Embroidery, Cross Stitch

BEADAZZLED

2011-04-12T13:12:00.000-07:00

This spectacular embroidery was designed and stitched
by Irene Junkuhn with an abundance of richly coloured shiny threads and luxurious beads. It would add an opulent effect to any room.

MATERIALS
• 36cm (14 1/4in) square of cream satin-backed shantung or pre-printed fabric
• 36cm (14 1/4in) square of cream homespun for the backing
• Rajmahal Art Silk: 1 skein each of bluebell (121), Cossack blue (122), hot plum (256), bordeaux (745), sassafras (805)
• Rajmahal Pearl Sadi: 80cm (7/8 yd) silver
• Rajmahal Smooth Sadi: 50cm (5/8 yd) silver
• Rajcord: 1m (1 1/8yd) silver
• Handsew: 15m (16 1/2yd) silver
• Maria George Square Delica Beads: 6 pink (SB4-2601)
• Maria George Delica Beads: 1 packet of D-027
• Judith & Kathryn Flower Beads: 2 silver 1cm (3/8in), 1 small mauve
• 3mm (1/16 in) pearls: 22 cream
• Seed beads: 1 packet each of grape, red, blue, silver
• Half bugle beads: 1 packet of silver
• Flower sequins: 5 blue
• Sequins: 30 pink, 20 silver
• Tiny sequins: 1 packet of pink
• No 9 crewel needle
• No 20 chenille needle
• No 10 beading needle
• Beading thread
• Machine-sewing cotton: 1 reel in a light colour for tacking
• 25cm (10in) embroidery hoop

DESIGN SIZE
17cm x 22cm (6 3/4in x 8 1/2in)

STITCHES USED

Backstitch, chain stitch, colonial knot, couching, fly stitch, lazy daisy stitch, long and short stitch, satin stitch, straight stitch, trellis stitch, wheat ear stitch, whipstitch, whipped backstitch, whipped chain stitch

PREPARATION
If you are using shantung fabric, transfer the design outline from the pattern sheet using your preferred method.

Tack the homespun to the back of the shantung or pre-printed fabric, then tension them in the hoop until they are drum tight.

EMBROIDERY
Note: It is best to do all the Art Silk embroidery first, then the Sadi metal threads and finally the beads and sequins. Two strands of Art Silk and one of Handsew are used unless stated otherwise. Stretch the Pearl Sadi until it is two-thirds longer to allow the couching stitches to slip between the coils.
The No 9 crewel needle is used with the embroidery threads, the No 10 beading needle with the beading thread unless stated otherwise and the No 20 chenille needle with the Rajcord.

Pomegranate: Outline the fruit with two rows of chain stitch and fill the centre bell shape in chain stitch with hot plum (256).
Leaves: Referring to diagram 1, satin-stitch these with sassafras (805) and fly-stitch the veins with Handsew, then backstitch the green tendril with sassafras (805). Large blue flower: Work the petals in long and short stitch with bluebell (121), shading to Cossack blue (122). Satin-stitch the centre of the flower with Cossack blue (122), then outline it with colonial knots and work trellis stitch across
it with bordeaux (745). Stitch smaller trellis stitch in the petals on either side of the centre with Cossack blue (122). Grape bud: Fill the three petals in colonial knots with bordeaux (745), then satin-stitch the leaves with sassafras (805) and backstitch the tendrils with Handsew. Carnation: Outline the petals in backstitch and fill in the tops with two rows of colonial knots in hot plum (256). Still using the same thread, work trellis stitch in the cup of the flower the same width as the red seed beads. Form the tiny tendrils in backstitch with Handsew. Refer to the photograph for placement. Large green leaf: Chain-stitch the outline with sassafras (805), then whip over it in Handsew. Silver leaf: Outline this in chain stitch with Handsew. Large flower on the right: Satin-stitch the tip with one strand of bordeaux (745), then backstitch the outline of the petals on either side of
this with Handsew. Backstitch the outline of the curved petals below these with hot plum (256), then whip them with Handsew. Satin-stitch the teardrop shape below with bordeaux (745).
Blue daisy flower: Form the petals in satin-stitch with bluebell (121) and stitch the tiny leaves in lazy daisy stitch with sassafras (805).

SADI METAL THREAD AND RAJCORD EMBROIDERY
Couching Sadi: Gently stretch the pearl Sadi to remove the kinks and to enable the stitches to slip between the coils so they are invisible. Begin couching 5mm (1/4in) from the edge so the stitches don't slip off the end - once started the end can be secured. Take small stitches at right angles with Handsew over the Sadi. Couching Rajcord: Thread the cord in the chenille needle and bring it to the front of the design. Work small couching stitches in Handsew at right angles to the cord, then once completed take the cord to the back with the chenille needle and secure it. Pomegranate: Outline the fruit and centre bell shape and form the stem with silver pearl Sadi. Large blue flower: Lay two rows of silver pearl Sadi around the outlines of the petals on either side of the centre and couch over both rows so they lock together. Carnation: Outline the centre zigzag shape, the cup of the flower and the tendrils below it with silver Rajcord. Scatter smooth Sadi spangles in the centre of the zigzag shape, then sew a colonial knot in the centre of each one with hot plum (256). Sadi spangles: With diagram 2 as a reference, cut tiny 3mm (1/16in) pieces of Smooth Sadi to form rings and secure them with at least three couching stitches.
Large green leaf: Stitch woven S-ing stitch with silver sequins and 5mm (1/4in) pieces of Smooth Sadi.

Thread the No 9 crewel needle with Handsew. Referring to diagram 3, come up at A, thread on a piece of Smooth Sadi and take the needle down at B. The stitch length must be shorter than the length of Sadi. Bring the needle up at C, thread on a piece of Sadi and go down at D - this is pulled to the side with a spare needle to form the 'S' shape. Continue stitching the Sadi this way for about 10 stitches, then with a spare needle, move the Sadi gently to the left and bring the needle through in the middle of the stitch. Thread on a piece of Sadi and pick up a silver sequin through the front, take the needle to the back of the work and come up again through the top of the sequin underneath the Sadi stitch above, using the spare needle to move the Sadi to the left. Repeat this until the area is too narrow for a sequin and continue stitching woven S-ing stitch with Sadi to the end. Large flower on the right: Outline the petals with Pearl Sadi, the larger centre heart with two rows and the smaller shape below it with one row. Couch Rajcord between the two rows of Sadi, then form the stems and trailing vine with the same thread.

BEADS AND BEAD EMBROIDERY
Stitch through the single beads twice so they sit correctly and are secure. Pomegranate: Stitch pink sequins in the centre bell shape with beaded fan stitch. Bring the needle to the front and starting and ending with a seed bead, thread on six pink sequins with a grape seed bead between each one, then take the needle down at the starting point to form a loop. Secure the thread at the back, then come back up and couch between the beads to form the fan. Refer to diagram 4.

Stitch three SB4-2601 square beads on either side of the bell shape, then work woven cord stitch along the lines on either side of the fruit. Refer to diagram 5.
Woven cord stitch: Bring the needle up on the left of the beads for the left-hand side petal and on the right of the beads for the right-hand side petal.
1. Thread the needle with Handsew, then starting at the top, thread on six grape seed beads, one red seed bead and one pink sequin through the back, make a stitch half the length of the sequin, then take the needle to the back.
2. Move the beads to the left of the line and bring the needle through to the right side of the line above the sequin.
3. Thread on six grape seed beads, one red seed bead and one pink sequin, then take the needle into the fabric on the line on the right just below the first row of beads. Keep the needle on the right of the row of beads and make sure the sequins lie flat next to each other.
Repeat steps 2 and 3 to the end of the line. Work the line on the other side in mirror image.
Work wheat ear stitch below the bell shape using silver half bugle beads and Handsew. Bring the needle up half the length of the bead, from the right-hand side of the line, thread on two half-bugle beads and then take the needle down on the left of the line. Couch the beads down in the centre so they form a 'V'. Repeat this to the end of the line. Refer to diagram 6.
Add a colonial knot between each wheat ear stitch with hot plum (256). Large blue flower: Work pairs of tiny straight stitches above the outer petals with Handsew, then with the same thread, add a blue seed bead to the tip of each one. Scatter blue seed beads in the lattice couching on either side of the centre flower.
Add a silver flower bead at the base of the flower using bordeaux (745) and stitch between the petals on the bead to define them.
Sew five blue flower sequins along the outer petals, securing each one with a tiny loop of Smooth Sadi.
Cut short pieces of Smooth Sadi, then thread the crewel needle with Handsew. Bring the needle up, thread on a piece of Sadi, then go down to the back close to the starting point and gently pull the thread until the Sadi curves into a loop. Secure each one firmly on the back before stitching the next one. Refer to diagram 7. Grape bud: Bring the needle up at the base of a petal, thread on seven silver seed beads, go down at the tip, then come up again and couch between the beads so they lie flat, but don't pull them too tight. Stitch D027 beads at the base of the flower. Carnation: Sew a pearl bead on the marked dots in each petal. Thread nine silver seed beads on the needle, loop them around the pearl and then work a couching stitch between each bead. Stitch three tiny pink sequins under the three middle pearls with hot plum (256).

Sew a red seed bead in the middle of each square formed by the trellis stitch in the cup of the flower.
Scatter silver half bugles among the spangles in the zigzag shape and on the outside edge of it with Handsew. Refer to the photograph for placement.
Large green leaf: Scatter D027 beads on the left side of the leaves next to the silver sequins and towards the tips.
Large silver leaf: Work wheat ear stitch with silver half bugle beads along the centre vein, then add a D027 bead between them. Refer to diagram 6.
Large flower on the right: Fill the squares formed by the lower trellis stitch with red seed beads. Add a tiny pink sequin in every second square formed by the upper trellis stitch in the heart shape, using hot plum (256) radiating out from the centre and over the edge of the sequins. Sew a small mauve flower bead in the centre of the teardrop shape at the base of the flower.
Stitch a pearl bead in the centre of the satin-stitch tip and form a fly stitch under it with silver half bugle beads. Add a pearl bead on either side of the petals near the teardrop and a row of half bugle beads. Refer to the photograph for placement.
Stitch woven cord stitch with beads in the centre of the top silver petals with five each of red and grape seed beads. Refer to diagram 8.
1. Alternating five red seed beads with five grape ones and starting at the top, thread on five beads, make a stitch half the length of the beads and take the needle to the back.
2. Move the beads to the left of the line and bring the needle up on the right-hand side of the beads on the line next to the centre bead.
3. Thread on five beads and take the needle into the fabric on the line just below the first row of beads. Bring it up again on the line just below the beaded stitch above and next to the bead of the second row, keeping the needle on the right of the row of beads.
Repeat steps two and three to the end of the line.
Work woven cord stitch in the four petals on either side of the heart shape with seven grape seed beads and a centre pearl.
Form this stitch on the right of the line of beads for the right-hand side petals and on the left for the left-hand side petals.
Refer to diagram 9.

1. Bring the needle and Handsew thread up at the top and thread on seven beads, make a stitch the full length of the beads and take the needle to the back.
2. Move the beads to the left of the line and bring the needle back up on the right side of the beads next to the centre bead, keeping on the line.
3. Thread on seven beads, move them to the left of the line and take the needle into the fabric on the line for the full length of the beads.
4. Repeat steps two and three to the end of the line.
5. Once the row of woven cord stitch is complete, pull the threaded beads apart and stitch a pearl bead in the centre of each pair.
Blue daisy flowers: Sew a row of three blue seed beads in the centre at the base of the flower and a row of four either side of this to form a rectangle.

FINISHING
Your dazzling masterpiece is ready to be framed.

Daisy a Day

2011-01-26T08:51:00.000-08:00

MATERIALS
• 40cm (16in) square of white cotton fabric
• No 7 crewel needle
• DMC Stranded Embroidery Cotton: one skein each of topaz (725), light topaz (726), very light topaz (727), very light golden olive (834), dark forest green (987), medium forest green (988), light khaki green (3013), very light golden yellow (3078), light yellow green (3348), pine green (3364), bridal white (3865), blanc (white)
• 15cm (6in) embroidery hoop
• Water-erasable marking pen

DESIGN SIZE
20cm (8in) square

STITCHES USED
French knot, stem stitch

PREPARATION
Transfer the design from the pattern sheet onto the fabric with the water-erasable marking pen, using your favourite light source. This could be done by taping the design to a sunlit window, then taping the fabric over the top of the design, making sure that it is centred.
Outside the area of the design square, pick one side of the fabric and draw arrows towards the embroidery, all in the same direction. This will help with your shading when embroidering the design.

EMBROIDERY
All the embroidery is worked using two strands of embroidery cotton threaded in the No 7 crewel needle. Refer to the pattern sheet to establish the colour combination for the daisies. Using dark forest green (987), stem-stitch the vein in the centre of the leaves. The remaining embroidery is stitched in closely-placed French knots. Place your work in the embroidery hoop pulling it taut. Fill the centre of the leaves in dark forest green (987) and then finish stitching the outer edges of the leaves in medium forest green (988) using the pattern as a placement guide.
The yellow daisies are stitched next. Begin a petal on the same side as the arrows that you placed on the fabric.
With two strands of topaz (725) work one row of French knots. The second row of French knots is embroidered using one strand of topaz (725) and one strand of light topaz (726) threaded together in the needle. For the third row use two strands of light topaz (726). Then the next row is stitched with one strand of light topaz (726) and one strand of very light topaz (727), also threaded in the needle together. Finish the petal with two strands of very light topaz (727). Work the remaining leaves in the same manner, starting the darkest shading on the same side as the previous petal. If you find that you cannot fit all the colours into the petal, omit the mixed threads, remembering to have at least three different colours at the base of each petal to define them.

The white flowers are embroidered a little differently. Using the arrows as a guide again, start on one side of the petal using two strands of very light golden yellow (3078), stitching one row of French knots. Work the second row using two strands of bridal white (3865). Embroider the remainder of the petal in blanc (white). Finish each petal in the same manner. Using the pattern sheet as a guide, fill in the centre of the daisies beginning with very light golden olive (834) as the deepest shade, working the next section in pine green (3364) and then finishing off with light yellow green (3348). Fill in the background area with light khaki green (3013), still using French knots.

FINISHING
Your embroidered piece is now ready to be framed or it can also be made into a cushion.

Heart of Blossoms Blanket

2011-01-26T08:25:00.000-08:00

Blossoms and forget-me-nots entwined on a heart full of love - this beautiful, soft wool blanket, would make a lovely gift to be treasured.

MATERIALS
• 80cm x 100cm (3l 1/2in x 39in) cream wool blanketing
• 105cm x 125cm (41in x 49in) warm white fabric for lining
• Watercolours by Caron: one skein of rose quartz (031)
• Appletons 2 ply crewel wool: One skein each of very light cornflower (461), very light autumn yellow (471), very light heraldic gold (841)
• Gumnut Blossoms Wool Yarn: very very light raspberry (050), light raspberry (052), medium sage green (625)
• Gumnut 'Jewels' Silk Thread: one skein of amethyst light
• Gumnut 'Buds" Silk Thread: one skein of light sage green (543) one skein of 564
• Madeira Silk Thread: one packet each of sage green (1510), golden brown (2210)
• YLI Silk Floss: one packet of rose pink (190)
• 3m (3 1/4yd) No 000 piping cord
• 3m x 15mm (3 1/4yd x 1/2in) pink satin bias binding
• No 24 and No 22 chenille needle
• No 7 crewel needle
• No 1 milliner's (straw) needle
• Tracing paper
• Blue water-soluble marking pen

DESIGN SIZE
22cm x 24.5cm (8 1/2in x 9 1/2in)

STITCHES USED
Bullion knot, colonial knot, couching, fly stitch, French knot, granito, lazy daisy stitch, pistil stitch, stem stitch, straight stitch

PREPARATION
Trace the outline of the heart from the pattern sheet onto the tracing paper, marking in the placements of the flowers with a cross. Pin the traced heart onto the centre of the blanket and tack around the outline, using a coloured thread. Tear the tracing paper away, being careful not to pull the tacking stitches loose.

EMBROIDERY
Heart: Using one strand of rose quartz (031) in the No 24 chenille needle, stem-stitch the outline of the heart.
Blossoms: Each petal is a granito stitch of six to seven stitches, using two strands of very very light raspberry (050) threaded in the No 22 chenille needle. Add a fly stitch and then a straight stitch at the tip of each petal using one strand of light raspberry (052) in the same needle. Stitch three straight stitches from the centre to the tip of each petal with one strand of rose pink (190) in the No 7 crewel needle, to give highlights to each petal. To fill the centre of the blossom, stitch two-wrap French knots in a combination of one strand of very light autumn yellow (471) or very light heraldic gold (841) with one strand of golden brown (2210) using the No 7 crewel needle.
Stems: The stems are stitched with one strand of medium sage green (625) couched down with the same thread in the No 22 chenille needle. They are then whipped with one strand of sage green (1510) using the No 7 crewel needle.
Buds: The main part of the bud is made up of a granito of five stitches using one strand of very very light raspberry (050), and one strand of light raspberry (052) both threaded in the No 22 chenille needle. The sepals are stitched with three straight stitches, stitched over the bud, with one strand of medium sage green (625) blended with one strand of light sage green (543). Add two straight stitches at the base of the bud with one strand of light sage green (543) to form the calyx.

Leaves: Using one strand of medium sage green (625) threaded in the No 22 chenille needle and starting at the tip of the leaf, stitch five to seven fly stitches. Then, using the same needle threaded with one strand of 564, stitch seven to nine straight stitches between the fly stitches. To anchor the leaves to the stem, work a pistil stitch, starting at the stem, with the knot end stitched at the base of the leaf.
Bullion Roses and Buds: Both the roses and the buds are stitched using one strand of amethyst light, threaded in the No 1 milliner's (straw) needle. The rose is stitched with two seven-wrap bullion stitches that form the centre of the rose. The first round consists of four 10-wrap bullion stitches. The final round is then worked with two 12-wrap bullion stitches. The buds are stitched with the same needle, using one seven-wrap bullion stitch to form the centre, then two 10-wrap bullion stitches are worked either side of the centre stitch.
Leaves: At the base of the buds, using two strands of 564 in the No 7 crewel needle, work a fly stitch and then stitch lazy daisy stitches for the leaves as indicated on the pattern sheet.
Forget-me-nots: With one strand of very light cornflower (461) threaded in the No 22 chenille needle, stitch five colonial knots. Then stitch a French knot in the centre of the forget-me-not with one strand of very light heraldic gold (841), threaded in the same needle.

FINISHING
Lining the blanket: Wash the piping cord and the satin bias binding to prevent shrinkage. The satin piping is made by ironing the satin bias binding open and folding it around the piping cord so that the cord is in the centre of the bias binding. Using the zipper foot on your sewing machine, and stitching very close to the piping cord, stitch the piping cord into the satin bias binding.
Pin the satin piping to the right side of the blanket 7.5cm (3in) from the edge of the blanket, with the raw edges of the satin piping facing towards the edge of the blanket. This will be covered with the lining fabric. Still using your zipper foot, stitch the satin piping to the blanket.
Having washed and ironed the lining fabric, lay the blanket onto the centre of the lining fabric, folding the edges of the lining fabric to the right side of the blanket so that it meets the satin piping. Mitre the corners, then hand-stitch the lining to the satin piping.

Celtic Pin Stool

2011-01-23T05:51:00.000-08:00

This richly-coloured pin stool, designed and stitched in the true Irish tradition of Celtic work.

MATERIALS
• 30cm (12in) square of "Echo" fabric (or another suitable fabric) for the pin stool
• 25cm (Win) diameter circle of calico
• DMC Stranded Embroidery Cotton: one skein each of very dark blue violet (333), dark Christmas red (498)
• Gumnut "Buds" silk thread: One skein each of burgundy (179), purple (299), blue (369), green (629)
• Papillon thread: one reel of silver
• No 9 crewel needle
• 35cm (14in) of silver braid 6mm (1/4in) wide
• Mill Hill petite glass beads (42012)
• Mill Hill glass seed beads No (02007)
• No 7 milliner's (straw) needle
• Beading needle
• One tube of "Rub'n Buff" silver leaf paint
• Fibre filling: small amount to fill top of stool
• Decorative wooden stool: 11.5cm (4 1/2in) in diameter
• 2B pencil
• Screwdriver

DESIGN SIZE
11.5cm (4 1/2in) diameter

STITCHES USED
Bullion stitch, buttonhole stitch, lazy daisy stitch, raised stem stitch, satin stitch, stem stitch, straight stitch
PREPARATION
Trace the Celtic knot pattern and the middle star outlines onto the "Echo" fabric using the 2B pencil and your favourite light source.

EMBROIDERY
Celtic knot: Using one strand of very dark blue violet (333) threaded in the No 9 crewel needle, stitch evenly-spaced parallel straight stitches 3 mm (1/8sin) apart, from one pencil line to the other, around the whole Celtic knot pattern. Refer to diagram 1. Fill in these parallel stitches with five rows of raised stem stitch, using one strand of purple (299) threaded in the No 9 crewel needle. When the raised stem stitch is complete, outline the entire knot with stem stitch, using one strand of the Papillon silver thread in the same needle.

Star: Using one strand of burgundy (179) threaded in the No 9 crewel needle, stitch the outer edge of the star with buttonhole stitch. The inner star is worked in buttonhole stitch using one strand of blue (369). Satin-stitch the circle in the centre of the star with one strand of the Papillon silver thread, and using the No 9 crewel needle. Using the same silver thread, work the straight stitches in the star as indicated on the pattern sheet, then stem-stitch around the outside of the small silver circle with the silver thread in the same needle.
Blue flowers: With one strand of blue (369) threaded in the No 7 milliner's (straw) needle, stitch four 20-wrap bullion stitches to form the petals on each of the blue flowers, as indicated on the pattern sheet. The leaves for the blue flowers are stitched with two straight stitches, one on top of the other, with one strand of green (629) threaded in the No 9 crewel needle.
Red flowers: With one strand of dark Christmas red (498) threaded in the No 9 crewel needle, work five straight stitches in a fan shape. Refer to diagram 2. Using the burgundy (179) thread in the same needle and starting at the pointed end of the fan, bring the thread from the back and weave over and under the spokes of the fan, packing the rows close together so that the flower is raised. Refer to diagram 3. Pass the needle through to the back of the fan and secure the thread. The foliage for the red flowers consists of three lazy daisy stitches worked with green (629) thread in the same needle. Each lazy daisy stitch is worked from the base of the red flower, then one straight stitch is added to it for the stem. On the outside of the Celtic knot, using the Papillon silver thread, work three clusters of lazy daisy stitches as indicated on the pattern sheet.

Beading: Stitch the petite glass beads (42012) using the beading needle at the end of all the straight stitches within the star and in the centre of the lazy daisy clusters, as shown on the pattern sheet. Stitch the glass seed beads (02007) in the centre of the blue bullion flowers.

FINISHING
Take your work out of the hoop and iron it right side down on a clean towel. Using the circular piece of calico, sew a gathering stitch around the outside, 1 1/2cm (5/8in) inside the edge. Gather the calico into a pillow, shaped the same as the top of the stool, and fill with the fibre fill. Lace the back of the fabric by threading a No 9 crewel needle with a strong thread and stitching from edge to edge of the fabric in a zigzag stitch, pulling it tight as you go. Secure the calico pillow, so that it does not come undone or become distorted. Trim the embroidered fabric so that the embroidery is in the centre of the 25cm (10in) circle, then sew a gathering stitch around the outside, l 1/2cm (5/8in) inside the raw edge. Remove the top disc from the stool and place the calico pillow on the top, then place the embroidered piece over the top of the calico pillow and gather this in underneath the disc. Lace and secure the embroidery into place the same as above.

PREPARING THE STOOL
Coat the base of the stool with the silver leaf "Rub'n'Buff" paint as per the instructions on the packet. When the base is dry, reattach the cushion to the stool by inserting the screw back through the drilled hole, then tighten it with a screwdriver.
Slip-stitch the silver braid around the side of the cushion with the silver thread.

Our Home amongst the Trees

2011-01-23T04:02:00.000-08:00

Peg Fraser has assembled some of her favourite motifs into a miniature sampler. Stitch the inscription shown here or use the alphabet provided to add your own personal touch.

MATERIALS
• 30cm x 20cm (12in x 8in) 32-count "antique" linen
• Gumnut silk "Stars": 1 skein each of dark green 628 (501), light green 626 (503), gold 746 (676), blue 369 (930), red 829 (356), pink 857 (3712), brown 708 (420), (DMC Stranded Cotton substitutes are also given but these will result in a slightly different effect)
• No 24 tapestry needle

DESIGN SIZE
19cm x 8.5 cm (7 1/2in x 3 3/8in)

STITCHES USED
Cross stitch

PREPARATION
Begin stitching at the centre top of the pattern and work in horizontal rows from the top down. To do this, first calculate how far the first stitch is from the centre arrows marked on the chart.

Find the centre of the fabric. With a needle threaded with one strand of cotton, come up in the centre and then run a line of basting stitches up to the top of the fabric, making sure that each basting stitch is exactly the length of five squares (10 threads on linen). Now count up this row the number of stitches you determined from the chart. This is easy to do because you can count up in blocks of five stitches for each basting stitch.

With a single strand thread, bring the needle up at this point on the centre line and run another row of basting stitches out to the left side of the fabric, again making sure that each basting stitch covers the space of five squares. Now count across this line the number of spaces you determined from the chart. This is where you will start stitching.

Dragonflies in my Garden

2011-01-23T03:16:00.000-08:00

These simple wool-embroidered pincushions, are a perfect project for both beginner and experienced stitchers. They feature dragonflies in enchanting daisy gardens.

MATERIALS
• 40cm (16in) square of cream chenille wool blanketing
• 1m (1 1/4yd) cream lace 4.5cm (1 5/8in) wide
• Appleton's Crewel Wool: one skein each of mauve (101) and purple (454)
• Gumnuts Tulips Mohair: one skein of green (643)
• Rajmahal Art Silk: one skein each of mango cream(141), pastel grey (221), Gothic grey (226)
• No 20 chenille needle
• No 7 crewel needle
• Machine-sewing cotton: one reel of cream
• Two dragonfly charms
• 2B lead pencil or a water-soluble marking pen
• Thick black texta
• Tulle for transferring of the pattern
• Polyester filling
• Greaseproof paper

DESIGN SIZE
Square pincushion: 17cm (6 3/4in) square Round pincushion without lace: 15cm (6in) diameter

STITCHES USED
Colonial knot, feather stitch, fly stitch, lazy daisy stitch, straight stitch

PREPARATION
Cut out two squares and two round pieces of the cream blanketing, using the pattern given on the pattern sheet. Lay the greaseproof paper on the floral pattern, followed by the tulle and pin all three layers together. Trace the design onto the tulle, using the thick black texta. Centre and pin the tulle onto the wool blanketing and using the 2B pencil or a water-soluble marking pen, mark the design onto the wool blanketing through the tulle.
Note: The greaseproof paper is then thrown away as it is only used to protect the original pattern from the black texta.

EMBROIDERY

Note: Two strands of thread are used for all the wool embroidery using the No 20 chenille needle, unless otherwise stated. For the Rajmahal thread use four strands of thread in the No 7 crewel needle. For the best results, thread two strands of the thread through the needle and stitch using this thread double in the needle.

SQUARE AND ROUND PIN CUSHION
Large daisy: Using purple (454), stitch the lazy daisy stitches to form a circle. Refer to diagram 1. Work the scattered buds in the same manner. Work colonial knots in the centre of each of the daisies with mango cream (141). Using green (643), stitch fly stitches around each of the buds and the scattered lazy daisy leaves throughout the design. Easter daisies: Using mauve (101), stitch five petals for each flower in a lazy daisy stitch with a straight stitch worked in the centre of each lazy daisy stitch. Refer to diagram 2. Stitch a colonial knot in the centre of each daisy, using mango cream (141). Using green (643), work the leaves in a feather stitch, starting it a short distance away from the flowers. Then stitch a few fly stitches for the smaller leaves using the same thread. Dragonflies: Attach the dragonfly charm with their clasp.

Bee: Using mango cream (141), stitch two lazy daisy stitches, slightly overlapping them, then work a straight stitch over the centre of the lazy daisy stitches to form the bee's padded body. Refer to diagram 3. With two strands of Gothic grey (226), work two colonial knots for the bee's eyes. Using the same thread, stitch three bands of single straight stitches around the bee's body. The first straight stitch is placed behind the head, the second across the tail and the third across the middle of the body. Using two strands of pastel grey (221), stitch two pairs of lazy daisy stitches for the bee's wings. Refer to diagram 3.

FINISHING
The round pincushion: Overlap the lace matching the patterns and zigzag through both layers to form a continuous circle, making sure the lace does not twist. Trim the excess lace back to the stitching line. Using the machine, sew a single row of large gathering stitches along the straight edge of the lace frill in the groove. With pins, divide the frill into four even sections, folding the round pincushion into quarters and then placing a pin on each of the outer edges of the quarters. Pull up the gathering threads on the frill matching the pins on the lace with the pins on the pincushion edge. This will ensure that the frill is gathered evenly in each quarter between the pins. With the right side of the lace matching the right side of the embroidered pincushion, pin the straight edge of the lace 1cm (1/2in) in from the outer edge and machine-stitch the frill to the fabric. With the right side of the pincushion facing up, lay the frill towards the centre. With right sides together, pin the backing for the pincushion to the embroidered front. Machine-stitch on top of the previous row of stitching, leaving a 5cm (2in) opening. Overlock or zigzag all raw edges, turning the cushion through to the right side. Fill the pincushion with the polyester filling through the opening and then hand-stitch the opening closed.

The square pincushion: Place the two pincushion pieces right sides together. Pin and then machine-stitch around the outer edge, leaving a 5cm (2in) opening in the centre of one of the sides. Overlock or zigzag all raw edges and then turn the cushion through to the right side. Fill the pincushion with polyester filling through the opening and then hand-stitch the opening closed.

Morning Glory

2011-01-23T02:23:00.000-08:00

MATERIALS
• 40cm x 112cm (16in x 44in) cream dupion silk or Thai silk
• 40cm x 112cm (16in x 44in) dress-weight batiste or fine lawn for lining the hack of the embroidery
• DMC Stranded Embroidery Cotton: 1 skein each of medium blue violet (340), avocado green (469), dark pine green (3362), very light antique mauve (3743)
• DMC Broder Medici Crewel Wool: 1 skein each of 8027, 8332, 8333, 8405, 8412, 8413, 8414, 8417
• Anchor Stranded Cotton: 1 skein each of mauve (118), pink (1021)
• No 24 and 18-22 chenille needles
• No 5-10 milliner's (straw) needles
• Machine-sewing cotton: 1 reel of ecru for tacking
• 2B pencil
• 60cm (24in) tapestry frame or 25cm (Win) embroidery hoop
• Tracing paper
• Fine black felt pen

DESIGN SIZE
13.5cm (5 1/8in) diameter

STITCHES USED
Couching, buttonhole stitch, French knot, long and short stitch, outline stitch, rope stitch, satin stitch, split backstitch, straight stitch

PREPARATION

Cut a piece of silk 40cm down the selvedge of the fabric by 40cm across the width. Cut a piece of batiste the same size, making sure both pieces of fabric have been cut on the straight of grain. To do this, a thread can be pulled both horizontally and vertically and the fabric cut along the lines formed. Trace the design from the pattern sheet onto the tracing paper with the fine black felt pen. Place the traced design under the silk fabric, positioning it so that it is square and also in the centre. A centre point is marked on your design. Trace the design onto the fabric using the 2B pencil. To keep the lines light and accurate, the pencil should be sharp. Do not trace over any markings other than the design outline. If you have trouble seeing the design lines, a lightbox can be used, or the design taped to a sunlit window or a glass-topped coffee table with a light beneath it.
Place the traced silk fabric over the batiste and press both pieces with your iron. Using the ecru machine-sewing cotton in one of the milliner's (straw) needles, tack the two surfaces together, working around the edges and around and through the design. Attach the tacked fabrics to the tapestry frame following the manufacturer's instructions. Tighten the rollers and screws so that the fabric is drum-tight. If using a hoop, fabric should also be drum-tight. Do not position the hoop over the area to be embroidered.
Hint: To avoid silk being marked by the hoop, place a sheet of tissue paper over the tacked fabric before placing it into the hoop. Then cut holes in the tissue paper so that the embroidery area to be worked is visible. The fabric will then be protected from the wooden rim of the hoop and therefore stay cleaner.

EMBROIDERY
Stems: Thread the No 24 chenille needle with one strand of 8413 and work a rope stitch along all the stems, curls and bud stems. At the point where the stems cross over, one stem will be continuous and the crossing stem will stop and start. Do not work the rope stitch on the leaf stems as these will be worked using a cord.

Main morning glory flowers:
Thread a medium sized milliner's (straw) needle with two strands of mauve (118), and stitch a small split backstitch around the outside of the flower edges. Refer to diagram 1. Then thread the No 22 chenille needle with six strands mauve (118) and a fine milliner's (straw) needle with one strand of the same colour. Bring the chenille needle up at A. Refer to diagram 2. Bring the milliner's (straw) needle up on the design line at B slightly in front of A. Pass the single strand over the six strands and take the needle to the back of the work. Continue couching the six strands to the petal vein then take the six strands and one strand down at C. Refer to diagram 2. Work all the veins in this manner.
With one strand of 8332 threaded in the No 24 chenille needle, bring the needle up on the outside of the split-backstitched edge at the centre of one of the petals. Refer to diagram 3. Stitch long and short satin stitch over two thirds of the petal surface. Stitches should be at right angles to the outer edge. Commencing in the centre helps to keep the stitches at the correct angle. Work all sections of the flower petals in this manner, leaving the veins already couched clear of stitches.
Thread the No 7 milliner's needle with two strands of very light antique violet (3743) and then bring it up on the outer centre circle fanning the stitches out over the petals, extending them a little more than halfway. Work about four to six stitches, piercing the ones already worked, in long and short satin stitch covering the outer area of the petals. Thread the no 10 milliner's (straw) needle with one strand of pink (1021) and work three to four stitches extending from the outer centre circle, fanning them out over the petal segments in different lengths to those worked previously. Refer to diagram 3A. The mauve and pink stitches will vary in length with the size of the flowers.

Thread a No 24 chenille needle with one strand of 8333 and work one straight stitch, coming up on the outer centre circle line at the same point where the couched petal vein began, and extend it to the petal point. This stitch should cover the petal vein couched previously. At the point where this vein is very curved, a single couching stitch can be placed at the centre point to keep this stitch in place. Refer to diagram 4.
With the same needle and thread, work a single-wrap French knot at the point of each petal division.
Centre of the flower: Thread the No 24 chenille needle with one strand of 8027. Bring the needle up on the outer circle line and work buttonhole stitches around the circle going down on the inner circle line. Work the stitches around until they meet, taking the needle to the back of the work on the outside of the first buttonhole stitch. You should have a tiny circle of fabric free of stitches in the centre of the flower.
Flower base: Satin-stitch the calyx following the design lines with one strand of 8413 thread in the No 24 chenille needle. Take care to define the points. The stitches should fan out from the base, at the point where the flower meets the stem. Thread a No 7 milliner's (straw) needle with two strands of very light antique mauve. Work a satin stitch from the green edge of the calyx to the petal edge. Refer to diagram 5. Thread the No 10 milliner's (straw) needle with two strands of medium blue violet (340) and work a single straight stitch from A to B as shown on diagram 5.

Flower bud: With two strands of mauve (118) threaded in the No 7 milliner's (straw) needle, work a small split backstitch around the bud top, commencing at A and working down the centre line of the bud. Refer to diagram 6. Do not stitch the calyx or the line at the top of the calyx. Thread the same needle with one strand of 8332, and work small long and short stitches on the wider half of the bud. Refer to diagram 6A. With the same needle and two strands of medium blue violet (340), stitch the other half of the bud in the same manner, working over the entire area, also as shown in diagram 6A. All the stitches should be worked in the direction shown in the diagram and cover the split-backstitch edge, leaving the split-backstitched centre line clear of any stitches.

Thread the No 7 milliner's (straw) needle with two strands of very light antique mauve (3743) and stitch more long and short stitches from the calyx line, extending them to about halfway. The stitches will pierce those already worked. With one strand of pink (1021) in the No 10 milliner's (straw) needle, work more of the same stitches over the very light antique mauve (3743), extending up about one quarter of the bud. This shading is worked on both halves. Thread the No 24 chenille needle with one strand of 8333 and work an outline stitch from A to B as shown in diagram 6, around the larger half of the bud and over the top of the split backstitch worked previously.
With one strand of 8413 in the No 24 chenille, stitch the calyx in the same manner as the calyx of the flowers.
Unopened leaves: Using one strand of 8413 in the No 24 chenille needle, work seven straight stitches coming out from, and going back into the same base and tip holes to form the leaf shape.
Leaves: Thread the No 7 milliner's (straw) needle with two strands of avocado green (469) and work a split backstitch around the outside of the leaves and the veins. With one strand each of 8405, 8412 and 8414, all threaded in separate No 24 chenille needles, stitch long and short stitches around the outside of the leaf. Refer to diagram 7A. Work over the split-backstitched edge, avoiding the veins, stitching with 8412, and then 8405. These two colours should pierce the dark and the medium in turn, to shade the leaf. Refer to diagram 7B.

Leaf veins: Using two strands of 8417, make a cord by putting the two strands together and then tape one set of ends to a table. Twist the strands in the same direction as the natural twist of the thread. Keep twisting until the threads become very hard to twist, keeping them taut at the same time. Place your finger at the centre point of the twisted strands and fold them back so that the ends match at the taped end. Let the centre go and allow the cord to twist. Run your fingers along the cord to even out the twists. Tie a knot at the cut ends.
Thread the turned-back end into the No 18 chenille needle, and also thread the No 10 milliner's (straw) needle with one strand of dark pine green (3362). Bring the cord up at A as shown in diagram 7C and bring the dark pine green (3362) up about 1mm along the centre vein on the design line. Commence couching the cord to the design line, coming up and over the cord and at right angles to it. The stitches should be about 1mm apart. Work the centre vein and the four other veins, working over the previous split backstitches. On four of the leaves, the centre vein extends into the stem of the leaf. To finish the cord, take it to the back of the work and tie a knot close to the fabric surface, then cut it. The couching thread can be used to oversew the cord knot to keep it in position on the back, so that a bump will not be seen on the front of the work. Thread a No 5 milliner's (straw) needle with one strand of 8412 and stitch a double-wrap French knot at the intersection of the leaf and the stem, marked B on diagram 7C.

FINISHING
Remove your embroidered piece from the frame and remove the tacking stitches. Place your work onto a clean white towel and press it on the wrong side. It is now ready for framing.

Lavender Hedge

2011-01-21T14:39:00.000-08:00

MATERIALS
• Zweigart 32-count Belfast linen: 30cm (12in) square of white
• 50cm (1/2 yd) off-white fabric for the outside and the lining of the bag.
• DMC Stranded Embroidery Cottons: one skein each of dark drab brown (611), very light antique mauve (778)
• DMC Rayon Cotton: one skein of baby pink (30818)
• YLI 4mm (l/8 in) silk ribbon: 2m (2 1/4yd) each of dark green (21), 5m (5 1/2yd) medium green (20), 2m (2 1/4yd) light blue (98), 3m (3 1/4yd) light lavender (101), 5m (5 1/2yd) dark lavender (102), 2m (2 1/4yd) brown (36), 2m (2 1/4yd) white (1)
• No 3 milliner's (straw) needle
• No 22 chenille needle
• No 24 tapestry needle
• 1.5m (1 5/8yd) white cord
• 30cm (12in) tapestry frame (optional)
• Machine-sewing cotton: one reel of white
• 2B pencil

Note: This design is stitched freehand, therefore there are no measurements to follow. There is sufficient fabric and you will use the colour picture as a guide for your stitching.

STITCHES USED
Backstitch, fishbone stitch, French knot, half cross stitch, seed stitch, stem stitch, straight stitch

PREPARATION
Hint: It is a good idea to overlock or zigzag the raw edges of the linen to prevent them from fraying.
Tack the linen to the tape on either pole of the tapestry frame, then tighten the rollers until the fabric is taut. The frame is optional, but it helps you keep an even tension on your work when you are stitching the ribbon embroidery.

EMBROIDERY
Fence: With two strands of dark drab brown (611) in the No 24 tapestry needle and using Diagram 1 as a guide, stitch the fence posts. Start in the centre of your fabric and working over two fabric threads for one stitch. The fence posts are 17 backstitches high, and the railings are four backstitches wide. Add texture to the fence by stitching halfcross stitches randomly, using one strand of the same thread. Refer to diagram 1.

Hint: When starting your ribbon embroidery, bring the needle up through the fabric from the back of your work, leaving a 1cm (3/8in) tail. Likewise, when finishing your stitching, leave the ribbon at the back with another 1cm (3/8m) tail. When the embroidery has been finished, these tails will be trimmed. Using a machine-sewing cotton in a No 9 crewel needle, they will then be ended off with small backstitches gathered behind the stitches already stitched.

STANDARD ROSE
Leaves: With the dark green (21) in the No 22 chenille needle, randomly stitch tiny straight stitches for the leaves.

Roses: Thread six strands of very light antique mauve (778) in the No 3 milliner's (straw) needle and work a French knot for the centre. Then stitch straight stitches for the outer petals, overlapping them using three strands of the baby pink (30818) in the No 3 milliner's (straw) needle. Refer to diagram 2.

Trunk: Thread the No 22 chenille needle with a small length of the brown (36) and stitch stem stitches for the trunk, making sure they are stitched behind the fence rails.
Lavender: Using the dark green (21) threaded in the No 22 chenille needle, work clumps of straight stitches for the greenery. Then add the lavender flowers using the two shades of lavender ribbon (101) and (102), stitching an open fishbone stitch using the same needle as above. Refer to diagram 3.

Flowers along the baseline: These flowers are French knots stitched at random with the light blue (98) and white (1) threaded in the No 22 chenille needle. Work tiny seed stitches in amongst the flowers using the brown (36), also threaded in the No 22 chenille needle.

TO MAKE UP THE BAG
It is best to complete the making up of your bag using your sewing machine, as this gives a much stronger result. Cut the piece of linen 20cm x 11.5cm (8in x 4 1/2in). This includes the seam allowance.
Cut two pieces of fabric for the side strips along the embroidery, each 11.5cm x 4cm (4 1/2in x l 1/2in), and stitch them to the two short sides.
Cut one piece of fabric, 14cmx 26.5cm (5 1/2in x 10 1/2in) and join it to the top edge of the embroidery. Cut one piece of fabric, 6.5cm x 26.5cm (2 1/2in x 10 1/2in), and then join this to the base of the embroidery. This now completes the front of the bag.
Measure the front of your bag and then cut another piece of fabric for the back exactly the same size. Place the front and the back pieces right sides together. Starting from the top edge, stitch down the side 4cm (l 1/2in) and backstitch to end off. Leave 1cm (3/8in), and then stitch down the rest of the side seam to the base of the bag. Repeat on the other side. You now have the main part of your bag joined together. Measure the circumference and the length of the bag and cut another piece of fabric the same size, remembering to add seam allowances. Join the side seam, then place the lining and the main part of the bag right sides together and stitch around the top edge. Open the fabric out to make one long piece and press the seam allowance to the lining. Put a row of stay stitching just inside the top seam, stitching through the seam allowance underneath. Fold the bag with the wrong sides together and press along the top seam.
To make the base of the bag, cut two circles of fabric each 16.5cm (6 1/2in) in diameter, and press these with the wrong sides together. Mark the circles in quarters with pins or a coloured thread. Turn the bag right side out and also mark it into quarters. Pin the base to the main section, matching up the quarter-way marks. You may have to ease the base to fit the bag. Stitch all layers together and then overlock or zigzag the edges to neaten them.
Casing: Measure 3cm (1 1/4in) down from the top edge of the bag and stitch a row of stitches through all layers of fabric. Measure down 1cm (3/8in) from the stitched line and stitch another line of stitching below the first row.
Cut the cord into two pieces and then thread them through either side, tying a knot 2.5cm (1in) from the ends.
You now have a small carry bag to suit a number of purposes.

Scattered Daisies

2011-01-19T13:33:00.000-08:00

MATERIALS
• 30cm (12in) square of embroidery linen
• 25cm (1/4 yd) fabric for the back of the cushion
• DMC Stranded Embroidery Cotton: one skein each of deep rose (309), light burnished gold (3822), two skeins each of hunter green (3346), blanc (white)
• No 6 crewel needle
• No 7 milliner's (straw) needle
• 1.25m (1 3/8 yd) piping cord for the edge of the cushion • 30cm (12in) cushion insert
• 20cm (8in) zipper
• 20cm (8in) embroidery hoop
• Water-erasable marking pen
• Spray bottle

DESIGN SIZE
23cm (9in) square

STITCHES USED
French knot, lazy daisy stitch (detached chain), stem stitch, straight stitch

PREPARATION
Trace the pattern from the pattern sheet onto your fabric with the water-erasable marking pen using your favourite light source. This can be a light box, a glass-topped table with a lamp lit up from underneath, or tape the pattern to a sunlit window. Tape the embroidery fabric over the top of the light source and trace the pattern onto the fabric.

EMBROIDERY
The embroidery for the stems and the petals is stitched with the No 6 crewel needle, and the French knots in the centre of the flowers are stitched with the No 7 milliner's (straw) needle.
Stems: Using six strands of hunter green (3346) the stems are stitched with a stem stitch. Refer to photograph 1.

Daisies: Using lazy daisy stitch and three strands of blanc (white), the petals are stitched close together, bringing the needle up from the back onto the inner circle to start the stitch. The tips of the daisies are then stitched with tiny straight stitches over the tip of the lazy daisy stitch using four strands of deep rose (309). Refer to photograph 2.

The half daisies are worked the same way.
Calyx: Straight stitches, with six strands of the hunter green (3346) following the shape across the calyx, are stitched at the base of the half daisies.
Centres: Using two strands of light burnished gold (3822), the centres of the daisies are stitched with clusters of French knots.

FINISHING
To remove the water-erasable pen markings, spray your embroidery with cold water from a spray bottle and allow it to dry.
Hint: Do not put your embroidery in the sun to dry as the water-erasable pen markings could return. Press your work with an iron after ensuring the water-erasable pen has been removed.

To make up your cushion, cut one piece of fabric for the back 33cm x 30cm (13in x 12in), and another piece 33cm x 11.5cm (13in x 4 1/2in) and join them together with the zipper. Open the zipper 10cm (4in). The back of your cushion is a little larger than needed to make it easier to stitch to the front of the cushion.
Place the back of the cushion right sides to the front of the cushion top and pin them together. Stitch the two layers together leaving an opening of 25mm at the base of the cushion. It is advisable to do this step on the sewing machine to achieve a much stronger result. Trim the raw edges and overlock or zigzag the edges to neaten them. Turn the cushion right side out.
Starting at the opening at the base of the cushion, put one end of the piping through the opening and stitch firmly in place. Pin the remaining piping cord around the cushion edge, stitching it in place as you go. Once you have reached the start of the piping cord put the end through the opening and finish stitching it neatly and firmly in place.
Place the cushion insert inside the cushion cover and your project is complete and ready to use.

Quick Project - Note Card

2011-01-08T11:36:00.000-08:00

Make a very special note card as a handwritten announcement of special thank you. Even though we created this one with a now baby in mind, they are suitable for any occasion — graduation, birthday, wedding, anniversary, or holiday greeting. Choose your favourite flowers and go for it!

Supplies
Blank note cards available at art supply or craft stores
13mm edge-dyed ribbon: pink, blue, purple
7mm ribbon: pale green
4mm ribbon: pale green
1 yellow bead

The Cream and Blue Crossroads

2010-07-25T05:17:00.000-07:00

MATERIALS

• 33cm square piece of wool blanketing
• 20cm square piece of cotton voile
• Anchor tapestry wool: one skein each of cream (8006), light blue (8712), medium blue (8734), dark blue (8736) and green (9074)
• Anchor No 3 Perle cotton: one skein of cream (926)
• Anchor No 5 Perle cotton: one skein of cream (926)
• Anchor Stranded Cotton: one skein each of cream (275) and dark blue (977)
• Paterna wool: one skein of pale blue (D392)
• Kacoonda mohair wool: one skein of No 8]
• Mogear mohair wool: one skein of blue No 29
• 2.75m lace
• 32 small cream beads
• Mill Hill glass seed beads: one packet of cream (00123)
• No 18 and No 22 chenille needles
• No 9 and No 10 crewel needles
• 1 spring hoop 12.5cm (Sin) in diameter
• 2B pencil
• Water-soluble marking pen
• Tracing paper
• 25cm zipper
• 30cm cushion insert

DESIGN SIZE
30cm (12 in) square

STITCHES USED
Buttonhole stitch, chain stitch, colonial stitch, feather stitch, fly stitch, lazy daisy stitch, satin stitch, stab stitch, stem stitch, straight stitch, whipped chain stitch

PREPARATION
To transfer the design to the fabric, take a piece of tracing paper the same size as the pattern on the pattern sheet and using a 2B pencil, mark the centre of each flower with a pencil dot or mark the entire flower if you think it is easier for you when doing the embroidery.

With a needle, poke a hole through the tracing paper where you have marked the dots and then place it onto the piece of wool blanketing. If you have a large design it is a good idea to tack the tracing paper onto the fabric, but with a smaller design you can use pins to hold the design in place. Using the water-soluble marking pen and pressing firmly, transfer the markings through the holes in the tracing paper onto the
wool blanketing. You will end up with a series of dots that represent your flowers. Transfer each section in this manner, marking only a small section at a time.
Hint: To remove the water-soluble marking pen, wet the fabric well, once you have completed your embroidery.

EMBROIDERY
Note: The No 18 chenille needle is used for all of the wool embroidery, whether the wool is thick or thin. The No 22 chenille needle is used for all the stranded cotton embroidery.
The No 9 crewel needle is used for sewing the pearl beads onto the centre of the large daisy and the No 10 crewel needle is used to sew the small cream seed beads onto the fabric. STEP 1: Transfer the corner half circles as described above. Stitch the corner sections using a whipped chain stitch with the No 3 Perle cream (926). Stitch all the corners and the inner half circles in this manner. STEP 2: Place the voile into the hoop to stitch the centre of the large daisy. Draw a circle with your water-soluble marking pen the same size as the circle in diagram 1.

Fill the circle with colonial knots using six strands of cream (275). The circle must be packed full of the colonial knots. Then stitch a few cream (00123) beads amongst the colonial knots. Draw a small seam allowance line around the outside of the centre of the knots and cut the circle out around this line. Refer to diagram 2.
Position the centre of the daisy onto your fabric, then using the No 9 crewel needle threaded with two strands of cream (275), fold the seam allowance towards the centre of the knots on the wrong side of the fabric. Stab-stitch around the circle of knots making sure the stab stitches are very close together. Stitch large lazy daisy stitches using the cream (8006), extending the holding stitch.
An easy way to keep your petals all the same length is to draw a circle the size of the outside of the daisy before you start to stitch the petals.
This will make all your petals the same length. Refer to diagram 3. STEP 3: Transfer the feather stitch lines onto your fabric and stitch them using the No 5 Perle cream (926). Start the feather stitch from the outside edge working towards the centre of the design. Stitch three seed beads in cream (00123) onto the end of each of the spokes of the feather stitches, using two strands of cream (275). Stitch two lazy daisy stitches at the edge of the daisy petals using No 5 Perle cream (926). Refer to the pattern sheet for the placement. Transfer the small blue daisies on either side of the row of feather stitch, in front of the half-circle row of stitching. These are stitched with five lazy daisy stitches using a double thread of blue (29). Then using one strand of the 8J, stitch small fly stitches for the leaves. The centre is then stitched with a colonial knot using six strands of cream (275). Refer to the pattern sheet.
STEP 4: Transfer the positions for the wool roses onto the wool blanketing.
Row 1: Using dark blue (8736), work five satin stitches, 4mm (V»in) in length, close together. Refer to diagram 4A. Work seven satin stitches close together over the top of the first five. The stitch length this time is 12mm ('Ain). Extend the length of the stitch on one side only. Refer to diagram 4B.
Row 2: Using the medium blue (8734), bring the needle up at A in the corner. Refer to diagram 4C.
Take it down at the opposite corner at B and then bring it back up at A all in one movement. Take the needle back down just above B, and then up again at A all in one movement, creating a slight angle on the stitch, pushing the needle from one point to the other. Refer to diagram 4D.
Work the next stitch a little below the last stitch, but this time go straight down at B. Refer to diagram 4E.
Bring the needle up at B in the corner and begin the next set of three stitches. Refer to diagram 4F Working in a clockwise direction, repeat the previous instructions three more times so that you cover the four corners of the rose. Refer to diagram 4G.
Row 3: This final step is very important, as it makes a square rose into a round rose. Using light blue (8712), make a large stem stitch, but instead of keeping the wool in a back position, keep it on the top of the rose. This method gives the rose a fluffy look. Work this row in an anticlockwise direction. Refer to diagram 4H.
The size of the stitches are 12mm (Van) in length, but you do not have to measure the size of every stitch. Take an even amount with the needle, 4mm (V»in), front and back to the previous stitch. This means you are moving around the same amount of space for each stitch. When you return to the point where you started, you must go two stitches past the start to make the rose look even. STEP 5: Transfer the leaves onto the wool blanket fabric.
Row 1: Using the green (9074), stitch one fly stitch with a small gap in between the spokes. Refer to diagram 5A.
Row 2: Stitch a fly stitch above the first one, making the gap between the spokes smaller again. Refer to diagram 5B.
Row 3: Stitch a straight stitch in the gap of the previous fly stitch. Refer to diagram 5C. STEP 6: Transfer the wool rosebuds to the wool blanket fabric.
Row 1: Using dark blue (8736), stitch one fly stitch and one straight stitch. Do not make the space between the spokes of the fly stitch too large, as the straight stitch must fit snugly inside the fly stitch. Refer to diagram 6A.
Row 2: Using light blue (8712), work one fly stitch around the first row. Refer to diagram 6B.
Row 3: Using green (9074) split into two threads, stitch one fly stitch around the first and second rows, extending the fly stitch to form the stem of the bud. Bring your needle out to the left of the centre stitch at the top of the bud and slide your needle under the centre stitch using the eye of the needle and then into your fabric at the right of the centre stitch. Refer to diagram 6C. STEP 7: Transfer the forget-me-nots. Stitch the forget-me-nots using cream (8006) with four colonial knots with one small cream pearl bead sewn in the centre. STEP 8: Transfer the lavender. Using the No 5 Perle cream (926), stitch two small lazy daisy stitches. Refer to diagram 7. Stitch another small lazy daisy stitch in the centre of the previous two lazy daisy stitches.
Embroider two colonial knots below the last lazy daisy stitch. Stitch one fly stitch from one lavender bunch to the other, using the same thread. Refer to diagram 7. STEP 9: Transfer the cream daisies in the half circle in the corner sections. Using cream (8006), stitch five evenly-placed lazy daisy stitches for the petals for the daisy. Tip each daisy with a small straight stitch over the end of each petal using the No 5 Perle cream (926). Stitch two lazy daisy stitch leaves at the end of the daisies and one forget-me-not in between each cream wool daisy using the same thread. Each forget-me-not is made up of four colonial knots and one small cream seed bead for the centre.
STEP 10: Transfer the small half-circle pattern to the four corners of the fabric.
CORNER 1: Fill the small half circle with small lazy daisy flowers with five petals, using one strand of pale blue (D392). Embroider the daisy buds with one lazy daisy stitch using the same thread. For the leaves, stitch a lazy daisy stitch with the holding stitch extended, using one strand of No 8J. The greenery around the buds is stitched using the same thread with one fly stitch and extending the holding stitch to form the stem of the bud. CORNER 2: This half circle is filled with groups of four colonial knots forming a forget-me-not using one strand of pale blue (D392). The centre is worked with one colonial knot using three strands of dark blue (977).
Hint: It is a good idea to embroider three forget-me-knots in a group, then stitch the centres.
For the outside flowers, embroider groups of four colonial knots using six strands of dark blue (977). These flowers do not have any centres. The leaves around these flowers are small lazy daisy stitches on either side of each of the groups of four colonial knots. The last group has one leaf at the end. These are worked with mohair No 8J. CORNER 3: These sections are worked with small buttonhole stitched flowers using one strand of pale blue (D392). The buds are stitched with three buttonhole stitches in a fan shape using the same thread.
The vine flowers are made up of one colonial knot using six strands of dark blue (977). The greenery around the vines is stitched with a small fly stitch extending the holding stitch slightly, using one strand of mohair (8J). With the same thread, stitch one lazy daisy stitch either side of the stem for the bud. CORNER 4: The stem-stitched rose is stitched using one strand of pale blue (D392) in this corner. It is important to keep these roses very small. Draw a very small circle with your water-soluble pen for the centre of the rose. Work stem stitches in a circle in an anticlockwise direction towards the centre, keeping the stitches very loose. To finish the flower, take the thread down through the back leaving a loose loop on the top. When finishing off the thread, make sure not to pull the loop too tight. Refer to diagram 8. For the buds, using six strands of (977), stitch a colonial knot for each one following the pattern on the pattern sheet. The greenery is stitched with one small fly stitch around the centre bud and extending the holding stitch back to the stem stitch roses to form the stem of the bud. The remaining stems are a straight stitch with a fly stitch forming at the base of them. All the greenery is stitched with one strand of green (8J) starting with a knot and then a backstitch to secure the knot.

FINISHING
To make up the back for the cushion, cut two rectangles of fabric 35cm x 20cm (14in x Sin) and join them together with the zipper. Open the zipper 10cm (4in).
For the frill, cut two and a half strips across the width of the fabric 15cm (6in) wide. Join them to form a circle and fold the seam allowance
to one side. Fold the frill in half, wrong sides together and press with an iron. Cut the lace to measure the same length as the frill and then stitch the raw edges, right sides together. Place the top edge of the lace onto the raw edge of the frill and join both together with two rows of gathering stitches, 6mm ('Ain) apart starting the first row 6mm ('/tin) down from the raw edges.
Divide the frill into quarters and place a pin or a coloured thread at these points. Pull the gathering threads until the frill fits the cushion, slightly rounding it at the corners. Adjust the gathers evenly between the quarter-way marks. Place the frill with the top edge to the raw edge of the cushion top, and pin it in place, slightly rounding the frill in the corners, then stitch it in place.
Place the back for the cushion, right side to the right side of the cushion top and pin it in place. Stitch all layers together following the stitching line of the frill. Trim the edges and zigzag or overlock to neaten them. Turn the cushion right side out and place the cushion insert inside.

Polish Embroidery

2010-07-25T04:56:00.000-07:00

Embroideries of Poland are as varied as the ethic make-up of its people. Ranging from brightly-coloured and Whitework floral designs, sashes, and white rabbit fur lined embroidered coats and hats to Goldworked religious robes, many examples can still be seen today either in Poland or in the adopted countries of Polish emigrants.
With a population of just under 40 million, Poland is bordered on the north by the Baltic Sea, and from the east to the south-west, by Germany, the Czech Republic, Slovakia, Ukraine, Belarus, Lithuania and Russia. The history of Poland has been likened to the story of the phoenix, the miraculous bird that dies in fire every thousand years only to rise once more. Since 1772, Poland has been partitioned and annexed by Russia, Austria and Prussia. However the establishment of the Kingdom of Poland in 1815, peasant revolts throughout the 1800s, WWI, the Russian Revolution, dictatorial reigns, WWII and finally the dissolution of the Soviet Union have all left their mark on this country.
The word 'Pole' means 'lowlander' or 'plain-dweller' and apart from the southern mountainous region, the remainder of the country is relatively flat by European standards. The Polish people are the western branch of the 'Slavic' people who were driven northward, firstly by the Romans and then the Avars (Hungary) until they settled in the land along the river Vistula. With the origins of the people in mind, Polish embroideries are similar to the colourful floral Ukrainian and eastern Slovakian embroideries worked on coats and men's woollen trousers. The Silesian
region of Poland is famous for its Goldwork and negative pattern cross-stitch designs similar to Assissi embroidery. The couched gold thread embroidery is worked over card templates based on designs from medieval Christian vestments and altar frontals.
There are several embroidery styles unique to Poland. One is Snutki, or spiderweb embroidery, featured in a previous issue of this magazine and made up of a pattern of buttonhole-edged eyelets linked with thread bars across cutwork areas. The other unique style is called Kurpie, named after the forested region to the north, halfway between the Russian border and the capital, Warsaw. Kurpie embroidery is surface stitchery in mainly red with black highlights and designs based on a series of circles, half circles and stylised plants in satin stitch, chain stitch, running stitch, overcast stitch, feather stitch and Kurpie stitch.
Kurpie stitch is worked similar to the pulled-fabric single faggot stitch, however instead of forming a pattern by pulling the stitches firmly, it is worked as a surface stitch. The front of the work has continuous V-shapes forming a zigzag with what looks like running stitches on the back. The unusual combination of red on the outer rows of Kurpie stitch 'A', with a row of black on the next row in a V-shape, looks like a two-toned chain stitch and is very effective.
The featured tablecloth and six napkins are worked on ecru linen and finished off with a 5mm (Vioin) hand-stitched hem. The first outer row in black is worked over this hem, then followed by one row of red, a row of closely-worked Kurpie stitch, separate black row and finally a continuous row of red Kurpie stitch (a total of five rows of Kurpie stitch). The corners of the cloth are embroidered with three circles outside the semicircular stylised plant design. The semicircle is worked in satin stitch, running stitch, Kurpie stitch and chain stitch with what looks like crossed hockey sticks being worked in chain stitch. The evenness of the circles is amazing, as it is extremely difficult to maintain the intregrity of the shape when working freehand. These triple-corner circles are similar to the designs worked on everyday shirts, whereas wedding shirts are only embroidered in white on white linen. The photographed ladies' blouse is worked with red and white No. 8 Perle Cotton in a floral design with gathered and smocked cuffs and shoulders with rolled-edged hems on the yoke, double collar and cuffs.
Today, Polish national costumes are worn for religious and social ceremonies not as everyday wear.

In the past, costumes were used to distinguish between regions, villages and occupation as well as signifying wealth. Several communities have retained their regional costumes, including the highlanders of Polhale, Kurpie and Lowicz near Warsaw. Silk sashes known as 'kontuszy' were an indispensable part of a Polish nobleman's costume. The sashes were several metres in length, wrapped around the waist and tied in a decorative knot so that the fringed ends hung downwards. These sashes were initially imported from Persia in the 17th century, however Armenian weavers established workshops in many areas of Poland to produce local versions of Persian designs. Double-sided weaving techniques meant the sashes could be folded in half to show two totally different designs or colour schemes. While these sashes were reserved for nobility, sashes are still worn as part of the costumes of Cracow. The knotted sashes are beautifully embroidered and edged with tassels along the lower edge. Waistcoats and hats known as square-buttoned 'rogatiwka' were embroidered, whereas in Cracow, the trousers are left plain.
In Cracow, ladies' costumes have beautifully-embroidered hats, skirts, and waistcoats worked predominantly in red, with black highlights. Their white aprons, a feature of the costume, are embroidered with white geometric patterns. Cracow is also renowned for its Whitework consisting of cut-eyelet embroidery in floral trailings similar to broderie anglaise.
A book titled Old World Stitchery for Today, written in English by Grazyna J. Kozaczka, is one of the few recently published books available on Polish embroidery. This book has working instructions, a good bibliography useful for further research, along with traditional designs adapted from costumes and antique linens, the origins of the styles and the development of embroideries throughout the centuries.

Rose Spray

2010-07-24T13:42:00.000-07:00

The opportunity does not always arise to take 'time to smell the roses'. Margot Hammonds has designed and stitched this glorious spray of roses for all to admire and to take pride of place in your home when the real ones are not available for picking.

MATERIALS
• One piece of background fabric with printed leaves and stems, available from Creative Diversions
• Margot's hand-dyed 25mm (1 in) soft satin ribbon: 2m magnolia
• Kacoonda 13mm silk ribbon: 1.5m waratah; 1 m 306
• Kacoonda 7 mm silk ribbon: 1 m each of 306, 316
• Mokuba 25mm (1 in) organza ribbon: lm of 15
• Kacoonda 4 mm silk ribbon: 1 m each of 107, 306
• ET Diffussion wire-edged ribbon: 60cm 238
• Cascade stranded silk: one packet of 7490
• No 9 crewel needle
• No 14, 22 and 24 chenille needles
• Machine-sewing cottons to match the ribbons
• 30cm (12 in) embroidery hoop
• Water-soluble marking pen

DESIGN SIZE
18cm x 25cm (7 in x 10 in)

STITCHES USED
Folded ribbon roses, ribbon stitch, stab stitch, straight stitch whipped running stitch
Note: The rose spray is very easily arranged on a painted background of leaves and stems. The roses are placed on a gentle curve on the background stem, with the largest leaves and buds towards the base, and all the stems of the buds and leaves coming towards the large rose. This gives your arrangement a pleasing natural flow.

EMBROIDERY

Foreground ribbon roses: Using the magnolia hand-dyed soft satin ribbon, make three folded ribbon roses and one bud. The bud is a folded rose with only one soft fold. For the large rose, cut three 6cm pieces of the magnolia ribbon for the small petals and three 8cm pieces for medium petals. For the second rose, make three small petals and one medium petal. Refer to diagram 1.

Place the lowest folded ribbon rose in position, referring to the pattern sheet for the placement, and stab-stitch it firmly into place using the machine-sewing cotton to match the ribbon threaded in a No 9 crewel needle. Place the petals, overlapping each one, attaching each end with a stab stitch and placing them so that they give the rose a balanced shape. Now stab-stitch the second rose in position and attach the petals to give the face of the rose a slightly upward tilt.

The third ribbon rose is placed just above the second rose, slightly to the left-hand side.
Bud: Thread the No 22 chenille needle with a small length of the 13mm (306) silk ribbon, and attach the bud to the background fabric with three ribbon stitches and a small straight stitch for the calyx.

Leaves: Cut four 13cm (5in) lengths of the wire-edged ribbon and fold each of them in half. Pull the wires tightly on one edge to gather the ribbon, then overcast the
gathered edge with a machine-sewing cotton in the No 9 crewel needle to match the ribbon. Refer to diagram 2. Stitch these leaves in place surrounding the large rose.
For the finer detail in your picture, make three folded ribbon roses in the 13mm waratah silk ribbon. Mark where the rosebuds are to be placed with a dot and stitch a soft ribbon stitch in the direction of the rosebud with the same ribbon in the No 22 chenille needle. Place the folded ribbon rose to come to the curl of the ribbon stitch and, using the matching machine-sewing cotton in the No 9 crewel needle, attach it firmly in place. With the 13 mm waratah ribbon in the No 22 chenille needle, stitch two or three ribbon stitches around the folded rose, with one of these stitches in front of the rose. Refer to diagram 3.
For the calyx, stitch a straight stitch with the 7mm (306) silk ribbon, threaded in the No 22 chenille needle, then bringing the ribbon back up through the fabric, twist it to form a stem. Take it back through to the back of the fabric where you want the stem to finish.
The small buds are stitched with the 7mm (316) silk ribbon threaded in the No 22 chenille needle, and are made up of three ribbon stitches with soft curls. The calyx is stitched with a straight stitch using the 4mm (306) silk ribbon in the No 24 chenille needle and the stem is formed by bringing the needle up through the fabric and twisting it in the same way as you did for the folded ribbon roses.
With small lengths of the organza (15) ribbon threaded in the No 14 chenille needle, stitch soft ribbon stitches so that the tips form a curve.
For the silk leaves, stitch a single ribbon stitch for the lower leaves, and a double ribbon stitch made up of two stitches worked 'top to tail'. These are stitched with the 13 mm (306) silk ribbon.
Draw lines with your water-soluble marking pen for the foliage and stitch a whipped running stitch line for the stem using one strand of the 7490 in the No 9 crewel needle. With the 4mm (107) silk ribbon in the No 24 chenille needle, stitch ribbon stitches at 45-degree angles
at intervals up the stem. Do not make them any wider as the flow of the stem seems interrupted if they are too open.
To complete your picture, make twisted ribbon stems and whipped running stitch stems as you did before, giving a variety in thicknesses and length.