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the world’s most beautiful embroidery magazine TM

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LOVE TO

LOVE TO

Stitch?

Craft?

Create?

ISSUE 3

LOVE TO

TER 2015

repurpose

Ì Mixed Media Ì Sewing & Embr oidery Ì Felts & Fibres Ì Paper Craft

Display Shelf Vanity This feminine shelf is the perfect place to display dainty treasures and accessories. A cotton doily and finely glittered scroll details provide a soft frame for a small oval mirror. White hooks allow for jewellery to hang neatly, while milk glass containers can hold makeup brushes and other loose items. Picture hanging kits containing eye screws and wire are useful for hanging on the wall.

Small cork boards can be painted and hung atop decorative paper to create the foundation of a display shelf like this one, which would be great for use in an office, kitchen or dorm room. Here, a recycled bottle is painted and embellished for holding dried flowers, and d to coordinate d precut chipboard banner pieces are painted and leettered

Easy DIY Style

Flower Box A simple coat of aqua paint is all it took to transform this wooden drawer into a flower box. Here, leftover glass jars were cleaned, painted and glittered, and a fabric banner made of tiny hearts provides a sweet seasonal accent.

18 Stitch • Craft • Create • AU/ NZ

www stitchc craftcrea a

Ge readyt snugg to le & get up craft ing!

Scarves, Sweate & Accessories rs

create

This year, forego store-bought card ds; instead, top yourr presennts withh one-of-a-kind felt tag. Inspired by novel y dessert-themed buttons, theey’re ny sp pecci simple and adaptable make, that will b the icing on the cake of an

;īhZl Keepsake F]ZIjZZh Tags

What you need:

› Novelty buttons (dessert buttons shown are from “Sweet Delights” line by Vicki Schreiner, www.buttonsgaloreandmore com)

BY LAURA BRAY

› Red, pink and aqua buttons

TIP Attacch felt t hair clip ps or pin n to crea ate charr handmade d accces

› Red, pink and aqua felt › DMC Six Strand Embroidery Floss in red, pink and aqua › Pink ribbon › Embroidery needle › Scissors › Tag-shaped dies or paper tags › Die-cutting machine (optional) › Craft glue (optional)

1. Cut base tags from felt using either a die cutter or using purchased paper tags as templates. 2. Cut multiple sizes of circles, hearts and smaller tag shapes from felt. 3. Layer various sizes and colours of hearts, circles and small tag shapes onto one another and pin together Use embroidery floss to hand-stitch shapes together using running stitches and/ or French knots.

ter 2015

How to create:

4. Stitch or glue one or more novelty buttons onto stitched felt shapes. 5. Stitch or glue embellished felt shapes onto felt tags 6. Tie, stitch or glue ribbon to top of tag, adding buttons if desired. 7. See technique section for French knot instructions

Laura Bray s a profess onal designer and lifestyle exp creative w men to live a l fe of ba ance and simplicity twist on tradit onal home arts W ether you stitch co or just wan to be a better house eeper you are sure tutor als on her blog at katydiddys blogspot com

ww ww st

34 Stitch • Craft • Create • AU/ NZ

A gorgeous winter pallette of woolly scarves & mittens

Oh so trendy owl inspired party decorations

create 6. Place scarf front to remaining flannel rectangle with right sides together and raw edges aligned; pin together around edges. Starting at center of one long edge and leaving a 7.5cm (3-inch) opening, machine-stitch around outside edges using a 6mm (¼ -inch) seam allowance. Stitch around edges again with a zigzag or overlock stitch to reinforce edges and prevent fraying.

Surround yourself with soft felt blooms

as you warm yourself from winter’s chill with this wide cotton flannel scarf. Elegant houndstooth cotton flannel is embellished with die-cut wool felt flowers with twinkling centers made of vintage buttons; and a blanketstitched edge provides the perfect homespun fi nishing touch.

What you need:

› 1.5m (1 ½ yards) houndstooth flannel › Wool felt in peach and natural beige › DMC Six Strand Embroidery Floss in light blue and peach › Assorted white two-hole buttons, 6mm–13mm (¼-inch to ½-inch) › Small pearl beads › Off-white thread › Cutting mat › Ruler › Rotary cutter › Scissors › Straight pins › Embroidery and sewing needles › Sewing machine › Die cutting machine › Dies in assorted flower shapes

Finished scarf dimensions: 60 inches x 10 inches

A wide selection of wool felt and other sewing supp ies can be found on www createinstitch com au

52 Stitch • Craft • Create • AU/NZ

How to create:

1 D e cut an assortment of multi-sized flowers from peach and beige wool felt NOTE: Consider using smaller petals as individual flowers, while layering petals for larger flowers. 2 Use ruler and rotary cutter to cut two rectangles from houndstooth flannel, each measuring 28cm x 154cm (10½ inches x 60½ inches). 3 Choose one rectangle of flannel to become front of scarf; lay flat on work surface Leaving at least a 6mm (½-inch) seam allowance at edges, arrange felt flowers as desired on each end of scarf. Sample shown features about nine large flower stacks at each end with about eight smaller flowers filling in between; flower arrangement is tapered into a triangle point that stretches toward middle of scarf Pin flowers in place. TIP: To create an organic arrangement, leave random spaces between some of flowers while clustering others close together, as you would find in a real garden. 4 To stitch flowers in place, thread a sewing needle and knot end of thread Bring needle up through center of a large flower from back to front Slip a button onto needle, then bring needle back down through second buttonhole. Repeat several times, making sure felt flowers and button are securely attached before tying off. Repeat process with a l large flowers.

7. Turn scarf right side out and smooth so it lays flat. Tuck in seam allowances at 7.5cm (3inch) opening and pin together. Use sewing machine to topstitch close to edge around all sides of scarf, closing 7.5cm (3-inch) opening and creating a professional hem. 8. Thread an embroidery needle with light blue embroidery floss and blanket stitch around outside edges of scarf, conceal ng knots 9 See techniques section for blanket stitch instructions

Die Cutting Felt While you can purchase a limited selection of pre-cut felt flowers in the button or embellishment sections of your craft store, there are no substitutes for the speed, ease and perfection you’ll get by cutting custom felt shapes with a die cutting machine! Heavierduty machines and steel-rule dies are the best choice, as thinner dies will not cut cleanly through the thickness of felt.

5 Once all large flowers are attached, use six strands of peach floss to attach beige flowers by stitching a French knot at center of each. For peach flowers, attach small pearl beads with beige floss. Tie off and trim excess floss on wrong side of flannel.

projects

Pillows & home decor on trend

Make this sweet ladybug pincushion

AU$11.99

ISSN 2203-9090

(INC GST) Winter 2015

Third Edition OUT NOW! P PROJECTS & IDEAS INCLUDE Quilting & Patchwork | Embroidery | Cooking | Knitting Crochet | Cake Decorating | Home Décor | Jewellery

Order your copy today at www.stitchcraftcreate.com.au


14

contents 18 PROJECTS 20

34

F LOW E R S O F PA N I C A L E Beautiful evening bag showcasing the traditional embroidery of an Italian hilltop town

26

6

L I T T L E G E M Fabulous strawberry fob created

20

with needlelace

Meet Catherine Barley

34

T I M E L E S S T R E A S U R E S Gorgeous thimble pod and bell decoration with colourful embroideryy inspired by ceramics

42

T U R K I S H D E L I G H T Superb scarf featuring g GHOLJKWIXO %LELOOD ŴRZHUVŊ D NQRWWHG ODFH technique from the eastern Mediterranean

50

QUEEN OF HEARTS

42

Elegant Hardanger mat ideal for beginners

56

D E L I C AT E TO U C H %ODFNZRUN VWUDZEHUU\ given dimension with shading techniques

60

M Y B E S T F R I E N D Adorable snuggle

26

EODQNHW DQG VRIW WR\ IRU FKLOGUHQ

68

F E E L I N G C R A Z Y ! )XQ SDWFKZRUN bag with intriguing stitch combinations

50

Meet Jennifer Clouston

76

60 6

E I D E LW E I S S Graceful Schwalm embroidery WH[WXUHG ZLWK VHYHQ GLIIHUHQW ƓOOLQJ VWLWFKHV

FEATURES 6

68

WO R L D O F E M B R O I D E R Y 7KH %D\HDX[ 7DSHVWU\ WKH ƓQDO FKDSWHU

14

WO R L D O F E M B R O I D E R Y Narrative Threads part 2

18

56

T H R E A D S O F H I S TO R Y +LGGHQ 6HFUHWV LQ D /RYH 7RNHQ

IN EVERY ISSUE 5 9

F R O M T H E E D I TO R CUTTING EDGE What’s New? What’s On? Between the covers

PATTERN DOWNLOADS Flowers of Panicale Little Gem Timeless Treasures Queen of Hearts

91

KITS

Delicate Touch

92

LO O S E T H R E A D S

My Best Friend Feeling Crazy! Eidelweiss

2 • INSPIRATIONS

76


Ac]bhĪZ C O M M U N I T Y Inspirations fans all over the globe are now getting their Embroidery and Needlework fix through the Inspirations Community in a variety of different ways. The World’s Most Beautiful Embroidery Magazine has now become the

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Join in on the daily conversations online. We scour the internet to post the most exquisite embroidery, needlework and handcraft images you’ll ever see. Log into Facebook and search for Inspirations Magazine, then ‘Like’ us so we appear in your newsfeed.

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www.inspirationsmagazine.com.au INSPIRATIONS •

3


The Crewel Gobelin Needlecraft

Cross stitch kits and charts from The Danish Handcraft Guild, charts from The Scarlet Letter, Long Dog, Shepherd’s Bush, Blackbird Designs and Gigi R.

Tapestry kits from Designers Forum by Beth Russell and Elizabeth Bradley

Crewel kits from The Crewel Work Company

Wool embroidery kits from Windflower Embroidery

www.thecrewelgobelin.com.au VISIT US FOR INSPIRATION, ADVICE AND WORKSHOPS OUR EXTENSIVE RANGE INCLUDES IMPORTED THREADS AND RIBBONS

Complete range of • Gloriana silk, threads, wools and ribbons • Weeks Dye Works over-dyed floss and perlé 5 • Crescent Colours over-dyed floss and perlé 5 • Sampler threads from The Gentle Art • Kreinik metallic braids and cords • Mill Hill beads and treasures • Needlepoint Inc. silks • Au Ver à Soie silks • Danish Flower Thread

• • • • •

YLI silk ribbons and stranded silk DMC tapestry & cotton threads Londonderry Linen threads Madeira stranded silks Appleton crewel and tapestry wools – skeins and hanks • Oliver Twists hand dyed threads AUSTRALIAN THREADS & RIBBONS

• Gumnut Yarns hand-dyed variegated silk and wool threads • Colour Streams hand-dyed silk threads • Mogear hand-dyed mohair • Kacoonda silk ribbons

Fabrics, linens and Aidas for your cross-stitch • Wool velour blanketing • Swiss voile • Batistes Cotton velvets • Fine embroidery linens and twills • French and Swiss laces A LARGE RANGE OF SPECIALISED BOOKS & MAGAZINES Inspirations, Sampler & Antique Needlework, Just Cross Stitch & Selvedge 9 Marian Street, Killara, NSW 2071, Australia Phone: 61 (02) 9498 6831 Fax: 61 (02) 9499 5001 Monday–Friday: 9.30am–4.30pm, Saturday: 9.00am–1.00pm, Closed Sundays & Public Holidays

4 • INSPIRATIONS


WELCOME

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Hard as we try, sometimes little things get left out and in issue 84 we omitted the circle template referred to on page 66 in A Taste of Honey. You will need a circle 2.5cm (1") in diameter.

INSPIRATIONS •

5


THE BAYEUX TAPESTRY

THE FINAL CHAPTER Everyone has heard of the Bayeux Tapestry; some of you are probably lucky enough to have seen it. It is, undoubtedly, the most famous piece of embroidery on the planet and not a tapestry at all but a piece of surface stitching. But did you know that it is incomplete? It is thought that the last panel, approximately 3 metres (10 feet) long and depicting the coronation of William 1 after the Battle of Hastings has gone missing sometime during its

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6 • INSPIRATIONS

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Working on the panel; This motif represents the Channel Islands being given the protection of the English lion; Pauline and Kate return the panel to the library

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1) â&#x20AC;&#x2DC;Here Duke William dinesâ&#x20AC;&#x2122; 2) â&#x20AC;&#x2DC;Here the nobles of London surrenderâ&#x20AC;&#x2122; 3) â&#x20AC;&#x2DC;Here they give the crown of the kingdom to Williamâ&#x20AC;&#x2122; 4) â&#x20AC;&#x2DC;And here the English acclaim the kingâ&#x20AC;&#x2122; 5) â&#x20AC;&#x2DC;The end will be good as God willsâ&#x20AC;&#x2122;

INSPIRATIONS â&#x20AC;¢

7


THE BAYEUX TAPESTRY

Ƣ ƦƚƠ ƞƬ ƚƛƨƯƞ Detail of the panel; ƥƞƟƭ Kate and Pauline unveil the panel in the Alderney Library ƟƚƫƥƞƟƭ Prince Charles and the Duchess of Cornwall view the work in progress ƛƞƥƨưƥƞƟƭ The final chapter on display in Bayeux ƛƞƥƨư From left, Robin Whicker, Mme Sylvette Lemagnen, Kate Russell, Ilona Soane-Sands, and Pauline Black

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You can read more about The Final Chapter of the Bayeux Tapestry at www.alderneybayeuxtapestry.com


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NEEDLELACE Designs and 7HFKQLTXHV&ODVVLFDQG Contemporary

%,%,//$.1277(' LACE FLOWERS Elena Dickson Milner Craft Series 2013

Catherine Barley

Soft Cover 152 pg

Print On Demand 2014

ISBN 9781863514507

Soft Cover | Spiral Binding

RRP $29.95

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7KH&RPSOHWH0DQXDORI(VWHQVH(PEURLGHU\ Elisabetta Holzer | Nuova S1 2014 | Soft cover 208 pg | RRP US$58.00

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world of embroidery

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HAVE THERE BEEN SOME DESIGNS THAT YOU HAVE A PARTICULAR FONDNESS FOR? Qarth moths

Qarth grasshopper

I do have a fondness for Catelyn Stark’s collars as well as those of Lysa Arryn, as both character’s collars have concentrated areas of ULFKHPEHOOLVKPHQWXVLQJGLIIHUHQWEHDGVJHPVWRQHVDQGƓVKVFDOHVHTXLQV,DOVROLNHGWKHGHVLJQ,FUHDWHGIRU&HUVHLōVUXVWUHG NLPRQRZLWKWKHOLRQKHDGVRQHDFKDUPWKDWKDYHDUHDOWKUHHGLPHQVLRQDOTXDOLW\,DOVROLNHWKHGUDJRQVFDOHWH[WXUHV,GHYHORSHG on Daenerys Targaryen’s costumes, where I used different stitches, smocking and beads to create my interpretation. Another IDYRXULWHLV&HUVHLōVEOXHELUGGUHVVDVWKHDOORYHUŴRZRIWKHGHVLJQRQWKHGUHVVLVJRRG,ORYHGFUHDWLQJWKH4DUWKEHHWOHVPRWKV DQGJUDVVKRSSHUVDQGUDWKHUWKDQEHLQJMXVWWKHVWLWFKHVLWZDVUHDOO\DERXWƓQGLQJWKHULJKWPDWHULDOVWRFUHDWHWKHVHFUHDWXUHV >

INSPIRATIONS •

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world of embroidery

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Do you ever grow tired of it all and wish that the Lannisters, Starks and Targaryens would just kill one another and it would all be over?

Lysa Arryn collar, season 4, a favourite of Michele’s

Viewed from close proximity, the embroidery on the costumes is spectacular and wonderfully intricate but when viewing the program there is usually so much happening that its impact is quite subtle. Is this intentional? 7KHUH LV QR GHƓQLWLYH DQVZHU DV WR KRZ \RXU HPEURLGHU\ ZLOO WUDQVIHU RQWR WKH VFUHHQ 6RPHWLPHV LW PD\ EH VXEWOH DQG VRPHWLPHV QRW GHSHQGLQJ RQ WKH VSHFLƓ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ƓOPLQJ RQ WKH ƓUVW VHDVRQ DQG WKH VXEVHTXHQW VHDVRQV PRVW RI P\ HPEURLGHUHG FRVWXPHV ZHQW RQ WR EH GLVSOD\HG LQ D ZRUOGZLGH WUDYHOOLQJ Game of Thrones H[KLELWLRQ ZKHUH WKH ZRUN LV PRUH FORVHO\ VFUXWLQLVHG

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Another favourite, Catelyn Stark’s collar, season 3 16 • I N S P I R A T I O N S

NARRATIVE THREADS

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www.michelecarragherembroidery.com Images of embroidery and costumes courtesy Michele Carragher Embroidery and HBO. GAME OF THRONES S1â&#x20AC;&#x201C;4 airs on Boxsets. Season 5 coming to showcase in 2015 only on Foxtel (Australia).

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RIGHT Pair of gloves, detail of gauntlet (c. 1600) Metropolitan Museum of Art, Gift of Mrs. Edward S. Harkness, 1928 (28.220.7, .8)

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BELOW Detail showing unrelated pattern paper used as first layer of support for embroidery. Image by

ABOVE Gold wire drawing bench at Benton and Johnson showing the wooden wheel to draw down small batches of wire; wheels of this type have been used for this purpose since the 17th century.

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BELOW Details of the eye and parrot motifs. Magnification 10x. Images by Cristina Balloffet Carr, Metropolitan Museum of Art, Gift of Mrs. Edward S. Harkness, 1928 (28.220.7, .8)

www.pinterest.com/textilesmet/gloves-with-embroidered-gauntlets-mma-282207-8/

|

[1] Plate 142, published in Henry Pechamâ&#x20AC;&#x2122;s Minerva Britanna Or A Garden Of Heroical Deuises, furnished, and adorned with Emblemes and Impresa's of sundry natures (1612). A facsimile of the book can be found at https://archive.org/stream/minervabritannao00peac#page/141/mode [2] Jan Luyken, The Book of Trades, 1694. A facsimile of the book can be found at http://www.janluyken.com/cgi-bin/hmb.cgi?hmbpic=027&lang=en [3] Arthur Lotz, Bibliographie der ModelbĂźcher. Beschreibendes Verzeichnis der Stickund SpitzenmĂźsterbucher de 16. Und 17. Jahrhun Mit 213 Abbildungen auf 108 Tafeln. Leipzig, Karl W. Hiersemann, 1933. [4] Jost Martins, SchĂśn Neues Modelbuch von allerley lustigen MĂśdeln naazunehen ZuwĂźrcken vn Zusticke, 1599, Strassburg.

Cristina Balloffet Carr, Metropolitan Museum of Art, Gift of Mrs. Edward S. Harkness, 1928 (28.220.7, .8)

www.metmuseum.org/colletion/the-collection-online INSPIRATIONS â&#x20AC;˘

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COME TO THE BEAUTIFUL ITALIAN HILLTOWN OF PANICALE IN UMBRIA AND YOU WILL DISCOVER A SUPERB EMBROIDERY TECHNIQUE KNOWN AS ARS PANICALENSIS. Traditionally worked onto cream silk tulle with matching thread, the delicate designs are not created by working stitches on top of the fabric but by weaving threads in and out of the fabric cells. Stitched here with vibrant pinks and greens onto black tulle, this elegant clutch bag features a graceful floral design and is backed and lined with lustrous fuchsia silk.

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Pattern Download


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Ars Panicalensis

anicale is an ancient hilltop town typical of Umbria, the only Region of

Over the years Ars Panicalensis

Italy without a coastline and known as the “Green Heart of Italy”.

embroidery has been taught and passed

It traces its origins back to 40AD. Over the centuries Panicale

down through the generations, thanks

(pronounced Pani-caa-lay) has been known as the “Terrace on Lake

to the dedication and passion of the

Trasimeno” and “the most beautiful Eagles nest in Umbria”.

local embroiderers. It continues today

The Tulle embroidery of Panicale is a local tradition, as is evidenced by the

thanks to the local Town Council and

many embroideries worked in the convents and conserved in local churches and the

the various institutes who have always

Museum of Tulle Embroidery in the Church of Sant’ Agostino in Piazza Regina

valued and sustained it.

Margherita. The technique was very popular in the 19th century following the invention of

In 2004 a new school for the embroidery was opened, thanks to the

the loom which made ‘mechanical’ tulle (1809). It offered a quick way to produce

Town Council and local promotion

pieces similar to needlelace.

organisation (Pro Loco). Courses run

In the 20th century it was reworked by Anita Belleschi Grifoni who perfected

from November to June and have

the technique learnt from the Nuns and had worked on several commissions from

many students who create beautiful

members of the Royal House of Savoy. Signora Anita founded her school of tulle

embroideries under the expert guidance

embroidery in 1934 and gave it the name Ars Panicalensis (literally Panicale Work).

of Paola Matteucci who also designs

The school offered many women of Panicale the chance to take their first step towards economic independence.

and personalizes work for the students according to their wishes.

7 2 3  2 )  3 $ * ( THE TOWN OF PANICALE; CUSHIONS IN THE TRADITIONAL COLOUR SCHEME OF CREAM ON CREAM;

MAGNIFICENT VEIL WORKED IN ARS PANICALENSIS; PAOLA MATTEUCCI INSPIRATIONS •

25


1HHGOHODFH

LITTLE GEM –

26 • I N S P I R A T I O N S

B Y C AT H E R I N E B A R L E Y O F T H E U K


:H UHFRPPHQG WKDW \RX UHDG WKH FRPSOHWH DUWLFOH EHIRUH \RX EHJLQ

6HH WKH SDWWHUQ GRZQORDG IRU WKH WHPSODWHV

1

$OO QHHGOHODFH LV ZRUNHG ZLWK 21( VWUDQG RI WKUHDG

AS LUSCIOUS IN NEEDLELACE AS IT IS IN REAL LIFE, THIS SUPERB STRAWBERRY MAKES A STUNNING FOB FOR A FAVOURITE PAIR OF SCISSORS OR A KEY. Using two shades of red silk thread, the body of the berry is created by layering a variation of pea stitch over a foundation of corded Brussels stitch. Dainty gold beads add sparkle to the tiny picots and texture to the surface of the berry. A lavish silk and metallic thread tassel finishes the base and the fob hangs from a twisted cord.

preparation for embroidery

requirements Fabric FP [ FP ZLGH  [  SLHFH RI FDOLFR PXVOLQ

Supplies FP [ FP ZLGH  12 [  SLHFH RI PDWW DGKHVLYH Æ&#x201C;OP FP [ FP ZLGH  38 [  SLHFH RI VWLII FDUG :KLWH VHZLQJ WKUHDG 7ZHH]HUV 6PDOO DPRXQW RI Æ&#x201C;EUHÆ&#x201C;OO 7UDFLQJ SDSHU )LQH EODFN SHQ

TRANSFERRING THE DESIGN AND PREPARING THE FABRIC 8VLQJ WKH EODFN SHQ WUDFH WKH VWUDZEHUU\ DQG FDO\[ VKDSLQJ RQWR WKH WUDFLQJ SDSHU HQVXULQJ WKDW WKHUH LV FP 38 EHWZHHQ WKH VKDSHV

diag 1

3HHO WKH EDFNLQJ IURP WKH DGKHVLYH Æ&#x201C;OP DQG FHQWUH LW RYHU WKH ULJKW VLGH RI WKH WUDFHG GHVLJQ GLDJ   7ULP WKH WUDFLQJ SDSHU WR WKH VDPH VL]H DV WKH DGKHVLYH Æ&#x201C;OP URXQGLQJ RII WKH FRUQHUV GLDJ  

Needles 1R  FUHZHO 1R  WDSHVWU\ Threads & Beads Au ver à Soie 100/3 silk A  EXUJXQG\ B  JUHHQ C  UHG

FK 5HDG\WRVWLW

kit

See page 91

Madeira â&#x20AC;&#x2DC;Heavy Metalâ&#x20AC;&#x2122; No. 30 metallic thread D  JROG Mill Hill petite beads E  9LFWRULDQ JROG

diag 2

7KLV ZLOO SUHYHQW WKH ZRUNLQJ WKUHDG IURP FDWFKLQJ RQ WKH FRUQHUV )ROG WKH SLHFH RI FDOLFR LQ KDOI &HQWUH WKH WUDFHG GHVLJQ RQWR WKH IROGHG FDOLFR DQG WDFN LQ SODFH DURXQG DOO VLGHV ZLWK VHZLQJ WKUHDG WKURXJK DOO OD\HUV 5RXQG RII WKH FRUQHUV RI WKH FDOLFR GLDJ   diag 3

67,7&+(686('

Corded Brussels stitch

Couching

Detached blanket stitch

Pea stitch variation

INSPIRATIONS â&#x20AC;¢

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SCISSOR FOB

The strawberry and tassel measure 7.5cm x 3cm wide (3" x 11/4").

lace

Working the e pea stitch variation

6HH SDJH Å&#x160; IRU VWHSE\ VWHS LQVWUXFWLRQV IRU OD\LQJ D FRUGRQQHW FRUGHG %UXVVHOV VWLWFK DQG WKH 3HD VWLWWFK YDULDWLRQ

7KLV VWLWFK LVV ZRUNHG RYHU WKH FRUGHG %UXVVHOV VWLWFK IURP WKH WRS RI WK KH VWUDZEHUU\ GRZQ WR WKH EDVH VR WKDW WKH SLFRWV IDFH WWKH FRUUHFW ZD\ 8VLQJ C DQG WKH WDSHVWU\ QHHGOH ZRUUN WKH SHD VWLWFK YDULDWLRQ IROORZLQJ WKH LQVWUXFWLRQV RQ SDJH  $GG D JROG EHDG E WR HDFK SLFRW RQ HYHU\ WKLUG URZ :RUN WKH VPDOO DUHDV HDFK VLGH RI WKH YDOOH\ VHSDUUDWHO\

5HIHU WR WKH FORVHXS SKRWR IRU FRORXU SODFHPHQW

Calyx

8VH WKH FUHZHO QHHGOH IRU FRXFKLQJ WKH FRUGRQQHW LQ SODF FH DQG WKH KH GHWDFKHG ODFH WDSHVWU\ QHHGOH IRU WK VWLWFKHV

8VLQJ B OD\\ D FRUGRQQHW DURXQG WKH FDO\[ VKDSH EHJLQQLQJ RQ WKH ORZHU FX XUYHG HGJH GLDJ  

ORDER OF WORK K

%HJLQQLQJ R RQ WKH ULJKW KDQG VLGH Æ&#x201C; H Æ&#x201C;OO WKH VKDSH ZLWK FRUGHG G %UXVVHOV VWLWFK ZRUNLQJ VKRUW URZ ZV DV LQGLFDWHG G GLDJ  

Strawberry nnet Couching the cordon

Note

<RX ZLOO QHH HG WR XVH WKH OHIW KDQG G HGJH RI HDFK SUHYLRXV VHFWLRQ WR DQFKRU WK KH ORZHU HGJH RI WKH H IROORZLQJ VHFWLRQV 2Q SH LV QFH WKH VKDS Æ&#x201C;OOHG ZRUN E EODQNHW VWLWFK DURXQG WKH HGJH RYHU WKH FRUGRQQ QHW RPLWWLQJ WKH ORZHU FXUYHG HGJH

When working a piece of needlelace all detached stitches must stay on the surface of the work and not penetrate the adhesive film or backing fabric otherwise it cannot be removed when completed. Remember that you are working a piece of needlelace not embroidery.

diag 6

Removing the shapes from the calico

JWK RI A &XW D FP  OHQJ DQG IROG LQ KDOI WR IRUUP D ORRS &RXFK IROORZLQJ WKH VWUDZEHUU\ FRUGRQQHW LQ SODFH S J WKH LQVWUXFWLRQV RQ SDJH  %HJLQ RQ RQH VLGH FP 34 XS IURP WKH VWUDZEHUU\ EDVH Working the corded Brussels stitch 7KH FRUGHG %UXVVHOV VWLWFK FDQ EH ZRUNHG YHUWLFDOO\ RU GLDJRQDOO\ DFURVV WKH VKDSH GLDJ  

diag 4

8VLQJ A DQFKRU WKH WKUHDG E\ UXQQLQJ LW EHKLQG VHYHUDO FRXFKLQJVWLWFKHVDWWKHVWDUWLQJSRVLWLRQ'RQRWEULQJWKH WKUHDGWKURXJKIURPWKHEDFNRIWKHZRUN)LOOWKHVWUDZEHUU\ VKDSHIROORZLQJWKHLQVWUXFWLRQVRQSDJH)LQLVKWKH ZRUNLQJWKUHDGDWWKHHGJHRIWKHVKDSHE\UXQQLQJLWXQGHU VHYHUDOFRXFKLQJVWLWFKHV%ULQJLQDQHZWKUHDGLQWKHVDPH PDQQHU

28 â&#x20AC;¢ I N S P I R A T I O N S

diag 5

FH WKH ODFH VWLWFKHV DUH FRPSOHWH VHSDUDWH WKH WZR OD\HUV FDOLFR VR WKDW WKH WDFNLQJ VWLWFKHV DUH YLVLEOH 8VLQJ VKDUS HP PEURLGHU\\ VFLVVRUV FOLS WKH VWLWFKHV ZRUNLQJ EHWZHHQ WKH FDOLFR OD\HUVV WR SUHYHQW FXWWLQJ WKH Æ&#x201C;OOLQJ VWLWFKHV 5HPRYH WKH VWUDZEH HUU\ DQG FDO\[ VKDSHV IURP WKH IDEULF :RUN D G VWUDZEHUU\ DQG FDO\[ VKDSH DQG UHPRYH IURP WKH VHFRQG FDOLFR LQ WKH VDPH PDQQHU Twisted cord &XW QLQH OHQJWKV RI B DQG WKUHH OHQJWKV RI D FP 

ORQJ DQG PDNH D WZLVWHG FRUG .QRW WKH WKUHDGV WRJHWKHU DW HDFK HQG 6HFXUH RQH HQG RYHU WKH VSRRO SLQ RQ D VHZLQJ PDFKLQH RU D VLPLODU REMHFW 6OLGH D SHQFLO RU FKRSVWLFN EHWZHHQ WKH WKUHDGV EHQHDWK WKH NQRW RQ WKH UHPDLQLQJ HQG 6SLQ WKH SHQFLO WR WZLVW WKH FRUG XQWLO WKH FRUG WZLVWV YHU\ WLJKWO\ RQ LWVHOI ZKHQ D VPDOO VHFWLRQ LV UHOHDVHG .HHSLQJ WKH WKUHDGV WDXW SODFH WKH WZR HQGV WRJHWKHU DQG ZRUNLQJ FP  DW D WLPH IURP WKH IROGHG HQG DOORZ WKH WKUHDGV WR WZLVW RQ WKHPVHOYHV WR IRUP D WZLVWHG FRUG .QRW WKH HQGV WRJHWKHU 3ODFH WKH HQGV WRJHWKHU WR IRUP D ORRS DQG XVLQJ RQH VWUDQG RI B ZUDS WKH HQGV WRJHWKHU VHFXUHO\ DQGWULPDZD\WKHNQRWV Making the strawberry :LWKULJKWVLGHVWRJHWKHUPDWFKLQJHGJHVDQGXVLQJC RYHUFDVWWKHWZRKDOYHVWRJHWKHU/HDYHDQRSHQLQJLQWKH YDOOH\DWWKHWRSRIWKHVWUDZEHUU\MXVWODUJHHQRXJKIRUWKH FRUGVWREHLQVHUWHGDQGDVHFRQGRSHQLQJRQRQHVLGH


6OLSVWLWFKWKHRSHQLQJFORVHG XVVLQJ C :LWKULJKWVLGHVWRJHWKHUPDWFK KLQJ HGJHVDQGXVLQJBRYHUFDVW WKH H VLGHV RIWKHFDO\[WRJHWKHUIURPWKH HGJH RI WKH FXUYHGEDVHKDOIZD\WRWKH VHSD DO WLS GLDJ  

diag 7

7XUQWRWKHULJKWVLGH8VLQJ B ZRUN D URZ RI VPDOO JDWKHULQJ VWLWFKHVDURXQGWKHFLUFOHIRUPHG LQ WKH FHQWUH DQG OHDYH WKHWKUHDGKDQJLQJ6OLSWKH FDO\[ RYHU WKH WZLVWHG FRUG DQGGRZQRQWRWKHWRSRIWKHVWUDZEHUU\3XOOWKHJDWKHULQJ WKUHDGXQWLOWKHRSHQLQJÆ&#x201C;WVVQXJO\DURXQGWKHFRUGDQG VHFXUHZLWKVHYHUDOVPDOOVWLWFKHV Tassel 7KHWDVVHOLVRSWLRQDODQGFDQEHRPLWWHGLIGHVLUHG3ODFH WKHUHHOVRIJUHHQVLON B DQGJROGPHWDOOLFWKUHDG D LQWR DERZOWRSUHYHQWWKHPIURPUROOLQJDZD\3ODFHWKHHQGV WRJHWKHUDQGZUDSWKHWKUHDGVDURXQGWKHOHQJWKRIWKH SLHFHRIFDUGVHYHQW\Æ&#x201C;YHWLPHVEHJLQQLQJDQGHQGLQJ DW WKHEDVHRIWKHFDUG&XWRIIERWKWKUHDGV &XWDFP  OHQJWKRIBDQGWKUHDGGRXEOHGLQWR WKH WDSHVWU\QHHGOH6OLGHXQGHUWKHWKUHDGVDWWKHWRSRI WKH FDUGWKHQWLHWKHHQGVÆ&#x201C;UPO\ZLWKDUHHINQRW&XWWKHWKUHDGV DWWKHEDVHDQGUHPRYHWKHEXQGOHIURPWKHFDUG &XWDFP  OHQJWKRIBDQGIROGLQKDOI 3ODFHWKHIROGHGWKUHDGDURXQGWKHEXQGOHDSSUR[LPDWHO\ FP 38 GRZQIURPWKHWRS

LAYING A CORDONNET A cordonnet is a couched framework that surrounds WKHVKDSHWREHÆ&#x201C;OOHGZLWK needlelace. Once it is in place, the detached lace stitches â&#x20AC;&#x2DC;hangâ&#x20AC;&#x2122; from this framework. The cordonnet must be taut so that the correct shape is maintained when detached blanket stitches are pulled against it. To ensure that the cordonnet stays taut, re-tension the doubled thread after every few couching stitches.

SCISSOR FOB

&DUHIXOO\WXUQWKHVWUDZEHUU\ LQVLGH RXW WKURXJK WKH VLGH RSHQLQJ<RXPD\Æ&#x201C;QGWKHWZHH]HUV XVHIXO I O ZKHQ K G L GRLQJ WKLV8VLQJDVPDOOSLHFHRIÆ&#x201C;EUHÆ&#x201C;OO DW D WLPH Æ&#x201C;OO HDFKVLGHRIWKHWRSOHDYLQJ D JD DS DW WKHFHQWUH IRUWKHFRUG,QVHUWWKHFRUGLQWR WKH RSHQLQJDQGXVLQJCVHFXUH LW ZLWK Z VHYHUDOVPDOOVWLWFKHVHQVXULQJ WKDW WKH RSHQLQJLVFORVHG&RQWLQXH Æ&#x201C;OOLQJ WKHVWUDZEHUU\XQWLOLWLVÆ&#x201C;UP DQG G WLJKWO\SDFNHG

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ttaching the tassel 3ODFH WKH HQGV RI WKH WKUHDG DW WKH WRS RI WKH WDVVHO LQWR D QHHGOH 6HFXUH WKH WDVVHO DW WKH EDVH RI WKH VWUDZEHUU\ ZLWK VHYHUDO VPDOO VWLWFKHV WKHQ WDNH WKH WKUHDG XS LQWR WKH VWUDZEHUU\ %ULQJ WKH WKUHDG WR WKH VXUIDFH DQG SXOO Æ&#x201C;UPO\ EHIRUH FDUHIXOO\ FXWWLQJ WKH WKUHDG HQGV 7KH WKUHDG WDLOV VKRXOG GLVDSSHDU GRZQ LQWR WKH VWUDZEHUU\

-2,1,1*,1$1(::25.,1*7+5($'Once your thread becomes too short to use take it out of the needle and leave the end hanging. Thread a new length into the needle and bring it to the front into the last loop worked leaving a 4cm (1 1/2") tail to run alongside the tail of the old thread. Continue working detached blanket stitches over both tail ends for approximately 1.5cms (5/8"). Carefully trim away one tail end. Work three more stitches then trim away the remaining tail end. Continue working with the new thread.

Cut a 45cm (18") length of A and fold in half to form a loop. Thread the crewel needle with a length of sewing thread and knot the end.

1

Secure the sewing thread and place a couching stitch close to the looped end

2

Begin couching the doubled thread along the marked line, keeping it taut.

3

Continue working in this manner around the shape ensuring that the stitches are 3mm (1/8") apart until 2cms (3/4") from the loop.

INSPIRATIONS â&#x20AC;¢

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SCISSOR FOB

4

Take the tails of the doubled thread through the looped end.

5

one tail back on itself Fold do at it overlaps the so tha eft behind and couch it thread le in place..

6

Lay the second tail in the opposite direction along the cordonnet and couch in place.

7

Secure the couching thread and trim the excess thread tails from the cordonnet.

1

Take the thread under the cordonnet and work evenly spaced blanket stitches across the row.

2

6

CORDED BRUSSELS STITCH Also known as corded detached d blanket stitch, this creates a dense needlelace fabric. To anchor the thread, run r it under several couching stitches on tthe edge of the work. 7R Ć&#x201C;QLVK WKH VKDSH ZLWKRXWWKHEODQNHWVWLWFK work the last row witthout picking up the cordonnet. Overcastt the lower edge to the cordonnet working through each loop of the last row.

At the opposite side, slide the needle from right to left under the cordonnet twice.

3

Lay the thread across the e shape and slide the needle under the cordonnet from right r to left twice.

4

Slide the needle behind WKHORRSRIWKHĆ&#x201C;UVWVWLWFK and the cord ensuring that the thread is under the tip of the needle.

5

Pull through. Slide the needle behind the loop of the second stitch and the cord ensuring that the thread is under the tip of the needle.

Continue in this manner, working a blanket stitch into each loop of the previous row and around the laid thread.

7

8

9

10

Wrap the thread twice around the cordonnet on the right hand side as before.

30 â&#x20AC;˘ I N S P I R A T I O N S

Continue laying thread from right to left and working blanket stitch from left WRULJKWWRĆ&#x201C;OOWKHVKDSH

7R Ć&#x201C;QLVK WKH VKDSH ZRUN blanket stitch over the laid thread and cordonnet to anchor the last row.

Using a new thread neaten the edge with EODQNHWVWLWFKLIUHTXLUHG


SCISSOR FOB

PEA STITCH VARIATION Practice working this stitch with a thicker thread until you DUHFRQÆ&#x201C;GHQWLQLWVH[HFXWLRQ and the pattern repeats. This is essential as each side of the strawberry top is worked separately before commencing full rows across the shape.

1

Slide the needle under the cordonnet with the thread under the tip of the needle.

2

Continue working evenly spaced detached blanket stitches across the shape working from left to right.

3

4

Slide the needle under the ORRSRIWKHÆ&#x201C;UVWVWLWFKZLWK the thread under the needle tip.

5

Work three more stitches in this manner working from right to left.

6

Skip four loops. Work a detached blanket stitch into each of the next four loops. Continue working in this manner across the row.

7

At the end of the row take the thread around the cordonnet twice.

8

9

10

11

Working from L to R, into WKHÆ&#x201C;UVWJURXSRIWKUHH loops, work one stitch into the Æ&#x201C;UVWORRSDORRSSLFRWLQWRWKH second and one stitch into the third.

:RUNÆ&#x201C;YHVWLWFKHVLQWRWKH large loop.

&RQWLQXH WKLV VHTXHQFH to the end of the row.

At the end of the row, take the thread around the cordonnet twice.

Continue working alternating loop and picot rows adding beads to WKH SLFRWV DV UHTXLUHG DQG offsetting the positions for the loops and picots in each row.

LOOP PICOT :KHQZRUNLQJWKHEHDGHGSLFRWVVOLSDEHDGRQWRWKH QHHGOHEHIRUHEHJLQQLQJWKHVWLWFK 7RZRUNDORRSSLFRWVOLGHWKHQHHGOHIURPWRSWR ERWWRPXQGHUWKHQH[WORRSOHDYLQJDORRSRIWKUHDG 3ODFHDSLQLQWKHORRSWRHQVXUHWKDWLWUHPDLQVWKH GHVLUHGVL]H GLDJ  :LWKWKHWKUHDGRYHUWKHORRSSDVVWKHQHHGOHEHKLQG WKHWZRWKUHDGVDQGRYHUWKHWKLUGDVVKRZQ GLDJ  3XOOWKHWKUHDGWRWLJKWHQWKHVWLWFKDQGUHPRYHWKHSLQ

diag 8

diag 9

INSPIRATIONS â&#x20AC;¢

31


Meet

Catherine BARLEY

L

ike most little girls I enjoyed making clothes for my dolls which I would embroider with French knots and lazy daisies, progressing in my teenage years to making my own clothes, learning how to knit and work smocking. I excelled at needlework as a teenager at school, always coming top of the class and would have loved to be an apprentice at the Royal School of Needlework but in the early 1950s this was not considered to be a lucrative occupation for young girls. Britain was still recovering from the war years and a secretarial course in shorthand and typing was considered at that time to be a better option from which to earn a living, rather than embroidery! Little did I know then that several decades later I would be invited by Joan Field, then Principal of the Royal School of Needlework to teach the apprentices one day a week for six consecutive weeks. You can imagine how honoured I felt at such an invitation!

Images, this page T O P O F P A G E &DWKHULQHZRUNLQJRQDQHZSLHFH A B O V E 3RLQWGH*D]HVDPSOH RIGHT

The Snow QueenLQVSLUHGE\WKH)DLU\7DOH ZULWWHQE\+DQV&KULVWLDQ$QGHUVRQ

F A R R I G H T 3RLQWGH*D]H'EXWWHUŴ\DQGŴRZHUV

32 • I N S P I R A T I O N S

Already a bob bbin lace maker, I discovereed needlelace in the late 1970s when I enrolled on a two year City & Guilds Creative Textile Course at Windsor and Maidenhead College here in the UK where we were taught everything that made a textile. Having successfully gained my certificate in 1980, I decided to concentrate on needlelace, a form of lacemaking I previously had never even heard of let alone knew how to make, and although at first I preferred my lovely bobbins, the pleasure of working with a needle and single strand of thread awakened my childhood passion. As with the bobbin lace years earlier, I took to needlelace like a duck to water and it was not too long before invitations came from both home and overseas to teach this most beautiful form of lacemaking, as tutors were and still are, in short supply. In the late 1980s I was approached by B T Batsford and commissioned to write a book for them on needlelace. I was

rtunate that the publication of my book b Needlelace Designs and Techniques Classic & Contemporary coincided with the first City & Guild course on lacemaking that was about to commence. Most of the candidates were well known teachers of bobbin lace here in the UK but to the best of my knowledge, only one of them at that time knew how to make needlelace and my newly released book contained the information included in the syllabus for


their course. I was appointed to be one of the three assessors for the examination which was to take place at the end of an intensive course and the success of my book resulted in my gaining international recognition. Consequently I have taught at numerous lace schools here in the UK and overseas. In 2007 I was invited by the Australian Lace Guild to teach at their annual convention which took place in Perth that year, travelling on to Melbourne to teach for the Embroiderers’ Guild and finally for the Sydney branch for their 50th Anniversary which took place at the Olympic Showground in Sydney. Inspiration comes from a variety of sources but my main source would probably be the beautiful flora and fauna that surrounds us all in everyday life. Architecture, music and paintings also can be a wonderful source of inspiration. I am quite often invited to submit a work for a forthcoming exhibition or challenge and of course will be given a brief as to the title of the exhibition. I was awarded a silver medal and diploma for my panel ‘The Snow Queen’ at the VII International Biennial at Sansepolcro, Italy in 1998. The theme for the exhibition was ‘Lace as Poetry’ and

my panel was described by the judges as ‘A Beautiful Dream’. ‘The Blushing Bride’ stumpwork scene was inspired by a Victorian painting which I thought might work well using raised embroidery techniques.

My needlelace panel of the ice skater was inspired by an invitation to submit a work for an exhibition to take

place in Germany in 2014. The brief was ‘Nocturne’. I just love to watch the International Ice-Skating Championships on TV and am enthralled by the beauty and magic portrayed in the elegant twists and turns incorporated by the skaters into their choreography, and interpretation of their chosen piece of music. For me, Frederic Chopin’s Opus 9 No. 2 conjured up in my mind a beautiful female form twisting, turning and spiralling her way so gracefully around the ice. Antique lace itself is such a wonderful source of inspiration. My favourite is Point de Gaze with its light, gauzy ground covered with beautiful interpretations of flowers, sometimes with extra petals added for dimension. I have done my best over several decades to pass on the skills taught to me by my tutor Nenia Lovesey, by teaching others this sadly neglected but most beautiful form of lace, in the hope that my many students will also pass on their knowledge for the benefit of future generations.

Images, this page FA R L E F T LEFT

The Blushing Bride

3RLQWGH*D]HVDPSOH

Henley Bridge P\KRPHWRZQLQWKH8.  Nocturne

BELOW TOP

INSPIRATIONS •

33


&RXQWHG7KUHDG(PEURLGHU\

TIMELESS TREASURES % <  E L I S A B E T TA H O L Z E R S P I N E L L I  2 )  , 7$ /<

34 â&#x20AC;¢ I N S P I R A T I O N S


ONE ELEGANT FLORAL MOTIF, INSPIRED BY TRADITIONAL ITALIAN CERAMICS, DECORATES BOTH THIS CHARMING BELL AND THIMBLE POD. Worked onto ivory linen in a stunning palette of topaz, cornflower and garnet, the remaining sides are covered with a grid of Ferrara stitch and studded with French knots. Italian pearl stitch is used to join the sections together and also creates a decorative border on the lower edge of the bell and the pod opening.

requirements Fabric Thimble pod FP[FPZLGH 18[12

SLHFHRIFUHDPFRXQW HYHQZHDYHOLQHQ FP[FPZLGH 18[12  SLHFHRIUHGFRWWRQSULQW Bell FP[FPZLGH 12[34

SLHFHRIFUHDPFRXQW HYHQZHDYHOLQHQ FP[FPZLGH 12[34  SLHFHRI\HOORZFRWWRQSULQW Supplies FP[FPZLGH 12[ SLHFH RIFUHDPZRROIHOW SRG

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DMC no. 8 perlé cotton S Y\GNFRUDOUHG

Threads & Beads DMC broder spécial no. 25 A GNFRUDO FK 5HDG\WRVWLW B \HOORZ C OW\HOORZ D PHGWRSD] See page 91 E GN'HOIW

kit

DMC stranded cotton F OWFRUDO * &KULVWPDVJUHHQ

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DMC no. 12 perlé cotton 7 &KULVWPDVJUHHQ Beads PP 18 JROGJODVVEHDGV SRGÅ&#x160;  EHOOÅ&#x160;

PP 18 JUHHQJODVVEHDGV SRGÅ&#x160;  EHOOÅ&#x160;

PP 14 JUHHQIDFHWHGFU\VWDO SRGÅ&#x160;  EHOOÅ&#x160;

'LVWDQFHG IRXUVLGHG Æ&#x201C;OOLQJ VWLWFK

9HUWLFDOFURVVVWLWFK

:DYHÆ&#x201C;OOLQJVWLWFK

INSPIRATIONS â&#x20AC;¢

35


6HH WKH SDWWHUQ GRZQORDG IRU WKH HPEURLGHU\ GHVLJQ DQG WKH WKLPEOH SRG DQG EHOO WHPSODWHV

preparation for embroidery 1HDWHQ WKH UDZ HGJHV RI HDFK OLQHQ SLHFH ZLWK DQ RYHUORFN RU PDFKLQH ]LJ]DJ VWLWFK WR SUHYHQW IUD\LQJ

Bell 7UDFHWKHÅ´RZHUGHVLJQDQGSODFHPHQWPDUNVRQWRWKH WUDFLQJSDSHUZLWKWKHEODFNSHQ8VLQJDOLJKWER[RU ZLQGRZFHQWUHWKHLQWHUVHFWLRQRIWKHXSSHUWDFNLQJOLQHV ZLWKWKHFHQWUHRIWKHÅ´RZHUGHVLJQDQGSLQLQSODFH8VLQJ WKHOHDGSHQFLOWUDFHWKHGHVLJQRQWRWKHOLQHQ5HPRYHWKH WDFNLQJLQWKHPRWLIDUHD

Thimble pod

embroidery FP 18"

0HDVXUH DORQJ WKH ORQJ WRS HGJH RI WKH OLQHQ DQG PDUN ZLWK D SLQ DW WKH FP  18 DQG FP  14 SRVLWLRQV 'LYLGH WKH SLHFH RI OLQHQ LQWR WKUHH FP  18 VTXDUHV E\ UHPRYLQJ WKH YHUWLFDO IDEULF WKUHDG DW WKH PDUNHG SRVLWLRQV 8VLQJ FRQWUDVWLQJ VHZLQJ WKUHDG PDUN WKH GLDJRQDO FHQWUH RI HDFK VTXDUH ZLWK FP 18"

D OLQH RI WDFNLQJ ZRUNHG RYHU DQG XQGHU IRXU JURXQG WKUHDGV GLDJ   2Q RQH VTXDUH ZRUN D VHFRQG GLDJRQDO OLQH SHUSHQGLFXODU WR WKH Æ&#x201C;UVW GLDJ  

6HHSDJHVÅ&#x160;IRUVWHSE\VWHSLQVWUXFWLRQVIRUZRUNLQJ ZDYHÆ&#x201C;OOLQJVWLWFK,WDOLDQSHDUOVWLWFKDQGGLVWDQFHGIRXU VLGHGVWLWFK 5HIHUWRWKHFORVHXSSKRWRJUDSKIRUFRORXUSODFHPHQW 8VHWKHQRWDSHVWU\ZKHQZRUNLQJZLWKWKHSHUO«FRWWRQ DQGWKHQRFUHZHORUQRWDSHVWU\ZKHQZRUNLQJZLWK WKHUHPDLQLQJWKUHDGV

ORDER OF WORK

7KLV ZLOO EH WKH VLGH ZLWK WKH Å´RZHU PRWLI

Thimble pod Counted thread

Bell

FP 

FP 

0HDVXUH GRZQ FP  14 IURP WKH ORQJ XSSHU HGJH DQG ZRUN D OLQH RI WDFNLQJ IROORZLQJ WKH VWUDLJKW JUDLQ DFURVV WKH IDEULF XVLQJ FRQWUDVWLQJ VHZLQJ WKUHDG 0HDVXUH XS FP 14 IURP WKH ORQJ ORZHU HGJH DQG PDUN LQ WKH VDPH PDQQHU )ROG WKH SLHFH RI IDEULF LQ KDOI GRZQ WKH OHQJWK DQG Æ&#x201C;QJHU SUHVV 2SHQ RXW %HJLQQLQJ DW WKH XSSHU HGJH RQ WKH IROGOLQH ZRUN D OLQH RI WDFNLQJ DORQJ WKH VWUDLJKW JUDLQ IRU FP   7KLV OLQH LQGLFDWHV WKH SRVLWLRQLQJ RI WKH EHOO VLGH ZLWK WKH Å´RZHU PRWLI )ROG HDFK VKRUW VLGH HGJH LQWR WKH OLQH RI WDFNLQJ DQG Æ&#x201C;QJHU FP 14"

SUHVV 2SHQ RXW %HJLQQLQJ DW WKH ORZHU HGJH RQ WKH IROGOLQH ZRUN D OLQH RI WDFNLQJ DORQJ WKH VWUDLJKW FP 14"

JUDLQ IRU FP  RQ HDFK VLGH GLDJ   7KHVHOLQHVLQGLFDWHWKHSRVLWLRQLQJRIWKHEHOOVLGHVZLWK WKHÆ&#x201C;OOLQJVWLWFKHV

TRANSFERRING THE DESIGN Thimble pod 7UDFHWKHÅ´RZHUGHVLJQDQGSODFHPHQWPDUNVRQWRWKH WUDFLQJSDSHUZLWKWKHEODFNSHQ8VLQJDOLJKWER[RU ZLQGRZFHQWUHWKHOLQHQVTXDUHZLWKWKHWZRGLDJRQDO

36 â&#x20AC;¢ I N S P I R A T I O N S

1

$OOHPEURLGHU\LVZRUNHGZLWK 21(VWUDQGRIWKUHDGXQOHVV RWKHUZLVHVSHFLÆ&#x201C;HG

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PREPARING THE FABRICS

FP 

THIMBLE POD AND BELL

:HUHFRPPHQGWKDW\RXUHDGWKH FRPSOHWHDUWLFOHDQGLQVWUXFWLRQVLQWKH SDWWHUQGRZQORDGEHIRUH\RXEHJLQ

7KHJULGVZRUNHGRQWZRVLGHVRIWKHSRGDUHFUHDWHGE\ VWLWFKLQJGLDJRQDOOLQHVRI)HUUDUDVWLWFKOHDYLQJWZHOYHIDEULF WKUHDGVEHWZHHQHDFKOLQH2WKHUWKDQWKHVLQJOHVWLWFKHV DWWKHHQGVRIVRPHOLQHVDOO)HUUDUDVWLWFKHVDUHZRUNHG LQSDLUVHDFKVWLWFKRYHUWZRGLDJRQDOIDEULFWKUHDGVDQG OHDYLQJDVSDFHRIWZRIDEULFWKUHDGVEHWZHHQHDFKSDLU 7KHORQJOLQHVWKDWUXQIURPERWWRPOHIWWRWRSULJKWVKRXOG EHZRUNHGÆ&#x201C;UVWEHJLQQLQJZLWKWKHFHQWUHOLQH:KHQ ZRUNHGRQWKHGLDJRQDODOOWKUHHVWLWFKHVVKDUHWKHVDPH KROHVDWHDFKHQG GLDJ 

Illustrations courtesy of Jeanine Robertson

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THIMBLE POD AND BELL

The pod measures 7cm x 4.5cm wide (2 3/4" x 13/4") excluding the cord.

7KLV FRPSOHWHV WKH FHQWUH DQG OHIW KDOI RI WKH VKDSH :RUN WKH ULJKW KDOI IROORZLQJ WKH VDPH VHTXHQFH EXW RPLWWLQJ WKH FHQWUH OLQH GLDJ   4

2

16

4

8 4

LEFT

ROW 1Å&#x160;VLQJOHVWLWFKWZRSDLUVVLQJOHVWLWFKPRYHWRWKH

ULJKWWKUHDGV ROW 2Å&#x160;VLQJOHVWLWFKIRXUSDLUVVLQJOHVWLWFKPRYHXS

12 3

RIGHT

1

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12 10 8

12 10 2

6

6 6 6

4

6 2

8

10

2

4

11

8 4

12

9

6 6

8

1

7

4

8 4

5 3

WKUHDGVDQGWRWKHOHIWWKUHDGV ROW 3Å&#x160;VL[SDLUVPRYHWRWKHULJKWWKUHDGVDQGGRZQ WKUHDGV ROW 4Å&#x160;VLQJOHVWLWFKVL[SDLUVVLQJOHVWLWFKPRYHXS WKUHDGVDQGWRWKHOHIWWKUHDGV ROW 5Å&#x160;HLJKWSDLUVPRYHWRWKHULJKWWKUHDGVDQGGRZQ WKUHDGV ROW 6Å&#x160;HLJKWSDLUVPRYHXSWKUHDGVDQGWRWKHOHIW WKUHDGV ROW 7Å&#x160;HLJKWSDLUVPRYHWRWKHULJKWWKUHDGVDQGGRZQ WKUHDGV ROW 8Å&#x160;HLJKWSDLUVPRYHXSWKUHDGVDQGWRWKHOHIW WKUHDGV ROW 9Å&#x160;VLQJOHVWLWFKVL[SDLUVVLQJOHVWLWFKPRYHWRWKH ULJKWWKUHDGVDQGGRZQWKUHDGV ROW 10Å&#x160;VL[SDLUVPRYHXSWKUHDGVDQGWRWKHOHIW WKUHDGV ROW 11Å&#x160;VLQJOHVWLWFKIRXUSDLUVVLQJOHVWLWFKPRYHGRZQ WKUHDGV ROW 12Å&#x160;VLQJOHVWLWFKWZRSDLUVVLQJOHVWLWFK 8VLQJAZRUND)UHQFKNQRWLQWKHVSDFHEHWZHHQWKHSDLUV RI)HUUDUDVWLWFKRQRQHRYDO8VLQJDZRUND)UHQFKNQRWLQ WKHFHQWUHRIHDFKVTXDUHRQWKHVHFRQGRYDO Flower motif 7KHÅ´RZHUPRWLILVZRUNHGLQWKHVDPHPDQQHURQWKH WKLPEOHSRGDQGEHOO

INSPIRATIONS â&#x20AC;¢

37


THIMBLE POD AND BELL

The bell measures 6.5cm x 7cm wide (2 1/2" x 2 3/4") excluding the cord.

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Bell Counted thread 7KH JULGV ZRUNHG RQ WZR VLGHV RI WKH EHOO DUH FUHDWHG E\ VWLWFKLQJ GLDJRQDO OLQHV RI )HUUDUD VWLWFK OHDYLQJ WZHOYH IDEULF WKUHDGV EHWZHHQ HDFK OLQH 2WKHU WKDQ WKH VLQJOH VWLWFKHV DW WKH HQGV RI VRPH OLQHV DOO )HUUDUD VWLWFKHV DUH ZRUNHG LQ SDLUV HDFK VWLWFK RYHU WZR GLDJRQDO IDEULF WKUHDGV DQG OHDYLQJ D VSDFH RI WZR IDEULF WKUHDGV EHWZHHQ HDFK SDLU 7KH OLQHV WKDW UXQ IURP ERWWRP OHIW WR WRS ULJKW VKRXOG EH ZRUNHG Æ&#x201C;UVW )URP WKH LQWHUVHFWLRQ RI WKH WDFNHG OLQHV FRXQW GRZQ VHYHQ WHHQ IDEULF WKUHDGV WKHQ WZHQW\Æ&#x201C;YH WKUHDGV WR WKH ULJKW 8VLQJ E EULQJ WKH WKUHDG WR WKH IURQW 5HPHPEHU WR WXUQ WKH ZRUN DIWHU SRVLWLRQLQJ WKH WKUHDG IRU HDFK QHZ URZ GLDJ  

Æ&#x201C;J

Æ&#x201C;J

7KH OHDI WXUQRYHUV DUH Æ&#x201C;OOHG ZLWK URZV RI VWHP VWLWFK 8VLQJ O RXWOLQH HDFK DUHD LQ VWHP VWLWFK FKDQJLQJ WR F ZKHUH LQGLFDWHG )LOO WKH UHPDLQLQJ DUHD ZLWK URZV RI VWHP VWLWFK XVLQJ 3 Æ&#x201C;J  

10 6

8 6 6

6

6

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2 4

10 4

2

8 6 6

6 6 7

4

8 4

7

8

1

12

5 3

Æ&#x201C;J

diag 7

2XWOLQH WKH FHQWUH ZLWK VWHP VWLWFK XVLQJ K Æ&#x201C;J   2 6 6 4 6 6 6 2 10 8 4 8 1

10 6 6

6

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Æ&#x201C;J

6 4

8VLQJ WZR VWUDQGV RI I Æ&#x201C;OO WKH WRS OHDYHV ZLWK EODQNHW VWLWFK

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38 â&#x20AC;¢ I N S P I R A T I O N S

3

8

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8

4 12

5 7 9

ROW 1

diag 8

Å&#x160; IRXU SDLUV PRYH XS DQG WR WKH OHIW  WKUHDGV

ROW 2Å&#x160;VL[SDLUVPRYHWRWKHULJKWWKUHDGV ROW 3Å&#x160;VHYHQSDLUVVLQJOHVWLWFKPRYHXSWKUHDGVDQGWR WKHOHIWWKUHDGV ROW 4Å&#x160;HLJKWSDLUVVLQJOHVWLWFKPRYHWRWKHULJKWWKUHDGV DQGGRZQWKUHDGV ROW 5Å&#x160;QLQHSDLUVPRYHXSWKUHDGVDQGWRWKHOHIWWKUHDGV


:RUNWKHSHUSHQGLFXODUURZVEHJLQQLQJZLWK WKH XSSHUPRVW URZ%ULQJWKHWKUHDGWRWKHIURQWEHWZHHQ WKH ULJKW KDQG HQGVRIURZVDQG7XUQWKHZRUN5HPHPEHU WR WXUQ WKH ZRUNDIWHUSRVLWLRQLQJWKHWKUHDGIRUHDFK QHZ URZ GLDJ   ROW 1Å&#x160;VLQJOHVWLWFKVL[SDLUVPRYHXSDQG WR WKH OHIW  WKUHDGV ROW 2Å&#x160;HOHYHQSDLUVPRYHWRWKHULJKWDQG GRZQ  WKUHDGV ROW 3Å&#x160;HOHYHQSDLUVPRYHXSDQGWRWKH OHIW  WKUHDGV ROW 4Å&#x160;HOHYHQSDLUVPRYHWRWKHULJKW WKUHDGV DQG GRZQ WKUHDGV ROW 5Å&#x160;VLQJOHVWLWFKQLQHSDLUVVLQJOHVWLWFK PRYH XS  WKUHDGVDQGWRWKHOHIWWKUHDGV ROW 6Å&#x160;QLQHSDLUVPRYHWRWKHULJKWWKUHDGV DQG GRZQ WKUHDGV ROW 7Å&#x160;VLQJOHVWLWFKHLJKWSDLUVPRYHXS  WKUHDGV DQG WR WKHOHIWWKUHDGV ROW 8Å&#x160;VLQJOHVWLWFKVHYHQSDLUVPRYHGRZQ  WKUHDGV ROW 9Å&#x160;VL[SDLUVPRYHXSDQGWRWKHOHIW  WKUHDGV ROW 10Å&#x160;IRXUSDLUV

WAVE FILLING STITCH This neat stitch LVXVHGWRÆ&#x201C;OOWKH FHQWUHRIWKHÅ´RZHU ,WIRUPVDÆ&#x201C;OOLQJ pattern of small, even diamonds. Each diamond is VXEVHTXHQWO\Æ&#x201C;OOHG with a cross stitch.

4

Row 2. Turn the work. Take the needle through the same hole as the last wave stitch on row 1. Emerge four threads above.

C

THIMBLE POD AND BELL

ROW 6Å&#x160;VLQJOHVWLWFKQLQHSDLUVVLQJOHVWLWFK PRYH WR WKH ULJKWWKUHDGVDQGGRZQWKUHDGV ROW 7Å&#x160;HOHYHQSDLUVPRYHXSDQGWRWKH OHIW  WKUHDGV ROW 8Å&#x160;HOHYHQSDLUVPRYHWRWKHULJKWDQG GRZQ  WKUHDGV ROW 9Å&#x160;HOHYHQSDLUVPRYHXSDQGWRWKH OHIW  WKUHDGV ROW 10Å&#x160;VL[SDLUVVLQJOHVWLWFK

8VLQJ A ZRUN D )UHQFK NQRW LQ WKH VSDFH EHWZHHQ WKH SDLUV RI )HUUDUD VWLWFK RQ RQH EHOO VKDSH 8VLQJ D ZRUN D )UHQFK NQRW LQ WKH FHQWUH RI HDFK VTXDUH RQ WKH VHFRQG EHOO VKDSH Flower motif :RUN WKH Å´RZHU PRWLI LQ WKH VDPH PDQQHU DV IRU WKH WKLPEOH SRG 3RVLWLRQ WKH EHOO WHPSODWH RYHU WKH WKUHH HPEURLGHUHG VKDSHV DQG WUDFH WKH RXWOLQH ZLWK WKH SHQFLO 8VLQJ 7 ZRUN GRXEOH EDFN VWLWFK DURXQG HDFK RXWOLQH GLDJ  

construction Pattern Download

6HH WKe

B A

D

A

2

1

Row 1. Emerge at A. Take the needle to the back at B, 2 threads above and 2 threads to the right. Emerge at C, 4 threads to the left of B.

Take the needle to the back at A and emerge at D, 4 threads to the left of A.

5

6

Continue working wave stitches across the row in the same manner as before.

Work the third and following rows in the same PDQQHUWRÆ&#x201C;OOWKHVKDSH

3

Repeat steps 1 and 2 until reaching the left side of the shape.

Ricamo Estense

by Elisabetta Holzer See page 11 for more information.

INSPIRATIONS â&#x20AC;¢

39


THIMBLE POD AND BELL

ITALIAN PEARL STITCH This stitch creates a pebbled line that varies in appearance according to the closeness of the stitches. Use a heavy round thread such as cotton perlĂŠ for the best effect.

1

Emerge at the right hand end of the row. With the needle tip towards you, pick up two fabric threads to the left.

2

Begin to pull the thread through, leaving a small loop. Take the needle from back to front through the loop.

3

Pull the stitch taut, forming a small knot

4

5

Repeat steps 2â&#x20AC;&#x201C;4 to the end of the row.

Pick up two fabric threads a short distance to the left of the knot

KNOTTED CORD This pretty textured cord is easy to make and is an alternative to making a twisted cord. For the pod and bell, secure the thread following the instructions in the liftout pattern. The cord is shown worked from an initial knot. For clarity, contrasting threads have been used.

1

Holding the knot between the thumb DQGPLGGOHĆ&#x201C;QJHURI\RXUULJKWKDQG form a loop with thread A over your IRUHĆ&#x201C;QJHU8VH\RXUULQJĆ&#x201C;QJHUWRKROG the thread tail in your palm.

40 â&#x20AC;˘ I N S P I R A T I O N S

2

Wrap thread B across the front and behind the loop, passing it through the space between the loop and your palm.


THIMBLE POD AND BELL

3

Holding the thread B tail in your left hand, go through the loop from the ŌSDOPVLGHōZLWK\RXUIRUHƓQJHUDQGEULQJ DORRSRIWKUHDG%WKURXJKWKHƓUVWORRS

4

Swap the base of the work to your left hand. Drop the thread A loop IURP\RXUULJKWIRUHƓQJHU3XOOWKHWKUHDG tail to tighten the knot.

8VLQJ\RXUULJKWIRUHƓQJHUDQG working from the ‘palm side’, pull thread A through the loop of thread B.

6

7

8

Swap the base of the work back to your right hand. Drop thread B from \RXU OHIW IRUHƓQJHU DQG SXOO WKH WKUHDG WR tighten the knot.

DISTANCED FOUR-SIDED FILLING STITCH This variation of four-sided sitch leaves one thread on each side between each VTXDUH DQG WKH VWLWFKHV DUH not pulled taut to distort the fabric weave.

Continue in this manner, making knots alternately from the two threads.

C

When the desired length is reached, pull the tail of the looped thread through. Knot both tails together and trim the ends.

B

B

D

A

D

Bring the thread to the front at A. Take the needle from B to C.

2

5

6

1

5

Take the needle from B to D.

A

3

Take the needle from A to D.

7

Continue in this manner to ƓOOWKHVKDSH

C E

4

Take the needle from C to E, one thread to the left of D.

Continue in this manner to the end of the row.

Turn the work. Stitch the second row in the same manner.

INSPIRATIONS •

41


%LELOOD/DFH 42 â&#x20AC;¢ I N S P I R A T I O N S


TURKISH DELIGHT EXQUISITE WIRED NEEDLELACE FLOWERS SURROUND THE EDGE OF THIS DREAMY WHITE MUSLIN SCARF. Known as Bibilla flowers, these beautiful blooms have their origins in Turkey, Greece, Armenia and other countries of the Eastern Mediterranean. Formed with just a needle and thread, they are traditionally used to adorn headscarves and other pieces of clothing and in Turkey, where they are still made, are known as Oya. Learn to create your own glorious blossoms and you can fill your world with fabulous flowers.

preparation for embroidery PREPARING THE FABRIC

requirements Fabric FP [ FP ZLGH  [ 

ZKLWH EDE\ PXVOLQ RU SXUFKDVHG OLJKWZHLJKW VFDUI Supplies  JDXJH PDJHQWD EHDGLQJ ZLUH  JDXJH VLOYHU EHDGLQJ ZLUH *ROG VDIHW\ SLQV 0DWFKLQJ VHZLQJ WKUHDG HDG &RXURQQH VWLFN Needle 1R  FRWWRQ GDUQHU

FK 5HDG\WRVWLW

kit

See page 91

Threads DMC tatting cotton no. 80 (spécial dentelles) A % VQRZ ZKLWH B  \HOORZ C  PHG \HOORZJUHHQ Lizbeth tatting cotton no. 80 D  PDJHQWD GN

(QVXULQJ WKDW WKH HGJHV RI WKH IDEULF DUH FXW RQ WKH VWUDLJKW JUDLQ QHDWHQ WKHP ZLWK D UROOHG KHP XVLQJ WKH PDWFKLQJ VHZLQJ WKUHDG 7KH ODFH PRWLIV DUH VSDFHG HYHQO\ DURXQG WKH RXWHU HGJH RI WKH IDEULF UHFWDQJOH $ Å´RZHU LV ZRUNHG DW HDFK FRUQHU DQG IURQGV DOWHUQDWH ZLWK Å´RZHUV DORQJ WKH HGJHV 7KH VSDFLQJ FDQ EH PHDVXUHG ZLWK D WDSH PHDVXUH RU VLPSO\ IROG WKH IDEULF LQ KDOI DORQJ DQ HGJH WR PDUN WKH FHQWUH PRWLI WKHQ FRQWLQXH IROGLQJ LQ KDOYHV RU WKLUGV WR JHW HYHQO\ VSDFHG PDUNV IRU WKH UHPDLQLQJ PRWLIV DORQJ WKDW HGJH (OHQD KDV VSDFHG KHU PRWLIV FP  DSDUW RQ WKH ORQJ HGJHV DQG FP  12 RQ WKH VKRUW RQHV 0DUN WKH SODFHPHQW IRU HDFK PRWLI ZLWK D VDIHW\ SLQ 5HSHDW IRU WKH UHPDLQLQJ HGJHV HQVXULQJ WKDW WKH SLQV DORQJ RSSRVLWH HGJHV DUH DOLJQHG

embroidery 6HH SDJHV Å&#x160; IRU VWHSE\VWHS LQVWUXFWLRQV IRU ZRUNLQJ NQRWWHG ODFH EDVLF ORRSV DQG VWUDLJKW UHWXUQ ORRS DQG NQRW 5HIHU WR WKH FORVHXS SKRWRJUDSK IRU FRORXU SODFHPHQW 67,7&+(686('

'RXEOHNQRW

The scarf measures 154cm x 54cm wide (60 5/8" x 211/4").

%<ELENA DICKSON2)$8675$/,$

ATIONS â&#x20AC;¢

4


SCARF

:HUHFRPPHQGWKDW\RXUHDGWKH FRPSOHWHDUWLFOHEHIRUH\RXEHJLQ

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INTRODUCTION TO KNOTTED LACE 7KHWHUPLQRORJ\XVHGWKURXJKRXWWKLVDUWLFOHKDVEHHQGHYLVHGE\(OHQD )RUPRUHH[DPSOHVDQGSURMHFWVVHHKHUERRNBibilla: Knotted Lace Flowers WKDWLVUHYLHZHGLQWKLVLVVXH

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Note

The knots need to be pulled tight at all times

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reverse knot reverse loop

increase

carry-up loop

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ORDER OF WORK SCARF

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Notes

Trim the beginning thread tail after working a few rows, cutting the thread close to the first knot. When making an increase in a row, the knot diagram will indicate on which loop to make the increase in the row. Working the increase loops on alternate sides keeps a balanced shape.

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STAMENS

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Note

To prevent sharp wire tails sticking out from the work, start the length of wire by bending the tail back form a loop. Squeeze closed and work the thread loops over the wire loop. End the wire with a loop in a similar manner.

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1 8VLQJ C ZRUNDS\UDPLG IROORZLQJVWHSVÅ&#x160;IRUWKH UHFHSWDFOH:RUNDVWUDLJKW UHWXUQORRSLQWRWKHÆ&#x201C;UVWORRS RI WKH VHFRQG URZ Æ&#x201C;J  

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1 It is best to join in a new thread at the base of a petal or leaf. 2 If you need to start a new thread in the middle of a petal or leaf, do so one or two loops in from the edge, not at the edge where the join would be highly visible. Æ&#x201C;J

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3 New threads are joined into the work with a double knot. 4 When a thread is coming to an end, cut the tail 5cm (2") from the last knot made. Using g the new thread, make a knot over the old thrread, positioning it to the left of the old knot. Make the next loop, catching the tail of the old thread into the knot, creating a double loop. Keeping the thread tails behind the work, continue to the next row. 5 Only trim the tails after working into th he double loop on the next row.

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QUEEN OF

HEARTS MUCH OF THE CHARM OF HARDANGER EMBROIDERY LIES IN THE CONTRAST BETWEEN THE SOLID, LUSTROUS KLOSTER BLOCKS AND THE LACY, OPEN FILLING STITCHES. This delightful mat has a central motif of four hearts, each one outlined with blocks and filled with a delicate combination of wrapped bars and Dove’s eye stitch. Cable stitch borders the centre and small satin stitch hearts are worked in the corners and inside the castellated edge of the mat.

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preparation for embroidery

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PREPARING THE FABRIC

Needle

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1RWDSHVWU\ Threads DMC no. 5 perlé cotton A EODQF DMC no. 8 perlé cotton B EODQF

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kit

See page 91

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INSPIRATIONS •

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HARDANGER

Outer border &RPSOHWHWKHNORVWHU EORFNV DURXQGWKHLQQHUHGJH RI WKH RXWHUERUGHUZLWKA 8VLQJ WKH VDPHWKUHDGHPEURLGHU WKH RXWHU HGJHRIWKHERUGHU ZLWK EODQNHW VWLWFKZRUNLQJƓYHVWLWFKHV LQWR HDFKRXWHUFRUQHU GLDJ   Algerian eyelets (PEURLGHUWKHH\HOHWV ZKHUH LQGLFDWHG EHWZHHQ WKH KHDUWV DQGDURXQGWKHRXWHU ERUGHU XVLQJ B (DFK H\HOHW FRQVLVWV RIHLJKWHYHQO\VSDFHG VSRNHV VXUURXQGLQJ D FHQWUH KROH Satin stitch motifs 8VLQJAZRUNWKHKHDUWV LQVLGH WKH RXWHU ERUGHU DQG ŴRZHUV LQVLGHWKHFDEOHVWLWFK YDULDWLRQ ERUGHU ZLWK VDWLQ VWLWFK

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Pattern Download

ORDER OF WORK Kloster blocks at centre 6WDUWLQJDWWKHFHQWUHHPEURLGHUWKHNORVWHUEORFNVWKDW RXWOLQHWKHKHDUWVKDSHVXVLQJA%HJLQ\RXUVWLWFKLQJZLWK DZDVWHNQRW:KHQWKHNORVWHUEORFNVDUHFRPSOHWHWULP RIIWKHZDVWHNQRWUHWKUHDGWKHQHHGOHDQGUXQWKHWKUHDG XQGHUDGMDFHQWNORVWHUEORFNVRQWKHEDFNRIWKHZRUN Cable stitch variation border &KDQJLQJWRBZRUNWKHFDEOHVWLWFKYDULDWLRQERUGHUWKDW VXUURXQGVWKHKHDUWV6WLWFKWZRURZVRIFDEOHVWLWFKDW HDFKFRUQHU1RWHWKDWIRUWKHKRUL]RQWDODQGYHUWLFDOURZV RIWKHERUGHUWKHVWLWFKHVDUHDOLJQHGQRWRIIVHWDVRQWKH GLDJRQDOV:RUNRQHURZWKHQJREDFNDQGZRUNDVHFRQG URZWRƓOOLQWKHJDSV GLDJ 

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finishing 5HPRYHDQ\UHPDLQLQJWDFNLQJ WKUHDGV &DUHIXOO\ FXW DORQJ WKHRXWHUHGJHRIWKHEODQNHW VWLWFK ERUGHU

52 • I N S P I R A T I O N S


T H E M AT MEASURES 19 C M ( 7 1/ 2 ") SQUARE

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HARDANGER

WRAPPING THE BARS 7KHEDUVDUHZUDSSHGIROORZLQJDVWHSSHGSDWK7KH IROORZLQJGLDJUDPVVKRZZUDSSLQJWKHEDUVZLWKRXW WKH'RYHĹ?V(\H6WLWFK

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WRAPPED BARS WITH DOVEâ&#x20AC;&#x2122;S EYE STITCH This simple stitch creates a ODF\Ć&#x201C;OOLQJLQVLGHWKHVTXDUHV of wrapped bars on the mat. The stitch is started and Ć&#x201C;QLVKHGRQWKHIRXUWKVLGH RI WKH VTXDUH EHIRUH WKH wrapping is completed.

1

Work the wrapping half way along the fourth side RIDVTXDUH

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2

Take the needle beneath the adjacent bar, half way along.

3

4

Pull the thread through, ensuring it wraps the bar half way along.

5

6

7

Pull the thread through. With the needle beneath the centre thread, take the needle under the next bar.

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Repeat for the third side RI WKH VTXDUH

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When wrapping the bars, always bring the needle to the front in the space in the grid and take the needle to the back between pairs of fabric threads.

54 â&#x20AC;˘ I N S P I R A T I O N S

Return to the start, taking the needle under both the loop just worked and the loop RI WKH Ć&#x201C;UVW VWLWFK

Complete wrapping the bar for the fourth side of the VTXDUH


KLOSTER BLOCKS HARDANGER

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* C

E

H D

B

A

1

Bring the thread to the front at A. Take the thread from B to C.

2

Take the thread from D to E.

F

3

Continue in this manner XQWLO Æ&#x201C;YH VWLWFKHV KDYH EHHQ worked. Emerge at F, using the same hole in the fabric as the previous stitch. Take the thread from G to H.

4

Continue in this manner XQWLO Æ&#x201C;YH VWLWFKHV KDYH EHHQ worked.

ALGERIAN EYELET 7KHVH H\HOHWV DUH VWLWFKHG DW WKH FHQWUH RI HDFK JURXS RI IRXU .ORVWHU EORFNV WR FUHDWH D ODF\ Å´RUDO HIIHFW :KHQ PRYLQJ from one eyelet to the next, slide the needle and thread under the kloster blocks on the back. Always begin at the same position in relation to the kloster block. We have shown the eyelet without the kloster block for clarity.

B B A

C

1

Bring the needle to the front at A. Take the needle to the back at the centre of the eyelet (B).

2

Pull the thread through to the back using a gentle tension. Bring the thread to the front at C.

D

3

Take the needle to the back at B and emerge at D.

4

Repeat steps 1â&#x20AC;&#x201C;3 to complete the eight spokes of the eyelet.

C A B L E S T I T C H Cable stitch is worked over two threads and creates delicate lines within a Hardanger design.

B

D C B

A

1

Bring the thread to the front at A. Take the thread from B to C.

2

Take the thread from D to B.

3

Repeat steps 1 and 2 along the row.

INSPIRATIONS â&#x20AC;¢

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BLACKWORK HOLDS A SPECIAL APPEAL FOR EMBROIDERERS, THE DELICATE TRACERY OF THREAD ON FABRIC, THE CLEVER ILLUSION OF FORM CREATED BY VARYING THE THREAD AND STITCH DENSITY, AND THE INFINITE NUMBER OF INTRICATE PATTERNS USED.

preparation for embroidery Using three diverse patterns and five weights of line, you can stitch this enchanting study of a ripe strawberry. Worked onto ivory linen with silk and cotton thread, this captivating image would be perfect framed or inserted into the lid of a box.

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

requirements Fabric FP  VTXDUH RI LYRU\ FRXQW HYHQZHDYH OLQHQ Supplies /LJKWFRORXUHG VHZLQJ WKUHDG 7LVVXH SDSHU )LQHEODFN SHQ FK 5HDG\WRVWLW

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Needles 1R FUHZHO 1R WDSHVWU\

See page 91

Threads DMC no. 50 machine embroidery cotton A  EODFN DMC stranded cotton B  EODFN 3HDUVDOOōV VXSHUƓQH VLON C /7 EOXH EODFN

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ORDER OF WORK Strawberry The design measures 10.5cm x 11cm wide (4 1/8" x 4 3/8"). 67,7&+(6 86('

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INSPIRATIONS •

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SECTION 3 One strand of B SECTION 2 One strand of B and A, blended in the needle. SECTION 1 Two strands of B. SECTION 4 One strand of A. Referring to the close-up photograph, work some of the stitches at the upper and lower edges of the section with B to create a darker outline.

58 â&#x20AC;˘ I N S P I R A T I O N S

SECTION 5 One strand of C. Work some of the stitches at the outer edges of the section with B to create a darker outline. SECTION 6 One strand of C. Referring to the photograph, omit some stitches from the pattern to give a lighter effect.

â&#x20AC;&#x153;It is not important where you place the first motif. I start in the centre of the section so that I know that a full repeat of the motif can be stitched."

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â&#x20AC;&#x153;Each new blackwork pattern takes some time to learn. I first draw the design out on graph paper in order to determine the thread path. I do this as it is easier to erase lines than remove threads from linen."

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I N T E R LO C K I N G I â&#x20AC;&#x2122;s

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CUTE AND CUDDLY, SOFT AND WARM, THIS SWEET BLANKET AND PUPPY TOY ARE SURE TO BECOME INSTANT FAVOURITES WITH YOUR LITTLE ONES. Worked onto pale blue pure wool fabric with appliquĂŠ and a combination of wool and cotton threads, the charming blanket design includes a velour puppy sleeping in a colourful garden. A sturdy kennel created from broadcloth, denim and red gingham echoes the fabric used for the backing and binding. The soft toy is made from beige wool blanketing and embroidered with cotton perlĂŠ spots and is just waiting for a hug!

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p preparation for embroiderry T Transferring the design n

The blanket measures 75cm x 92cm wide (30" x 36").

62 â&#x20AC;˘ I N S P I R A T I O N S

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diag 11


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BULLION KNOTâ&#x20AC;&#x201C;DETACHED CHAIN COMBINATION A detached chain is anchored by a bullion knot in this interesting stitch combination.

diag 12

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B

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1

Bring the thread to the front at A.

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Take the needle to the back at A and emerge at B. Ensure that the thread is under the tip of the needle.

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3

Pull the thread through to form a chain.

C

4

Take the needle to the back at C and emerge at B, leaving the needle in the fabric.

C diag 13

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Pattern Download

5

Make a ten-wrap bullion knot.

6

Take the needle to the back at C and secure the thread.

INSPIRATIONS â&#x20AC;˘

65


SOFT TOY

The puppy measures 24cm high x 40cm long (9 1/2" x 16").

66 â&#x20AC;¢ I N S P I R A T I O N S


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Pattern Download

INSPIRATIONS â&#x20AC;¢

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Are you a quilter who loves to stitch or a stitcher who loves to quilt? EITHER WAY, CRAZY QUILTING IS THE PERFECT MARRIAGE OF FABRIC AND THREAD AND THIS FUN LITTLE BAG IS A GREAT WAY TO LET YOUR CRAZY OUT!

68 â&#x20AC;¢ I N S P I R A T I O N S


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FEELING

CRAZY! %<JENNIFER CLOUSTON2)$8675$/,$

Co-ordinating yarn dyed fabrics in shades of black and grey are pieced to create an interesting background for the embroidery. Each seam is encrusted with stitches using silk ribbon, beads and perlĂŠ thread. An antique style frame and long chain complete the bag.

requirements Fabric $VVRUWHG SLHFHV RI GDUN JUH\ FRWWRQ HDFK DW OHDVW FP [ FP ZLGH  [  IRU FUD]\ SDWFK FP  VTXDUH RI JUH\ FRWWRQ IRU EDFN  [ FP  VTXDUHV RI GDUN JUH\ FRWWRQ IRU \R\RV FP [ FP ZLGH  [  SLHFH RI GDUN JUH\ FRWWRQ IRU OLQLQJ FP  VTXDUH RI FDOLFR PXVOLQ

Supplies %ODFN EHDGLQJ WKUHDG FP [ FP ZLGH  [  SLHFH RI WKLQ IXVLEOH ZDGGLQJ FP [ FP ZLGH  38 [ 

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DMC no. 12 perlĂŠ cotton C  EODFN D  OW DQWLTXH YLROHW Edmar â&#x20AC;&#x2DC;Lolaâ&#x20AC;&#x2122; rayon E  DYRFDGR Finca no. 12 perlĂŠ cotton F  OW DYRFDGR JUHHQ Madeira metallic no. 5 *  EODFNJROG Valdani no. 8 perlĂŠ cotton H  OW JROGHQ ROLYH

Colour Streams 7mm variegated silk ribbon L P   GDZQ 0 P   QDVWXUWLXP N P   VDOW EXVK O P   OD SOXPH 3 P   ROLYDGHV Q P   EOXVKLQJ Ć&#x201C;J Mary Jo Hiney 2mm silk ribbon R P  QDVWXUWLXP S P  YLROD &RORXU 6WUHDPV ODUJH Ĺ´RZHU VHTXLQV 7 & SLQNJROG 

Mill Hill seed beads U  EURQ]H V  ROG JROG W  FLWURQ X  PDWWH SRPHJUDQDWH Mill Hill 6mm (1/4") bugle beads Y  ZLOORZ

preparation for embroidery

/RRS VWLWFK

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See page 91

DMC no. 8 perlĂŠ cotton A  PHG WHUUDFRWWD B  Y\ OW DYRFDGR JUHHQ

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Threads, Ribbons, Sequins and Beads

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Colour Streams 4mm variegated silk ribbon I P \G   7XVFDQ ROLYH J P   OLOOLSLOOL K P   UDVSEHUU\

7ZLVWHG FKDLQ VWLWFK

PREPARING THE FABRICS -HQQLIHUKDVXVHGDVHOHFWLRQRI-DSDQHVHZRYHQFRWWRQ IDEULFVNQRZQDVsakizome momenZKLFKWUDQVODWHVDV \DUQG\HGFRWWRQ &KRRVHIDEULFVWKDWDUHVLPLODULQZHLJKWDQGZHDYHGHQVLW\ DVRQHDQRWKHU

INSPIRATIONS â&#x20AC;˘

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PAT C H W O R K B A G

The bag measures 19cm x 18cm wide (7 1/2" x 7") excluding the chain.

Bag front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ŴDWVXUIDFH&HQWUHHDFKIUHH]HUSDSHUVKDSH PDWWVLGHXSSHUPRVWRQWRDSLHFHRIIDEULFHQVXULQJWKDW RQHHGJHLVRQWKHJUDLQOLQHDQGSUHVVLQSODFH /HDYLQJDPP 12  VHDPDOORZDQFHRQDOO VLGHVFXWRXWHDFKIDEULF VKDSH 0DFKLQHVWLWFKDORQJWKH PDUNHGRXWOLQHRQWKH FDOLFR GLDJ  :LWKULJKWVLGHV XSSHUPRVWSRVLWLRQ SLHFHRYHUDUHDRQ WKHFDOLFRDOLJQLQJWKH HGJHVRIWKHIUHH]HU SDSHUZLWKWKHPDUNHG OLQHV &DUHIXOO\UHPRYHWKH IUHH]HUSDSHUDQGSLQ WKHIDEULFLQSODFH:LWK ULJKWVLGHVWRJHWKHUDQG PDWFKLQJWKHHGJHVWR EHVWLWFKHGSLQSLHFH RYHUSLHFH7DNHFDUH WRHQVXUHWKDWZKHQWKLV SLHFHLVVWLWFKHGDQG ŴLSSHGEDFNDOODUHD OLQHVZLOOEHFRYHUHG GLDJ  8VLQJWKHUXOHUDQG SHQFLOPDUNWKH VHDPOLQHRQWRSLHFH 5HPRYHWKHIUHH]HU SDSHUDQGVWLWFKWKH VHDPVWLWFKLQJPP 12 EH\RQGWKH DGMRLQLQJOLQHV GLDJ  )OLSSLHFHWRWKHULJKWVLGHDQGSUHVVWKHVHDPZHOO :RUNLQJLQQXPHULFDORUGHUFRQWLQXHSRVLWLRQLQJDQG VWLWFKLQJWKHIDEULFSLHFHVLQSODFHXQWLOWKHIRXQGDWLRQLV FRPSOHWH 3UHVVZHOOXVLQJDQDSSOLTX«PDWRUEDNLQJSDSHUWR SUHYHQWWKHIDEULFIURPVFRUFKLQJ

70 â&#x20AC;¢ I N S P I R A T I O N S

3LQWKHIDEULFLQSODFH DURXQGWKHRXWHUHGJH DQGPDFKLQHVWLWFK DJDLQDURXQGWKHRXWOLQH GLDJ  &XWWKHSLHFHRIIXVLEOH ZDGGLQJLQKDOIVRWKDW \RXKDYHWZRFP  VTXDUHV)XVHRQH VTXDUHWRWKHZURQJ VLGHRIWKHSUHSDUHG IDEULF 8VLQJWKHEODFNSHQWUDFHWKHEDJVKDSLQJPDUNLQJVDQG HPEURLGHU\GHVLJQVRQWRWKHWUDFLQJSDSHUDQGFXWRXW 3RVLWLRQWKHVKDSLQJRYHUWKHSLHFHGIDEULFDQGSLQLQSODFH 8VLQJFRQWUDVWLQJVHZLQJWKUHDGWDFNDURXQGWKHEDJ RXWOLQH5HPRYHWKHEDJVKDSLQJDQGZRUNDVHFRQGOLQHRI WDFNLQJFP 38 LQIURPWKHÆ&#x201C;UVWWRPDUNWKHVWLWFKOLQH:RUN DVPDOOVWLWFKWRLQGLFDWHWKHGRWVRQHDFKVLGH %DJEDFN &HQWUHWKHEDJVKDSLQJRYHUWKHIDEULFSLHFHIRUWKHEDJ EDFNDQGSLQLQSODFH:RUNWZROLQHVRIWDFNLQJWRWUDQVIHU WKHVKDSLQJDQGVWLWFKOLQHLQWKHVDPHPDQQHUDVWKHIURQW :RUNDVPDOOVWLWFKWR LQGLFDWHWKHGRWVRQ HDFKVLGH )XVHWKHUHPDLQLQJ SLHFHRIZDGGLQJWRWKH EDFNRIWKHIDEULF8VLQJ DZDWHURUKHDWVROXEOH PDUNHUDQGEHJLQQLQJ LQWKHFHQWUHPDUN GLDJRQDOOLQHVFP   DSDUWLQERWKGLUHFWLRQV RQWKHIDEULF GLDJ 


SEAM B

SEAM E

SEAM C

SEAM D

SEAM A

8VLQJCDQGDGGLQJDEHDGRQHYHU\ DOWHUQDWHVWLWFKZRUNOLQHVRI Note UXQQLQJVWLWFKDORQJWKHPDUNHG Jennifer has used an OLQHVZLWKLQWKHVWLWFKLQJOLQHV assortment of bead colours 7ULPWKHIDEULFWRWKHPDUNHG FXWWLQJOLQH

TRANSFERRING THE DESIGN

and sizes to decorate the back of her bag. You may like to use the same beads as the bag front or additional ones.

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ORDER OF WORK Seam A Stems %HJLQQLQJFP 38 EHORZWKHVHDPLQWHUVHFWLRQDQG XVLQJBZRUNWKHIHDWKHUVWLWFKVWHPV]LJ]DJJLQJDFURVV WKHVHDPOLQHDQGDGGLQJDGGLWLRQDOVWHPVDVQHFHVVDU\

INSPIRATIONS •

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Roses 8VLQJ I and O ZRUN WKH URVHV DW WKH VWHP WLSV ZLWK D UXQQLQJ VWLWFK Å&#x160; FRORQLDO NQRW FRPELQDWLRQ 6WLWFK WKH OHDYHV LQ ULEERQ VWLWFK XVLQJ N 3 and Q

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Flowers 8VLQJ F ZRUN WKH FXUYHG Å´RZHU VWHPV LQ VWHP VWLWFK %HJLQQLQJ DW WKH WLS RI HDFK VWHP ZLWK WZR )UHQFK NQRWV ZRUN GHWDFKHG FKDLQ SHWDOV GRZQ HDFK VWHP XVLQJ R and S $W WKH EDVH RI WKH SHWDOV ZRUN WKUHH ULEERQ VWLWFKHV XVLQJ I Seam C Stems 7KUHDG WZR OHQJWKV RI I LQWR VHSDUDWH QHHGOHV %ULQJ RQH OHQJWK WR WKH IURQW DW RQH HQG RI WKH VHDP 8VLQJ WKH VHFRQG OHQJWK FRXFK WKH Æ&#x201C;UVW OHQJWK LQ SODFH ZLWK GHWDFKHG FKDLQV DW FP 38 LQWHUYDOV HQVXULQJ WKDW WKH VWHP FXUYHV XS DQG GRZQ RYHU WKH VHDP UDWKHU WKDQ O\LQJ VWUDLJKW DFURVV LW Flowers

Stem $OLJQLQJ WKH OHIW KDQG EDU RI WKH VWLWFKZLWKWKHVHDPOLQH DQG XVLQJ A ZRUN D OLQH RI FKHYURQVWLWFKDFURVVWKHVHDP 8VLQJ F ZRUN Æ&#x201C;YH IDQQHG VWUDLJKW VWLWFKHVDWWKHFHQWUHRI HDFK OHIW KDQG EDU 6WLWFK D SLQN EHDG X DWWKHWLSRIWKH FHQWUH DQG HQG VWLWFKHV XVLQJ WKH EHDGLQJWKUHDG8VLQJD HPEURLGHU WZR IDQQHG VWUDLJKW VWLWFKHVDQGD)UHQFKNQRW RQ HDFK ULJKW KDQG EDU :RUN D GHWDFKHGFKDLQDWWKHFHQWUH XVLQJ S DQG DWWDFK D EXJOH EHDG Y RQHDFKVLGHRIWKH GHWDFKHG FKDLQ 8VLQJ H VWLWFK D )UHQFKNQRWEHORZHDFK ULEERQ EXG DV LQGLFDWHG Seam E Stem

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construction 6HH WKH

Pattern Download

M A K I N G YO -YO â&#x20AC;&#x2122; S 7KH IDEULF \R\R V GHFRUDWLQJ WKH HGJHV RI WKH EDJ DUH TXLFN DQG HDV\ WR PDNH HVSHFLDOO\ LI \RX XVH D Clove er yo-yo maker. k

1

3ODFHDVTXDUHEHWZHHQ the discs of the maker and press the discs together. Trim the fabric around the outer edge.

72 â&#x20AC;¢ I N S P I R A T I O N S

2

Working through the holes in the discs and leaving the thread tails, stitch a row of gathering stitches around the outer edge.

Remove th discs and pull hering the fabric.

4

When the yo-yo is formed, knot and trim the thread tails.


RUNNING STITCH â&#x20AC;&#x201C; COLONIAL KNOT COMBINATION 7KLVLVDTXLFNDQGFOHYHUZD\WRVWLWFKDURVHDQGZRUNV SDUWLFXODUO\ZHOOZLWKYDULHJDWHGULEERQ7KHVXFFHVVRI WKLVVWLWFKGHSHQGVRQNHHSLQJWKHUXQQLQJVWLWFKHVHYHQ LQOHQJWK

CHEVRON STITCH 2IWHQZRUNHGEHWZHHQWZRSDUDOOHOJXLGHOLQHVWKLV VWLWFKPDNHVDQDWWUDFWLYHERUGHUDQGFDQEHZRUNHGLQ FRPELQDWLRQZLWKRWKHUVWLWFKHV

E

C

D

B

A A

1

Bring the ribbon to the front at A.

2

Working approximately 5cm (2") from the fabric, wrap the ribbon around the needle in the manner of a colonial knot.

1

Bring the thread to the front at A. Take the needle from B to C ensuring that the thread is below the needle.

D

2

Pull the thread through. Take the needle from D to E, ensuring that the thread is below the needle.

F

H

A

3

Ensuring that the knot remains tight, make 6â&#x20AC;&#x201C;8 running stitches approximately 6mm (1/4") in length down the centre of the ribbon.

4

Insert the needle into the fabric close to A and begin pushing the needle through the fabric.

3

Pull the thread through. Take the needle from F to D, ensuring that the thread is above the needle.

*

4

Pull the thread through. Take the needle from G to H, ensuring that the thread is above the needle.

* I

5

Pull the needle through the fabric.

6

Continue pulling the ribbon through until the knot is Æ&#x201C;UPDWWKHFHQWUHRIWKHIROGHG petals. Adjust as necessary with the eye of the needle.

5

Pull the thread through. Take the needle from I to G, ensuring that the thread is below the needle.

6

Pull the thread through. Continue working in this manner to the end of the line.

INSPIRATIONS â&#x20AC;¢

73


Meet

Jennifer CLOUSTON

W

hile I now live in Australia, I was very fortunate to grow up in South Africa - it’s a vibrant country full of colour and passion. Spending time with my grandmother whose hands were never still (she was always busy crocheting, knitting, darning, cooking or playing patience) was one of my favourite pastimes.

After the birth of my first child I went to patchwork classes with Dianne Sturgess and I was hooked! I found that

I particularly enjoyed hand piecing and hand quilting and still do, nearly 30 yearrs later. Moving on to crazy quilting seemeed inevitable as it combines all that I love; colour, embroidery, slow stitching, patchwork, beading and a whole lot of whimsy. The Indian community and the Zulu culture, both very prevalent in Natal where I lived, have heavily influenced my work. The glorious colours, sequins, gold thread and texture of Indian saris embroide are my main source and embroidery piration. However, the of insp strenggth and design of Zulu beadwork has influenced my crazyy to have a “cleaner" and der appearance. bold Theere are so many aspects aboout crazy quilting that I lovve: the history, the freedom, the fact that it takes many ours to create one small ho p piece of work but above all, I so love that crazy quilting is t totally unique to the maker. I am fortunate enough to

teach many students and their work is stamped with their own personality. Unlike the Victorian women, we have every kind of thread, fabric, bead, lace and buttons at our disposal. That does not necessarily mean we have to use all our stash on our crazy quilting. I do prefer a “cleaner" style of crazy where the seam treatments are clearly visible and the shape of the block is not compromised by too many stitches, beads, lace etc. When it comes to threads I use mostly what I can source locally. I am passionate about supporting our local embroidery stores and suppliers. While internet shopping opens a Pandora’s Box of threads, beads etc, we need to keep the small embroidery stores in business.

Images, this page L E F T %XWWRQFOXVWHU L O W E R L E F T 6WLWFK'LFWLRQDU\LQFKVTXDUH B E L O W &UD]\9LFWRULDQVW\OHZDOOKDQJLQJ T O P O F P A G E -HQQLIHUDWZRUN

74 • I N S P I R A T I O N S


Images, this page L E F T )RROSURRI&UD]\4XLOWLQJ B E L O W 6LONULEERQHPEURLGHU\ B O T T O M &UD]\TXLOWLQJZLWKD

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When it comes to needles I am not a purist and have only two types of needles in my “armoury”. Chenille #22 is a necessity for silk ribbon embroidery; although I find them very helpful when working with a twisted silk, metallic thread or any thread that will be damaged from passing through the many layers of a crazy quilt seam. A pack of assorted milliner’s needles covers beading and all the other threads. Luckily I have my own space to create. I am a very untidy sewer and have the need to spread all my bits and bobs out in front of me! As I have always worked on my crazy quilting alone, I find inspiration comes from the simple act of doing, not necessarily worrying about what the end result is going to look like. For me it’s not so much about WHAT I do, it’s more about THAT I do it. In other words, if at the end of the day the seam treatment looks good it’s an added bonus. The

simple act of sewing is what gives me the most enjoyment. My first book Foolproof Crazy Quilting came about from the constant questions asked by my students. “What stitch should I do? What thread should I use? And which needle would be best?" I broke every seam treatment down to answer those exact questions. The featured quilt is made up of quilt-as-yougo hexagons which are achievable to all levels of expertise. However, my next book (which is yet to be titled) is a little more relaxed. It features 10 crazy projects, stitch maps,

F O O L P R O O F C R A Z Y Q U I LT I N G B Y J E N N I F E R C L O U S T O N – I S B N 9 7 8 - 1 - 6 0 7 0 5 - 7 17 - 8

Robyn Alexander (Colour Streams) has the most glorious selection of silk threads, ribbons, sequins and trims. My favourite thread of Robyn’s is a twisted silk (Ophir) which is very similar to a perlé #8. Her silk ribbons are wonderful to work with and her sequins come in a variety of shapes and colours. My least favourite thread is stranded cotton, although I do use it occasionally, mostly as a single strand.

full size patterns and easy to follow instructions. I have used a variety of fabrics: Japanese cottons, recycled wool men’s suiting and vintage doilies. It is my hope the projects featured in this book will be useful to all sewers as not all the projects are made up in the traditional method of crazy quilting. By far the most rewarding aspect of my crazy journey has been the connections and friends that I have made along the way. Crazy quilters continue the age old language of hand work (that of sharing, talking and laughing) which, like the local embroidery stores, we need to preserve.

INSPIRATIONS •

75


6FKZDOP(PEURLGHU\

The ƓQLVKHGGHVLJQ measures 18.5cm x 14cm wide (7 1/4" x 51/2").

76 • I N S P I R A T I O N S


EIDELWEISS â&#x20AC;&#x201C;

%<DEBORAH LOVE2)$8675$/,$

â&#x20AC;&#x201C;

STYLISH IN THE SIMPLICITY OF ITS MONOCHROMATIC PALETTE, SCHWALM EMBROIDERY EFFECTIVELY UTILISES THE VARYING TEXTURES CREATED BY A RANGE OF TECHNIQUES TO PRODUCE A RICHLY ORNAMENTED SURFACE. Graceful flowers and leaves are bordered with a combination of chain and coral stitch then filled with a variety of pulled and drawn thread techniques. Additional emphasis is given to these stitches by the use of a coloured fabric inserted behind the laced embroidery.

preparation for embroidery requirements Fabric FP[FP [ SLHFH RIZKLWHFRXQWHYHQZHDYH Ĺ&#x152;%HOJLXPĹ?OLQHQ Supplies FP  KRRS 7LVVXHSDSHU )LQHEODFNSHQ &RQWUDVWLQJVHZLQJWKUHDG Needles 1RFUHZHO 1RWDSHVWU\ 1RWDSHVWU\ Threads DMC broder spĂŠcial no.16 A EODQF DMC broder spĂŠcial no.20 B EODQF DMC broder spĂŠcial no.25 C EODQF

PREPARING THE FABRICS 1HDWHQWKHUDZHGJHVRIWKHOLQHQZLWKDQRYHUORFN RUPDFKLQH]LJ]DJVWLWFK WR SUHYHQW IUD\LQJ 8VLQJ FRQWUDVWLQJVHZLQJ WKUHDGDQGD WDSHVWU\QHHGOH ZRUNOLQHVRIWDFNLQJ RYHUDQGXQGHUIRXU WKUHDGVWRPDUN WKHYHUWLFDODQG KRUL]RQWDOFHQWUHVRI WKHIDEULF GLDJ 

TRANSFERRING THE DESIGN 8VLQJWKHEODFNSHQWUDFHWKHGHVLJQRQWRWKHWLVVXH SDSHU$OLJQLQJWKHFHQWUHPDUNVSRVLWLRQWKHWLVVXH SDSHURYHUWKHOLQHQDQGSLQVHFXUHO\LQSODFH8VLQJ DGLIIHUHQWFRORXUHGVHZLQJWKUHDGIRUHDFKGHVLJQ HOHPHQWWDFNDURXQGWKHGHVLJQOLQHVOHDYLQJNQRWVRQ WKHWRSRIWKHZRUNDWWKHEHJLQQLQJDQGHQGRIHDFK WKUHDG 5XQWKHH\HRIWKHQHHGOHDORQJHDFKGHVLJQOLQHWR FXWWKHWLVVXHSDSHU&DUHIXOO\HDVHWKHSDSHUDZD\ IURPWKHVWLWFKLQJXVLQJWZHH]HUVWRUHPRYHDQ\VPDOO SLHFHV

INSPIRATIONS â&#x20AC;˘

77


SCHWALM EMBROIDERY

:HUHFRPPHQGWKDW\RXUHDGWKH FRPSOHWHDUWLFOHEHIRUH\RXEHJLQ

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1

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Stem

6HHSDJHVÅ&#x160;IRUVWHSE\VWHSLQVWUXFWLRQVIRUZRUNLQJ WKHIRXUVLGHGÆ&#x201C;OOLQJVWLWFKKRQH\FRPEÆ&#x201C;OOLQJVWLWFKVDWLQ EORFNÆ&#x201C;OOLQJVWLWFKVDWLQZLWKFURVVÆ&#x201C;OOLQJVWLWFKDQGZLQJ Æ&#x201C;OOLQJVWLWFK

8VLQJAZRUNWKHVWHPLQFRUDOVWLWFK

5HIHUWRWKHFORVHXSSKRWRJUDSKIRUVWLWFKSODFHPHQW 8VHWKHFUHZHOQHHGOHIRUWKHVXUIDFHHPEURLGHU\WKHQR WDSHVWU\QHHGOHIRUWKHQRDQGQRWKUHDGDQGWKH QRWDSHVWU\QHHGOHIRUWKHQRWKUHDG 8VHWKHKRRSDVUHTXLUHGZKHQZRUNLQJWKHFRUDONQRWDQG Æ&#x201C;OOLQJVWLWFKHV

ORDER OF WORK Flower 1 8VLQJAZRUNUHYHUVHFKDLQVWLWFKDURXQGWKHSHWDORXWOLQHV (PEURLGHUDURZRIFRUDOVWLWFKDURXQGWKHH[WHUQDORXWOLQH XVLQJWKHVDPHWKUHDG Scalloped petal 8VLQJWKHSKRWRJUDSKDVDJXLGHWRSODFHPHQWZRUNDOLQH RIFRUDOVWLWFKRXWVLGHWKHVFDOORSHGHGJHDGMDFHQWWRWKH FHQWUHSHWDO %HJLQQLQJDWWKHZLGHVWSRLQWRIWKHVKDSHDQGXVLQJCZRUN KRQH\FRPEÆ&#x201C;OOLQJVWLWFKRYHUWKUHHWKUHDGVWRÆ&#x201C;OOWKHSHWDO Centre petal 8VLQJ%DQGEHJLQQLQJRQWKHOHIW KDQGVLGHDWWKHZLGHVWSRLQWZRUN URZVRIFURVVVWLWFKRYHUWKUHH WKUHDGV:RUNRQHURZDWDWLPH DQGHQVXUHWKDWDOOVWLWFKHVFURVVLQ WKHVDPHGLUHFWLRQ Æ&#x201C;J  8VLQJWKHVDPHWKUHDGDQG EHJLQQLQJDWWKHEDVHRIWKHOLQH ZRUNÆ&#x201C;YHSDUWLDOEODQNHWVWLWFK SLQZKHHOVDORQJWKHXSSHUHGJH Lower petals %HJLQQLQJRQWKHULJKWKDQGVLGHDWWKHZLGHVWSRLQWDQG XVLQJCZRUNURZVRIIRXUVLGHGÆ&#x201C;OOLQJRYHUWKUHHWKUHDGVWR Æ&#x201C;OOHDFKSHWDO 8VLQJBVWLWFKDURZRIGHWDFKHGFKDLQVDOWHUQDWLQJZLWK VWUDLJKWVWLWFKHVDORQJWKHORZHUHGJHRIHDFKSHWDO Stamens :RUNWKHÆ&#x201C;ODPHQWVLQFRUDOVWLWFKXVLQJB 8VLQJWKHVDPHWKUHDGZRUNHDFKDQWKHUDVDEODQNHWVWLWFK H\HOHWZRUNLQJHDFKVWLWFKRYHUIRXUWKUHDGVDQGXVLQJWKH VDPHKROHDWWKHFHQWUH

78 â&#x20AC;¢ I N S P I R A T I O N S

Flower 2

FK 5HDG\WRVWLW

kit

See page 91

Centre :RUNUHYHUVHFKDLQVWLWFKDURXQGWKHFHQWUHXVLQJA8VLQJ WKHVDPHWKUHDGZRUNDURZRIFRUDOVWLWFKRXWVLGHWKHFKDLQ VWLFK%HJLQQLQJDWWKHZLGHVWSRLQWZRUNVDWLQEORFNÆ&#x201C;OOLQJ VWLWFKWRÆ&#x201C;OOWKHFHQWUHXVLQJA Petals 2XWOLQHHDFKSHWDOZLWKUHYHUVH FKDLQVWLWFKXVLQJAWKHQZRUN DURZRIFRUDOVWLWFKDURXQGWKH RXWHUHGJH8VLQJWKHSKRWRJUDSK DVDJXLGHWRSODFHPHQWDQGXVLQJ CZRUN$OJHULDQH\HOHWÆ&#x201C;OOLQJ VWLWFKRYHUVL[WKUHDGV Æ&#x201C;J  Stamens and stem :RUNWKHVWDPHQVDQGVWHPLQWKH VDPHPDQQHUDVÅ´RZHU Leaf 1 8VLQJADQGEHJLQQLQJDWWKHEDVHZRUNDOLQHRIUHYHUVH FKDLQVWLWFKDURXQGWKHOHDIRXWOLQHIROORZHGE\DURZRI FRUDOVWLWFK %HJLQQLQJZLWKDGHWDFKHGFKDLQDWWKHEDVHDQGXVLQJ BDOWHUQDWHSDUWLDOEODQNHWVWLWFKSLQZKHHOVDQGGHWDFKHG FKDLQVWRWKHOHDIWLS:RUNWKUHHGHWDFKHGFKDLQVDQG UHSHDWIRUWKHVHFRQGVLGH:RUNLQJERWKKRUL]RQWDOO\DQG YHUWLFDOO\FOLSDQGUHPRYHHYHU\Æ&#x201C;IWKWKUHDGIURPLQVLGHWKH OHDIVKDSH)LOOWKHOHDIFHQWUHXVLQJVDWLQZLWKFURVVÆ&#x201C;OOLQJ VWLWFK Stem 8VLQJAZRUNWKHVWHPLQFRUDOVWLWFK Leaf 2 8VLQJADQGEHJLQQLQJDWWKHEDVHZRUNDOLQHRIUHYHUVH FKDLQVWLWFKDURXQGWKHOHDIRXWOLQH%HJLQQLQJDWWKHWLS RIWKHORZHUFXUODQGXVLQJWKHVDPHWKUHDGZRUNFRUDO VWLWFKDORQJWKHXSSHUOHDIHGJHÆ&#x201C;QLVKLQJDWWKHEDVHRI WKHSDUWLDOEODQNHWVWLWFKSLQZKHHOÅ´RZHU:RUNFRUDOVWLWFK DORQJWKHORZHUHGJHRIWKHOHDIXVLQJA(PEURLGHUD URZRIEODQNHWVWLWFKDORQJWKHXSSHUOHDIHGJHXVLQJB 8VLQJWKHVDPHWKUHDGZRUNVHYHQJURXSVRIWKUHHIDQQHG GHWDFKHGFKDLQVZLWKWKHFHQWUHVWLWFKHVDSSUR[LPDWHO\FP 38 DSDUWDORQJWKHORZHUOHDIHGJH:RUNLQJKRUL]RQWDOO\ DQGYHUWLFDOO\DQGEHJLQQLQJZLWKWKHYHUWLFDOWKUHDGQH[WWR WKHOHDILQGHQWDWLRQFOLSDQGUHPRYHHYHU\IRXUWKWKUHDG )LOOWKHOHDIFHQWUHZLWKZLQJÆ&#x201C;OOLQJVWLWFK


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INSPIRATIONS •

79


3LQZKHHOĹ´RZHUVWHPV 8VLQJAZRUNWKHORQJVWHPVLQFRUDO VWLWFK(PEURLGHUWKHWZRVWHPFXUOVDW WKHHQGRIOHDILQWKHVDPHPDQQHU 8VLQJWKHVDPHWKUHDGZRUNDSDUWLDO EODQNHWVWLWFKSLQZKHHODWWKHWLSDQG GHWDFKHGFKDLQOHDYHVDORQJHDFK VWHP

ďŹ nishing 2QFHWKHHPEURLGHU\LVFRPSOHWH UHPRYHDOOUHPDLQLQJWDFNLQJWKUHDGV 3ODFHWKHHPEURLGHU\IDFHGRZQRQWR DVRIWFORWKDQGSUHVV8VHDWDLORUVDZO RUODUJHQHHGOHWRUHRSHQWKHH\HOHW FHQWUHV ,I\RXLQWHQGIUDPLQJ\RXUZRUN\RX PD\OLNHWRODFHWKHHPEURLGHU\RYHU DFRQWUDVWLQJIDEULFDV'HERUDKKDV GRQH

FOUR-SIDED FILLING STITCH $OVRNQRZQDVVTXDUH openwork stitch and foursided openwork stitch, IRXUVLGHGĆ&#x201C;OOLQJLVZRUNHG from right to left. Threads can be withdrawn from the fabric surface to accentuate the pattern or it can be worked without doing so as it is in Eidelweiss.

4

Pull the thread taut. Take the needle from D to E.

80 â&#x20AC;˘ I N S P I R A T I O N S

1

Bring the thread to the front at A. Take the needle from B to C.

2

Pull the thread taut around the thread group. Take the needle from A to D.

3

5

6

7

Pull the thread taut. Continue in this manner to the end of the row.

Turn the work upside down. Stitch the second row in the same manner, working a second stitch into the same holes as before.

Pull the thread taut around the thread group. Take the needle from B to C.

Continue in this manner to Ć&#x201C;OOWKHVKDSH


SCHWALM EMBROIDERY

HONEYCOMB FILLING STITCH 7KLV GDQW\ VWLWFK ƓOOV WKH VFDOORSHG OHDI RQ WKH OHIW KDQG VLGH RI ŴRZHU  DQG LV ZRUNHG IURP ULJKW WR OHIW 7KUHDGV FDQ EH withdrawn from the fabric surface to accentuate the pattern or it can be worked without doing so as it is in Eidelweiss. (QVXUH WKDW WKH KRUL]RQWDO VWLWFKHV DUH SXOOHG ƓUPO\ VR WKDW WKH YHUWLFDO EXQGOHV RI WKUHDGV DUH SXOOHG WRJHWKHU

F

1

Bring the thread to the front at A. Take the needle to the back at B, three threads to the right. Re-emerge at A, wrapping the thread bundle.

2

Pull the thread taut. Take the needle to the back at C, three threads directly above A. Emerge at D, three threads to the left.

3

Pull the thread through. Take the needle from C to D again wrapping the thread bundle.

4

7

8

Pull the thread taut. Take the needle under three WKUHDGV IURP ( WR ) RQ WKH ƓUVW line.

* F

5

Take the needle from E to F again to wrap the threads. &RQWLQXH WKH VWLWFK VHTXHQFH in the same manner for the remainder of the row.

6

Turn the work upside down and emerge at G.

Work the next row in a similar manner omitting the horizontal wrapping thread where the two rows meet.

Work the third and VXEVHTXHQW URZV LQ WKH VDPH PDQQHU WR ƓOO WKH VKDSH

SATIN BLOCK FILLING STITCH This lovely stitch creates a surface of smooth offset blocks that overlap one another at the upper and lower edges. The rows can be worked in either direction. In this project rows are worked with blocks of three stiches over four threads.

A

1

*

E

C

Bring the thread to the front at A. Take the thread to the back at B and emerge at C.

F

D

B

2

Take the thread to the back at D and emerge at E.

3

Take the thread to the back at F and emerge at G, four threads down and across.

4

Continue working blocks in this manner to the end of the row.

INSPIRATIONS •

81


SCHWALM EMBROIDERY

I H

5

Bring the thread to the front at H. Take the thread to the back at I.

6

Work two more stitches in this manner to form a block.

7

Continue working in this manner to the end of the row.

8

Continue working rows of EORFNVWRƓOOWKHVKDSH

SATIN WITH CROSS FILLING STITCH 7KLVODF\ƓOOLQJVWLWFKLVFUHDWHGE\ZRUNLQJDJULGRI VWHSSHGVDWLQVWLWFKEDUVWKHQƓOOLQJWKHFHQWUHRIHDFK VTXDUHZLWKDVLQJOHFURVVVWLWFK7RSUHSDUHWKHIDEULF ZLWKGUDZHYHU\ƓIWKWKUHDGERWKYHUWLFDOO\DQGKRUL]RQWDOO\

F

A

B

C

1

Bring the thread to the surface at A. Take the thread to the back at B and emerge at C.

2

Work four more stitches in this manner.

5

Continue working stepped bars of satin stitch to the top of the shape.

6

Work a cross stitch.

9

10

Work four more stitches in this manner to form the ƓUVWEDU

E

D

3

Bring the thread to the surface at D. Take the thread to the back at E and emerge at F.

4

:RUNVXEVHTXHQWURZV LQWKLVPDQQHUWRƓOOWKH shape, forming a grid.

*

7

Anchor the thread through the back of an adjacent satin stitch bar and bring to the front at G.

82 • I N S P I R A T I O N S

8

Take the thread down through the back of the adjacent satin stitch bar to the next block of threads.

Continue working cross stitches at the centre of each block and travelling the thread in this manner until the VKDSHLVƓOOHG


7KLV XQXVXDO ƓOOLQJ LV worked by stitching groups of fanned stitches from a single position. To prepare the fabric withdraw every fourth thread both vertically and horizontally. Remove the vertical threads ƓUVW EHJLQQLQJ ZLWK WKH thread closest to the leaf indentation.

A A

C A

B

1

Row 1 Bring the thread to the front at A. Take the thread to the back at B and reemerge at A.

SCHWALM EMBROIDERY

WING FILLING STITCH

2

Take the thread to the back at C and re-emerge at A.

3

Work two more stitches moving up one thread with each stitch. Re-emerge at A.

D E A

4

Take the thread to the back at D and re-emerge at A.

5

Work two more stitches moving across one thread with each stitch.

6

Bring the thread to the front at E, three threads across from the tip of the last stitch.

7

5HSHDW WKH VWLWFK VHTXHQFH Continue working in this manner across the shape.

* F

F

H

8

Row 2 Bring the thread to the front at F.

12

9

Take the thread to the back at G and re-emerge at F.

10

Work three more stitches moving across and three stitches moving down.

11

Emerge at H and work a second block.

Continue working GLDJRQDO URZV WR ƓOO WKH

space.

INSPIRATIONS •

83


Royal School of Needlework Hand Embroidery Courses at Hampton Court Palace* The perfect stitching holiday! 6XPPHU,QWHQVLYH&HUWL¿FDWH  Diploma Courses. 8 days tuition in each embroidery technique  &HUWL¿FDWH 'LSORPD&RXUVHV throughout the year. *Also in Bristol, Rugby, Durham, *ODVJRZ 86$ -DSDQ

Workshop and classes with Australiaâ&#x20AC;&#x2122;s top teachers. Extensive range of tapestry kits, linens, threads, knitting yarns, books.

Day Classes: mixed ability groups in fun, small classes

Mail order and finishing service.

Degree: BA (Hons) Hand Embroidery for Fashion, Interiors, Textile Art

Loyalty Program

â&#x20AC;&#x2DC;Whiteworkâ&#x20AC;&#x2122; Exhibition: May to December 2015 www.royal-needlework.org.uk/learn +44(0)20 3166 6937 anne.butcher@royal-needlework.org.uk More information:

Contact Programme Director: T:

Pictured: Advanced Silk Shading by RSN Diploma student Jane Francis

Mosman Needlecraft Shop 3, 529 Military Road Mosman NSW 2088 Australia Tel (02) 9969 5105 Fax (02) 9969 5005

www.mosmanneedlecraft.com.au dll f BEST PRODUCTS, BEST SERVICE, BEST PRICES.

LYNâ&#x20AC;&#x2122;S FINE NEEDLEWORK PATCHWORK - QUILTING - EMBROIDERY

N EW

LUSCIOUS FABRIC PACKS 2015 QUILT FABRIC COLLECTIONS Apple Bloom & Summer Lake NOW AVAILABLE 24 fabrics at $20.90 per metre.

Appliqué Zingers & Velvet Fancies MORE COLOURS AND PACKS ONLINE.

Lynâ&#x20AC;&#x2122;s is Sydneyâ&#x20AC;&#x2122;s premier needlecraft and patchwork shop for all your embroidery & patchwork supplies MAIL ORDERS A SPECIALTY Look at our large website for the complete product range and over 300 pages of other product illustrations and prices 2 /9 Seven Hills Road, BAULKHAM HILLS, NSW 2153 (next to the BULL & BUSH HOTEL) Phone & Fax: 02 9686 2325 (PDLOVDOHV#O\QVÃ&#x20AC;QHQHHGOHZRUNFRPDX

HAND DYED EMBROIDERY & FELTING SUPPLIES

ZZZO\QVÃ&#x20AC;QHQHHGOHZRUNFRPDX

www.colourstreams.com.au

84 â&#x20AC;¢ I N S P I R A T I O N S

Ph: +61 2 66842577 E: info@colourstreams.com.au


embellish Specialty Embroidery and Needlework Store

,QWURGXFLQJDIDEXORXVQHZGHVLJQE\6XVDQ3RUWHU IURP(PEHOOLVK(PEURLGHU\

the simply elegant white rose

A beautiful white rose plucked straight from the garden is worked in traditional Stumpwork techniques. Multiple wired petals and detached leaves create a YLHSPZ[PJ YLUKP[PVU VM [OPZ JSHZZPJ Ă&#x2026;V^LY Design size 10cm x 7cm. Kit contains all threads Kit  and fabrics plus full comprehensive instructions.

about Susan Porter

I am a freelance embroidery designer and tutor based in Grafton, NSW. I stock all of the popular brands of threads. Colour Streams, Cascade House, Kacoonda, Cottage Garden Th hreads, Au ver a soie, Rajmahal, House of Embroidery plus many more. Classes are held regularly and are full of fun and laughter. 0\ HPEURLGHU\ NLWV FRPH ZLWKIXOOLQVWUXFWLRQVDOO IDEULF WKUHDGV DQG QHHGOHV WR FRPSOHWHWKHGHVLJQV

$ FDWDORJXH LV DYDLODEOH ² SOHDVH SKRQH IRU GHWDLOV

embellish 214 Arthur Street, Grafton NSW 2460 Phone: 02 6642 4516 Mobile: 0427 447 498 e-mail: theporters@virginbroadband.com.au Opening hours: Tuesday to Friday 9am to 4pm

ZZZHPEHOOLVKHPEURLGHU\FRPDX

Find hundreds of needlepoint designs, innovative classes and all the supplies you need for your artistic endeavors. Whether you live to stitch, or youâ&#x20AC;&#x2122;re just starting to learn the art of needlepoint, the experts at Quail Run Needlework are here to help. We are proud to be one of the nationâ&#x20AC;&#x2122;s premier needlework shops, renowned for our abundance of creative designs â&#x20AC;&#x201C; more than 1,000 designs created by 15 artists available. :HDOVRRÎ?HUDZLGHDUUD\RI engaging classes, trunk shows and expert advice, all at our friendly and welcoming Scottsdale store. Weâ&#x20AC;&#x2122;ve been helping stitchers since 1976 â&#x20AC;&#x201C; stop in today, and see what weâ&#x20AC;&#x2122;re all about. Mail order

                                         !

INSPIRATIONS â&#x20AC;˘

85


Alison Cole Embroidery Specialising in Stumpwork and Goldwork Embroidery

The Unicorn

Stump pwork embroidery in silk and metal threads.

$ 0.00

A Stitch in Time is your local supplier of pattern and bead packs for all

Poostage within Aust.–$10 O Overseas airmail–At cost Allison Cole Embroidery PO O Box 1466, Melton West, Vic 3337 Tel: (03) 9747 0648 E: alisoon@alisoncoleembroidery.com.au www.alissoncoleembroidery.com.au

HAZEL BLOMKAMP EMBROIDERY DESIGNS including those from her two well renowned bookss Crewel Twists and Crewel Intentions. We also stock all the colours of DMC Perle #12, #80 Tatting thread and DMC Metallics suggested by Hazel.

Australia’s Leading Supplier of Brazilian zilian Embroidery

Go to our website and look under the tab ‘Hazel Blomkamp Embroidery’ to ssee what we have in stock.

© Metz Press

www.astitchintime.net.au i Lower Level, 247 Sandy Bay Road, Sandy Bay Tasmania, Australia 7005 P: 61 3 6223 3871 F: 61 3 6223 3788 E: sales@astitchintime.net.au

The online store for all your Brazilian Embroidery requirements. We sell the FULL RANGE of Edmar threads together with a comprehensive range of beautiful designs available as either kits or prints. Also embroidery hoops, thread holders, trigger cloth, needles and instruction books. BLACKBERRY LANE

19 A’Beckett Street, YEA 3717 Phone/fax: (03) 5797 2922 Email: delma@blackberrylane.com.au

www.blackberrylane.com.au

With 1600 years of tradition, Japanese Embroidery designs involve intricate patterns and cultural motifs taken from the Kimono and Kabuki costumes. Come and experience unique embroidery techniques, and create an exquisite artwork using beautiful silk fabrics, flat silks and metal threads. Heather began Japanese Embroidery 20 years ago, and is a certified teacher in both Japanese Embroidery and Beading. Tuition by appointment. heather@japaneseembroidery.com.au Ph: 0417 811 692

Traditional Japanese Embroidery & Beading Classes with Heather Sterling

www.japaneseembroidery.com.au

Jennifer Bee presents

Phone, mail & internet orders welcome. Classes available - check website.

Fuchsia Fantasy

521 Highett Road, Highett, Victoria 3190 03 9532 2142 • infoembroideryden@gmail.com

www.embroideryden.com.au

Inspired by a greeting card, and perhaps something a little different, the Fuchsia are created with Ribbon and Needle-weaving, whilst the leaves are needle-laced to create a 3 dimensional effect. The jug is worked separately and attached once all embroidery is complete. Measures 18cm x 23cm. Priced at $79.95 (includes postage & handling within Australia) Kit includes printed panel, all threads, ribbons, beads, wires, fabrics and notes.

86 • I N S P I R A T I O N S

Like Facebus on ook

Embroidery & Stumpwork Designs

www.jenniferbee.com.au

SUPPLIER OF

Contact Jenny at Jennifer Bee Embroidery 14 Back Maffra Road, Sale Victoria, Australia 3850 (03) 51432 899 jenniferbee@bigpond.com

• ANCHOR • APPLETON • AU VER A SOIE • CARON • CHINESE silk thread • CIFONDA • COLOUR STREAMS • COTTAGE GARDEN THREADS • CRESCENT COLOURS P5 • DANISH Flower Threads • DAYLIGHT LAMPS and MAGNIFIERS • DMC • EDMAR • GINNIE THOMPSON • GUMNUT SILK AND YARNS • GUTERMANN • KACOONDA • KREINIK • LORAN PRODUCTS • MADEIRA • MILL HILL • MOGEAR • PATERNAYAN • RAJ MAHAL • RAINBOW GALLERY • STITCH EZI Frames • WEEKS DYE WORKS • YLI Quality Fabrics, Linen, Aida, Popcorn, Hardanger, Anne, Evenweaves, Canvas, Wool Blanketing, Floba. Christmas kits and charts, Trammed and Stamped Tapestries, kits and charts. Selected range of needlecraft books, Bohin Needles and Gingher scissors.


Modern Sashiko by Silke Bosbach

Available at all good bookstores

Create stunning embroidery designs which blend modern techniques with the simple & traditional Japanese method of Sashiko. Silke Bosbach shows you how to adapt this basic style by applying modern surface finishes on numerous textiles & combining it with a variety of other techniquues. This book includes 14 embroidery templates & 55 RRP stunning photographs of various techniques which are $ 99 sure to inspire new & original designs.

21

Search Press Australia Units 9 &10, 11 Robertson Place, Penrith NSW 2750 Ph 02 4722 8323 Email sales@searchpress.com.au Website www.searchpress.com.au

Needle In A Haystack Purveyor of fine needlework supplies ✦ Cross-Stitch ✦ Counted-Thread ✦ Embroidery ✦ Needlepoint Color Matching & Finishing Services

S T U M P WO R K E M B RO I D E RY Suppliers of fabrics, wires, leather, needles d and scissors, beads, hoops, boxes, brooches and paper weights. Au Ver à Soie, Cifonda, Chenille, C DMC, Kreinik, Madeira, YLI and goldwo o threads. ork Our entire range of kits, books and e broiderry supplies are available online.

www.janenicholas.com w J Jane Nicholas Embroidery Pty Ltd PO Box 300, Bowral NSW 2576 Australia P Email jane@janenicholas.com E Tel/fax +61 2 4861 1175 T

Motifbyhand Fine quilting and needlework www.motifbyhand.com www.motifsbyhand.etsy.com

Mail-order across town or across the globe!

www.needlestack.com +1-510-522-0404 1734 Clement Ave 877-HAYSTAC Alameda, CA 94501

Sign up for our weekly e-newsletter.

PICKING

FLOWERS Picking Flowers is a mouth watering silk print. It needs only you to make it a treasure.

Available from Kacoonda stockists

www.kacoonda.com

Create with us

GEELONG BLANKET COMPANY MANUFACTURERS AND WHOLESALERS OF WOOL BLANKET FABRIC, CASHMERE AND NURSERY FLANNEL

www.nancys.co.nz for unique embroidery and patchwork kits and luscious NZ made STRAND crewel yarn www.theyarnstudio.co.nz for gorgeous knitting yarns www.jenniferpudney.com for fun needlepoint and felt kits

241 Thorndon Quay Wellington New Zealand Ph +64 +4 473 4047 or 0800 783 639 Email nancys@nancys.co.nz

143 Church Street, Geelong West 3218 Victoria, Australia Ph: 03 5277 2006 Fax: 03 5277 1925 Email: geelblan@iprimus.com.au Mail orders delivered worldwide

www.geelongblanketcompany.com.au

INSPIRATIONS •

87


needlecraft directory New South Wales Crewel Gobelin 9 Marian Street, Killara, NSW 2071 Phone: +61 2 9498 6831 Fax: +61 2 9499 5001 E: enquiries@thecrewelgobelin.com.au www.thecrewelgobelin.com.au

Victoria

Queensland

Join us for our workshops and classes. Our extensive range of threads, ribbons and fabrics include Australian and imported threads, ribbons and French silks. We stock tapestry kits, wool embroidery kits, cross stitch, kits and charts. Large range of fabrics. Wide range of specialised books and magazines. Mail order a pleasure, just phone, fax or email us.

Honeysuckle Stained Glass & Patchwork

All Threads Embroidery

South Australia

2 Havilah Road, Bendigo, VIC 3550 Phone: 03 5441 3289 E: sales@honeysucklepatchwork.com.au www.honeysucklepatchwork.com.au Blog: www.apatchofhoney.blogspot.com.au Huge range of embroidery supplies; stranded and perlé silk and cotton, wool, hand-dyed and speciality threads, silk ribbons. Embroidery fabrics, wool felt, blanketing and more than 3000 patchwork fabrics. See our website for more information and to download our pdf class list. Open Mon–Fri 9–5, Sat 9–12.

Tranquility Crafts ‘n‘ Supplies 37 Holmes Rd, Moonee Ponds, VIC 3039 Phone: 03 9375 3575 E: tranquilitycrafts@bigpond.com.au Find us on Facebook Now stocking the full range of Cottage Garden Threads. Large range of patchwork fabrics; Embroidery and x-stitch linens; Embroidery threads including stranded and pearl cotton. YLI silk ribbons; Mill Hill beads, kits, patterns, books and notions. Day and evening classes. Tues–Fri 10am–5.30pm, Sat 9.30am–1.30pm

Ocean Grove Sewing Centre Shop 3, Park Lane, Ocean Grove, VIC 3226 Phone: 03 5256 1557 Find us on Facebook Extensive range of: Threads, Embroidery, sewing and quilting fabrics. Dressmaking patterns and haberdashery. Knitting wools and patterns. Tapestries and x-stitch kits. Books and magazines.

122 McIlwraith Avenue, Norman Park, Qld 4170 Phone: 07 3398 5540 Fax: 07 3398 5560 E: info@allthreads.com.au www.allthreads.com.au Major stockists of quality hand embroidery threads and ribbons, fabrics, needlepoint canvases, beads, braids, buttons and charms, scissors, patterns and kits, craft books, frames, lamps, lightboxes and more. Day and evening classes for all levels of stitching abilities. Specialising in mail and online orders EFTPOS and major credit cards accepted. Check out our website!

Edna Richardson – Nimble Stitches 65 Burnett Street, Buderim, QLD 4556 Phone: 07 5476 6495 E: traed7@bigpond.com Small and relaxed classes, individual attention to beginners and advanced. All aspects of smocking, embroidery and garment construction. Workshops a specialty. Swiss voile and French cotton laces to complement a large range of Swiss fabrics.

Tasmania A Stitch in Time Lower level, 247 Sandy Bay Road, Sandy Bay, TAS 7005 Phone: 03 6223 3871 Fax: 03 6223 3788 E: info@stemstitch.com Amazing range of embroidery and needlework supplies. Friendly day and evening classes available, specialising in crewel, goldwork and stumpwork. Come and join our crewel and smocking friendship groups.

Japanese Embroidery Heather Sterling Phone: 0417 811 692 heather@japaneseembroidery.com.au www.japaneseembroidery.com.au Come and experience tuition in unique embroidery techniques, and create an exquisite artwork using beautiful silk fabrics, flat silks and metal threads. Heather Stirling is a certified teacher in both Japanese Embroidery and Beading.

USA The Wooly Thread 8850 Coolidge Road, Yakima, Washington 98903 Phone: 425 241 7489 E: info@woolythread.com www.woolythread.com We are North American suppliers of fine wool fabrics, wool felt, Appleton crewel wool, merino wool roving, and the full range of Country Bumpkin’s A-Z books and magazines, as well as Finland’s Ottobre Design magazine of children's fashions and crewel embroidery kits.

Lucia’s Needle Arts Mansfield, Pennsylvania Phone: 1-570-662-7024 E: info@flyingneedle.com www.flyingneedle.com Specializing in Counted Thread, Cross Stitch and Embroidery. An amazing selection of charts, 14 thread companies, hundreds of fabrics, thousands of beads, buttons, charms, and tools. All with a secure shopping cart, International and Domestic shipping!

NOT LISTED? Is your shop or online store not listed? We’d love to have you join our directory. For enquiries please contact us at: advertising@inspirationsmagazine.com.au

INSPIRATIONS •

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Loose Threads Welcome to Loose Threads. Join me here every issue as we share the stories behind Inspirations with you.

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OU R TEAM

C O N TA C T U S

S U BS C R I PTI O N S

E D I T O R Susan Oâ&#x20AC;&#x2122;Connor susan@inspirationsmagazine.com.au

Inspirations Publications PO Box 10177, Adelaide Business Hub South Australia 5000 Tel: +61 8 8293 8600 Fax: +61 8 8293 8733 Email: info@inspirationsmagazine.com.au www.inspirationsmagazine.com.au Inspirations is published quarterly.

Tel: +61 8 8293 8600 Email: info@inspirationsmagazine.com.au Subscription Rate (includes postage) Australia $14.95 per issue New Zealand $19.90 per issue North America $22.95 per issue Rest of World $24.95 per issue

E D I T O R I A L A S S I S TA N T Ellaine Bronsert

editorial@inspirationsmagazine.com.au G R A P H I C D E S I G N Lynton Grandison S T Y L I S T Fiona Fagan P H O T O G R A P H Y ADP C U S T O M E R R E L AT I O N S Sue Forrest

info@inspirationsmagazine.com.au ADVE RTISI NG SALES

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92 â&#x20AC;¢ I N S P I R A T I O N S

Copyright reserved © 2015. Designs are for private use only. Permission to reproduce any of the contents for any other purposes must be obtained from the publisher. Inspirations Publications has taken reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the contributors and without our knowledge of any infringement of any third party. Information given is presented in good faith. As we have no control over physical conditions surrounding application of information contained in this magazine, the contributors and publisher disclaim any liability for untoward results.


The London Bead Co. Delicate Stitches Beads

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LBC Beads: Delica, Seed Bugle, Hexagon or 2-cut, Sequins. Austrian Bi-Cone, Round Faceted, Teardrop, Heart, Marguerite, Cubes, Squash Round, Flat Back Crystals & Crystal-based Pearls. Semi-precious Stones, Glass Beads, Jewellery Findings, Silver Charms, Extensive Range of Beading Wires & Threads, Purse Frames & Bag Handles, Beading Looms, Bead Cases & Containers, & much more.

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Feathers

As a Main Agent for DMC, we carry a Full Range of all their embroidery & crochet threads including Stranded & Perlé Cotton, Rayon, Variegated & Metallic. Anchor Stranded, Marlitt, Tapestry Wool & Perlé Metallic & Variegated. Madeira Stranded, Decora and Stranded Silk. Appleton Crewel and Tapestry Wools. Paterna Persian Tapestry Wool and Rug Yarn. Caron's Collection of Embroidery Threads. Rainbow Gallery. Gumnut Silks & Wool. Kacoonda Silks & Wool. The Thread Gatherer Collection. Gentle Art Stranded & Perlé. Edmar Rayon (Brazilian Embroidery). Week's Dye Works Stranded. Kreinik's Blended Filament, Braids & Cords. Rajmahal Art Silk. Kanagawa 1000 Denier Silk. Au Ver à Soie Silk. Threadworx.

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Inspirations n86  
Inspirations n86  
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