped picot ........................................................26
Lacy buttonhole edge ...........................................27
Triangular webs with buttonhole bars ...................28
Twisted Y with looped picots ................................29
Spider’s web in eyelets..........................................29
Cable stitch ..........................................................30
Beading ................................................................30
Cutting Hardanger from the fabric........................31
Hardanger projects ....................................................32
Patchwork cushion ...............................................33
Hardanger box......................................................36
Hand towel...........................................................38
Scissors case .........................................................39
Christmas stocking ...............................................41
Square sampler .....................................................43
Star cushion..........................................................44
Karen doily ...........................................................46
Gift cards..............................................................48
Honeysuckle tablecloth .........................................50
Claire doily............................................................52
Trish runner ..........................................................54
Waterlily cushion ..................................................56
Genevieve doily ....................................................58
Organza bolster ....................................................59
Appendix – names, symbols and stitches...................62
Acknowledgments ....................................................63
Index ........................................................................64
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Fabric for HardangerHardanger embroidery is a counted thread embroi-
dery requiring even-weave fabric. Even-weave fabric
has the same number of threads across the warp and
weft, over the same distance. To check whether a
fabric is even-weave, insert a pin in the fabric. From
the pin, measure 5cm (2in) along both the warp and
weft, marking the end of each distance with another
pin. Count the number of threads between the pins.
If the fabric is even-weave, the number of threads will
be the same over both distances.
The most commonly used fabrics are even-weave
linens, cottons and cotton/viscose blends. Aida cloth
is not suitable for Hardanger embroidery.
Even-weave linen and many other even-weaves
have a weave of single threads. Hardanger fabric, so
called because it is used most often for Hardanger
embroidery, is made of a weave of double threads.
Traditionally, Hardanger is stitched in white thread on
white cloth, but many designs are now made with
either coloured cloth or thread, or both.
FABRIC COUNTThe “count” of an even-weave fabric refers to the
number of threads per inch. Inches are used as the
unit of measurement for the count of fabric, even in
countries where metric measurements are standard.
A 25 count fabric (i.e. 25ct) has 25 threads per
inch, a 36 count fabric has 36 threads per inch, etc.
Count can also be referred to as TPI or “threads per
inch”. The lower the count of the fabric, the larger
the embroidery stitches will be.
To work out how large an embroidery will be on a
specific count of fabric, you will need to know how
many threads the embroidery will cover. If the
embroidery is 100 threads square, on a 25 count fab-
ric it will measure 4 inches or approximately 10cm.
On a 20 count fabric, the same design will measure 5
inches or approximately 12.5cm.
To work out the size of the embroidery in inches,
divide the number of threads covered, by the count
of the fabric. To work out the number of centimetres,
multiply the number of inches by 2.54.
ThreadHardanger embroidery uses two weights of thread.
The heavier weight is used for satin stitching, and the
lighter weight is used for all other stitching, including
needleweaving and eyelets. Occasionally a third, even
lighter weight may be used for pulled thread work.
Pearl cotton (or perle coton) is the thread most
often used for Hardanger. It is made of two strands
twisted together and is indivisible (it cannot be split as
it will fall apart). Pearl cotton comes in four different
weights: Numbers 3, 5, 8 and 12. No.3 is the thickest,
and used only for very low counts of fabric. No.12 is
the thinnest, used for much finer work on higher
counts of fabric. Some of these weights are available
in skeins, some as balls and some are available in both.
Generally, the colour range is larger in skeins.
The weight of the threads to be used is dependent
on the count of the fabric. The heavier weight of
thread must be able to provide good coverage of the
fabric when sewn as satin stitch. Choose a weight
that is similar to the thickness of the fabric’s threads.
The lighter thread to use in combination with the
thicker thread would be the next weight down. For
example, on 28 count fabric, use pearl cotton No.5
for the satin stitching, and pearl cotton No.8 for all
other stitching.
Stranded embroidery cotton can also be used for
Hardanger. Having a much wider range of colours
available than pearl cottons, stranded cotton can be
very useful. To create the two weights of thread
needed, different numbers of strands are used. For
very fine needleweaving, a single thread of stranded
cotton can produce very lacy results.
Before use, stranded cotton must always be
“stripped”: all the threads must be separated from
each other and recombined. For two stranded work,
remove one thread from the length to be used, by
pulling it from the end of the six, and then another
thread. The two threads are then put back together
6
Hardanger fabric (cotton)
Lugana (cotton/viscose
blend)
Aida (not suitable
because of its weave)
Even-weave linen
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and used together. For six stranded work, all threads
should still be separated. Stripping threads ensures that
the strands lie flat when used and are less likely to twist
around each other, producing a more pleasing result.
Embroidery threads come in a wide range of
colours and are also available in metallics and hand
dyed variegated colour schemes. They are most often
100 per cent cotton, but some varieties are silk, linen,
wool, or rayon, or a blend of fibres.
LENGTH OF THREADWhen stitching, I use approximately 80cm (32in) of
thread. This length is easily measured out from skeins
of pearl cotton by using the length of the skein as a
guide. Take off the two paper bands and untwist the
skein. Find an end and pull away a piece twice the
length of the skein. Cut the piece off. It should be
approximately 80cm (32in). When you are sure that
this length suits you, you can cut all the loops of one
end of the untwisted skein so that all pieces are the
same length. You might not want to do this for a var-
iegated thread, so that you can have more control
over the placement of the colour variations.
If the length of thread you are using consistently
becomes dull and furry before you have finished with
it, it is too long and you should use a shorter piece.
Never re-use thread that you have unpicked. It will
be noticeably less shiny than a fresh piece of thread
and create an uneven visual effect in your work.
Other equipmentNEEDLESThe needles used for Hardanger embroidery are tapes-
try needles. Tapestry needles have a round point which
makes them less likely to split the fabric threads.
Because Hardanger is a counted embroidery, it is
important that the stitches are worked in the spaces
between the threads, and that the threads aren’t split.
Some Hardanger embroiderers prefer to use two
sizes of needle for their embroidery – a larger one for
the thicker thread and a smaller one for the thinner
thread. However, all the embroideries in this book have
been done with the one size: a No.24 tapestry needle.
The eye size of needles varies between brands. If
you find it difficult to fit the thread through the eye,
change to the next larger size of needle.
If you find that your thread is difficult to pull
through the fabric, change to a larger size needle.
SCISSORSA pair of sharp, fine pointed embroidery scissors are
essential equipment for Hardanger. They must be very
sharp and fine to allow for the careful cutting of the
fabric’s threads very close to the embroidery, without
cutting through the embroidered threads.
A pair of scissors that are not sharp or fine enough,
or used incorrectly, can really make the difference
between Hardanger embroidery that is executed to a
high standard and Hardanger embroidery that is only
average. It is worth investing in a quality pair.
EMBROIDERY HOOPSome Hardanger embroiderers prefer to use an
embroidery hoop while stitching as they find this
gives them a better result. As a matter of personal
preference, I choose not to use a hoop for Hardanger
embroidery, although I use one for most other
embroidery. Experiment with and without a hoop to
see what you prefer for your work.
Preparing fabric for stitchingBefore you begin, it is important to finish the edge of
the fabric so that it doesn’t fray as you stitch. To do
this, either overlock the edge with a sewing machine
or overlocker, or hand stitch with blanket stitch.
COUNTED TACKINGBecause Hardanger is worked on the basis of a four
thread block, counted tacking carefully stitched over
and under groups of four threads will help in the correct
positioning of the stitching. Use pale coloured machine
sewing thread, so that when it is removed it will not
leave any dark fibres in the fabric.
To begin tacking, find the centre of the fabric by
folding it in half both ways. Mark the centre with a pin.
Enter the needle at the centre. Leave a tail of thread
long enough to tack to the other edge. Bring the nee-
dle back up again after two threads. Weave over and
under groups of four threads across to the edge of the
fabric and secure the end of the thread.
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NotesThe difficulty rating of each stitch or stitch combina-
tion is indicated by a cotton reel symbol next to the
heading for each stitch.
A stitch or technique suitable for
beginners.
A stitch or technique suitable for inter-
mediate embroiderers.
A stitch or technique suitable for
advanced Hardanger embroiderers.
Stitches may have variations with differing levels of
difficulty. In these cases, the difficulty rating is shown
beside the heading for each variation. Fundamental
techniques and information which are for all stitchers
do not show a rating. The stitch instructions are
ordered within the book following the steps outlined
in ‘Stitching order’ on page 9.
The stitch diagrams in this book use the following
convention: the heavier weight threads are shown
as striped, and the lighter weight threads are plain.
Practise each of the stitches before working on a
project. This will mean that by the time you come to
do your project you will feel much more confident
with the stitches. You can use the sample pieces to
build up a record of your stitching experience by
assembling them in a scrapbook or folder.
Starting with a waste knotA waste knot is used to secure a thread in an areawhere there is no previous stitching.
METHOD 11 Work out where the
new stitching needs to
begin and where the
stitching line will contin-
ue. Tie a knot in the end of the thread, large enough
not to slip through the holes in the fabric.
2 From the front of the fabric enter the needle about
10cm (4in) from where the stitching needs to begin.
The waste knot should sit loosely on the front of the
fabric. Make sure it is well away from any subsequent
stitching. Begin stitching.
3 When a reasonable amount of stitching has been
completed, cut off the knot and ease the end
through to the back. Thread the needle onto this end
and work it into the back of the stitching to secure it.
METHOD 2This method works well for long straight lines of
stitching.
1 Work out where the new stitching needs to begin
and where the stitching line will continue. Tie a knot
in the end of the thread, large enough not to slip
through the holes in the fabric.
2 From the front of the
fabric enter the needle
about 5cm (2in) away
from the beginning point,
where it will be covered by the subsequent line of
stitching. Bring the needle back through to the front at
the beginning point of the stitching. The waste knot
should sit loosely on the front of the fabric.
3 Begin stitching, check-
ing that the waste knot
thread is caught into the
back of the stitches.
When the stitching pass-
es the waste knot, carefully cut off the knot without
damaging any of the stitches. Ease the end of the
thread through to the back of the fabric.
Starting a new thread1 Thread the needle with the new thread. With the
back of the fabric facing you, take the thread through
the back of about 5cm (2in) of stitches closest to
where you need to continue stitching. If the previous
thread was secured under the same threads to finish,
make sure the new thread does not pull it back out
again by holding its end as you begin the new one.
2 Give the thread a very light tug to check that it is
reasonably secure. If not, work through the back of a
few more stitches or take a small backstitch through
the back of the stitches.
When working pulled thread stitches, make sure the
new thread is well secured. Because of the tension
needed to work the stitch, if the new thread is not well
secured it will slip out again as you begin stitching.
If there is no previous stitching adjacent to where
you need to stitch, use the waste knot method.
Finishing a threadTo finish off a thread, turn the fabric over so the back is
facing. Slide the needle under the back of the last few
stitches. With kloster blocks I usually take the thread
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13
through the back of at least five blocks. For other stitch-
es take the needle through a similar distance.
Always make sure you leave enough thread to
enable you to secure it well. If you don’t have
enough thread to end off, undo a few stitches to
give you more length to work with.
Never finish a thread halfway through a kloster block
or any other stitch combination. Doing so can cause
the stitch to sit incorrectly, and could cause your
stitch tension to go awry. If the thread you are using
has become slightly worn, the new thread will look
considerably different next to it, making the thread
change very obvious. This effect will be lessened if
the thread is changed at the end of a kloster block.
Kloster blocks Kloster blocks are the basic buildingblocks of all Hardanger designs. They aremade up of five satin stitches over asquare of four threads. Kloster blocks arethe first stitches worked in a Hardangerdesign, with the heavier of the twoweights of cotton being used.
Kloster blocks are most commonly stitched in diag-
onal lines. Less commonly, they are stitched in line
with the fabric’s grain. When stitching kloster blocks
it is important to count carefully. As they are the
foundation for all other parts of Hardanger designs,
care should be taken to make sure all elements are in
the correct place from the outset.
DIAGONAL LINES1 Bring the needle out
from the back to the
front of the fabric. Insert
the needle four threads
to the right. Bring the needle out again, one thread
up from the beginning of the first stitch.
2 Continue, making each
stitch one thread higher
than the previous one,
until there are five parallel stitches.
3 Bring the needle out
again through the same
hole as for the beginning
of the last stitch. Count
four threads up and
enter the needle. Bring it
out again one thread to the left of the base of the
previous stitch.
4 Continue working left, with each stitch one thread
to the left of the previous one until there are five par-
allel stitches. This completes the second kloster block.
5 To begin the third kloster block, count four stitches
to the left of the end of the last stitch and bring the
needle up as before. Repeat the instructions to build
up a line of kloster blocks.
The back of the work
should look like the line
of stitching on the left.
If it looks like the line
on the right, the direc-
tion has been reversed
in error (two errors shown). Such errors can cause the
stitching to unravel when the fabric threads are cut.
STRAIGHT LINESWork the first kloster
block. Leave a space of
four threads and work
another block. Continue
in the same way, building
up a straight line of
spaced kloster blocks in
which all blocks face the same direction.
The back of the work
should look like the top
line of stitching. In the
bottom line, the direc-
tion has been reversed in
error (two errors shown). Such errors can cause the
stitching to unravel when the fabric threads are cut.
MISTAKES TO WATCH OUT FORIt is very easy to make mistakes while stitching kloster
blocks. As they are the first elements of the design to
be stitched, there is often only the counted tacking to
cross check against. As you stitch check, check and
recheck that all your stitching is in the correct place!
When stitching in diag-
onal lines the corners
of kloster blocks touch.
Make sure that tension is constant throughout. Ten-
sion that is too tight will cause the fabric’s threads
to bunch up. Tension that is too loose will mean
BACK
✓
✗
RIGHT
WRONG
BACK
✓✗
RIGHT
✓RIGHT
✓RIGHT
WRONG
✗WRONG
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Patchwork cushion This cushion beautifully combines patchwork andHardanger. The outer Hardanger designs featuresurface stitchery and are highlighted in green tomatch the patchwork. The centre design featureselegant cream on cream.
DIFFICULTY Beginner
FINISHED SIZE 40 x 40cm (16 x 16in)
STITCHES USED Kloster blocks, satin stitch, eye-
lets, needleweaving bars, four-sided stitch, Algerian
eyelet stitch.
MATERIALS■ 5 pieces 11 x 11cm (43/8 x 43/8in) cream Hardanger
fabric, 22 count■ 4 pieces 11 x 11cm (43/8 x 43/8in) cream cotton fabric■ 75cm (30in) green floral cotton fabric, 120cm
(47in) wide■ 15cm (6in) pink floral cotton fabric, 120cm (47in)
wide■ 10cm (4in) medium-weight fusible interfacing■ 3.6m (4yds) cotton edging lace■ 2 x 18mm (13/4in) buttons■ 35cm (14in) cushion insert■ machine sewing thread, one to match green fabric
and one to match lace■ 1 skein No.5 DMC pearl cotton, colour 712 (cream)
■ 1 skein No.5 DMC pearl cotton, to match
green fabric■ 1 ball No.8 DMC pearl cotton, colour 712 (cream)■ No.24 tapestry needle
EMBROIDERYYou must be accurate when positioning the embroi-
dery in the centre of each patch.
Design A Work satin stitch ships in green pearl cot-
ton. Stitch kloster blocks in corners with No.5 pearl
cotton, colour 712. Work eyelets in No.8 pearl cotton,
colour 712.
Design B Work the satin stitch star in green pearl cot-
ton. Sew eyelets and four-sided stitch with No.8 pearl
cotton, colour 712. The four-sided stitch should be
worked as a surface stitch with regular tension.
Design C Work kloster blocks in green pearl cotton.
Sew the eyelets, four-sided stitch (as a surface stitch),
and all half Algerian eyelets in No.8 pearl cotton,
colour 712.
Design D Work kloster blocks and ships in green pearl
cotton. Work eyelets and four-sided stitch (as a sur-
face stitch) in No.8 pearl cotton, colour 712.
Design E Work all satin stitch in No.5 pearl cotton,
colour 712. Work Algerian eyelets in No.8 pearl cot-
ton, colour 712. Stitch needleweaving in No.8 pearl
cotton, colour 712.
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64
Index
acetate, photocopier 8
advanced projects 52–61
Algerian eyelet stitch 16–17
aida 6
backing out of a corner 21
beading 9, 31
beginner projects 35–42
bolster 59–61
box 36–7
buttonhole bars 28
buttonhole edge 9, 14–16
cutting from fabric 31
lacy 27–8
cable stitch 30
cards 48–9
caring for embroidery 9–10
chart
creating a full chart 8
reading 8
Christmas stocking 41–2
Claire doily 52–3
count, of fabric 6
counted tacking 7
cushion
patchwork 33–5
star 44–5
waterlily 56–7
cutting 9
threads 18–19
fixing mistakes 19, 31
from the fabric 31
where to cut 18–19, 31
diagonal lines 13
difficulty rating 12
discussion forum 10
doily
Claire 52–3
Genevieve 58
Karen 46–7
double cable stitch 30
dove’s eye stitch 22
in a wrapped circle 22–3
drawn thread work 9
edging, buttonhole 9,
27–8
embroidery hoop 7
even-weave 6
eyelets 9, 16
Algerian eyelet stitch 16–17
spider’s web in 29–30
fabric 6
count 6
preparing for stitching 7
cutting embroidery from 31
faggot stitch 17–18
filling stitches 20, 22–7, 28–30
finishing a thread 12–13, 19,
20–1, 27, 31
four-sided stitch 17
forum, Hardanger discussion 10
Genevieve framed doily 58
gift cards 48–9
Greek cross 23–4
border 23–4
reverse 24
hand towel 38
hardanger box 36–7
hardanger fabric 6
hem 9
honeysuckle tablecloth 50–1
ironing 10
inside corner
buttonhole edge 15
greek cross border 24
intermediate projects 43–51
Karen doily 46–7
kloster blocks 9, 13–14
substitutes 14
knotted picot 25–6
lacing thread across the back 21,
27
lacy buttonhole edge 27–8
left-handed Hardanger 9
linen, even-weave 6
looped picot 26–7, 29
Lugana 6
mistakes 8, 13–14, 18, 19, 31
needle 7, 16, 31
needleweaving 9, 19–21
backing out of a corner 21
lacing thread across the back 21
starting and finishing a thread
19, 20–1
straight lines 20
zigzags 20
organza bolster 59–61
outside corner
buttonhole edge 15
greek cross border 24
patchwork cushion 33–5
pearl cotton 6
photocopier acetate 8
picots 25–7, 29
pulled thread work 9
stitches 16–18
quarter cross foundation stitch 23
reverse Greek cross 24
runner 54–5
sampler 43
satin stitch 9, 14, 19
scissors 7
case 39–40
correct use of 18, 31
ships, satin stitch 14
spider’s web 25–6
in eyelets 29–30
square sampler 43
star cushion 44–5
stars, satin stitch 14
starting a thread 12,19, 20–1,
27, 31
stitching order 9
stocking 41–2
straight lines
kloster blocks 13
needleweaving 20
stranded cotton 6
stripping threads 6
surface stitchery 9, 16–17, 30
tablecloth 50–1
tacking, counted 7
tapestry needle 7
thread 6
finishing 12–13, 19, 20–1, 27, 31
length to use 7
starting 12,19, 20–1, 27, 31
triangular webs with buttonhole
bars 28–9
Trish runner 54–5
twisted Y with looped picots 29
washing 10
waste knot 12
waterlily cushion 56–7
wrapped bars 22
zigzags 20
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You can find the instructions for these projects on the pages listed.
Clockwise from top left:
Trish runner, pages 54–5;
Hardanger box, pages 36–7;
Square sampler, page 43;
Honeysuckle tablecloth, pages 50–1;
Organza bolster, pages 59–61;
Christmas stocking, pages 41–2;
Gift cards, pages 48–9.
More projects shown inside front cover.
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You can do Hardanger embroidery!Do you want to try Hardanger embroidery but think it looks too difficult? Have you mastered the basics and want new challenges? This manual will take you step by step from novice to advanced stitcher, with helpful diagramsand hints and tips at every stage. Stunning Hardanger projects, graded beginner, intermediate and advanced, will guide you to your next level of expertise. You will refer to this manual again and again.
You will discover:
ü how to create the stitches of Hardanger embroidery
ü how to work those harder stitches that you don’t get in beginners books
ü hints and tips that you normally only learn in classes
ü that you don’t need to be afraid of cutting the fabric threads
ü how to fix mistakes
ü how to use your skills to work elegant Hardanger projects
‘I got your books: fantastically good! The Hardanger one is the best book onthat topic that I've ever seen. The instructions are not only clear, with excellentgraphics, but you also give a good view of how the stitches should look on theback, and shouldn’t look! You also give an idea of how to tuck in ends, andmove from one bit to the other. That’s precisely what the student needs, anddoesn’t get in the other books. That chapter of instructions is really somethingspecial.’ —J.O’L. Queensland, Australia
‘I really wish I’d found this book at the beginning of my hardanger learningcurve. I taught myself Hardanger from magazine instructions and didn’t realizeI’d also taught myself some bad habits. This book is really outstanding and Iwould recommend it to anyone interested in Hardanger – from beginner toexperienced!’ —R.R. California, USA
This manual has taught thousands of stitchers how to create elegant Hardanger embroidery, and it will teach you too.
Yvette Stanton is a respected embroidery teacher and award-
winning needlewoman. In 2000 she won the Nordic Needle
Annual Hardanger Design Contest.
Yvette is also the author of ‘Ukrainian Drawn Thread Embroidery:
Merezhka Poltavska’ and with co-author Prue Scott ‘Mountmellick
Embroidery: Inspired by Nature’. Yvette regularly contributes articles
on the history of needlework and embroidery projects to leading
Australian and international embroidery magazines.
www.vettycreations.com.au
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