Stitch Magazine October November 2020
Stitch Magazine October November 2020
Stitch Magazine October November 2020
ER
FF
S
LU
YOUR
C
EX
NO.1
EMBROIDERY
MAGAZINE
INSIDE!
ALL THE STEPS,
TIPS & TEMPLATES
YOU NEED
PLUS!
27
FUN TREE DECORATIONS • A GOLDWORK MASTERCLASS
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21 A PROUD PLUME
Take pride in showing off your machine embroidery skills
Inspiration
with a magnificent peacock feather in all its glorious 18 TURN ON THE CHARM
colours. Find out how Sarah Gwyer creates her sensational celebrity
portraits packed with buttons, beads and charms.
25 FOREVER FROSTY
No need to get your hands cold or even leave the house to 31 FRAYED AT THE EDGES
build this charming snowman. Just immerse yourself in his Old bed sheets transformed into wonderfully tactile pieces
fantastic goldwork. of textile art? That’s what happens in the hands of Adele
Deloris Riley.
32 ALL THE TRIMMINGS!
Take time out for these fun tree decorations. Dabble with 36 NOW YOU SEE ME
Boro, Sashiko and Kantha techniques to make the most of Have a look through the eyes of Kate Tume. Discover how
special bits of nothing from your stash. she uses small embellishments to highlight bigger issues.
4 www.stitchmag.co.uk
ISSUE 127 OCTOBER/NOVEMBER 2020
13
32
53 7 VE R
SI E INSPIRING IDEAS WITH
U FF NEEDLE AND THREAD
CL O
EX
YOUR
NO.1
EMBROIDERY
MAGAZINE
ISSUE 127
It might be wonderfully rich and plush, but velvet doesn’t DON’T MISS OUT! INSIDE!
ALL THE STEPS,
TIPS & TEMPLAT
YOU NEED
ES
always behave. Find out how to get it back in line. Let the stitching continue: take
advantage of our fantastic subscription
CELEBRATE THE SEAS
53 WINGS OF DESIRE offers. It’s the easiest and cheapest way ON
Is it a bird? Is it a quilt? Linda Fjeldsted Blust tells the story to get your next issue. Guaranteed.
behind her winning entry at this year’s Virtual Festival of Quilts. WRAP YOURSELF UP!
ENJOY AN AUTUMN
PICNIC
A GLITTERING SNOWMAN
TO MELT YOUR HEART DINE IN STYLE!
A SUBLIME TABLE RUNNER
Regular features Go digital and access the magazine through your tablet,
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6 FOR YOUR BOOKSHELF
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52 IN THE LOOP Discover our virtual world of needle and thread.
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56 AURIFL OFFER
57 TEMPLATES Enjoy working with these fabulous
All the full-size templates and guides you’ll need to threads? The Embroiderer’s Guild
complete this issue’s projects. has a special offer exclusively for
the readers of Stitch, so you can
62 STITCH GUIDE get your hands on a beautiful kit
A handy guide to the stitches used in this issue. Use it to at a discounted price.
refresh your memory or get to grips with new ones.
www.stitchmag.co.uk 5
Latest
6 www.stitchmag.co.uk
Project
BY JESSICA DEVIN
FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 60
www.stitchmag.co.uk 7
Project
1 2 3
8 9 10
13 14 15 16
YOU WILL NEED the bottom right side of branch, work a line,
MATERIALS above previous split stitch to the right foot.
• White or off-white medium+ weight linen: • Stainless steel tacks, if using stretcher bars C2310: on upper right side of branch, work 1
28 x 28cm (11 x 11in) • Embroidery hoop: 20cm (8in) diameter line. When you reach the previous split stitch
• Backing fabric: muslin is ideal, 28 x 28cm • Embroidery scissors at the tail go under and continue a line. By the
• Threads: full listing and conversions on • Thread conditioner: Thread Magic right foot on the right, work another row of
Page 60 long & short stitch next to previous row. 2
STITCHES & TECHNIQUES
EQUIPMENT Bullion Knot, French Knot, Irregular Long 4 C4311: on the upper right side of the
• Needles: SEE & Short Stitch, Long & Short Stitch, Satin branch, work 1 line, connecting to C3311
- Embroidery: No10 THREAD Stitch, Split Stitch, Straight Stitch under belly. On the top of the branch, work 1
CHART ON
- Milliner: No8 line connecting to C4311 under belly. C310:
PAGE 60
• Stretcher bars: See Stitch Guide for details on stitch formation. on the upper right side of branch, work 1 line
20cm (8in) long under previous stitches. Continue the line
under stitches of the tail. By the right foot, on
the right, work another row of long & short
PREPARATION of the broken branch, add 5 straight stitches stitch, connecting them to previous stitches.
1 Transfer the design to your fabric by your - taper to form a triangle. At the bottom On lower right part of the branch, work a line,
preferred method. Tack your front and of the main branch next to the base of the above previous stitches. On the upper part of
backing fabrics together using small basting broken branch, work 1 line to the berries. the broken branch, work a line. 3
stitches, add tacking around the design lines C312: by the edge of berries, work 1 row of
and the inside of the pattern. Mount in your long & short stitch. Continue along the top 5 C309, C310, C2311 then C312: work lines
hoop or stretcher bars. of the branch, work 3 rows increasing the on right side of main branch, under previous
depth towards the foot. Repeat in the space stitches moving down. C312: work a few
GET STITCHING! between the feet. Work 4 straight stitches to straight stitches on right of right foot over
Main & Broken Branches the right of the right foot; work downwards previous stitches to add shadow. 4
Work in split stitch lines, unless said otherwise. with stitches getting shorter. Continue 1 row
to the edge of the tail. 1 6 C4311 (2 lines), C2311, C4311, C309 then
2 C2310: go up the edge on the right of the C2311: fill in the broken branch with split
main branch, work 1 row long & short stitch. 3 C3311: to the left of the left foot work 1 stitch lines, start at tip and working right to
C4311: start on the right, along the bottom line (under C312). Extend this to the top of left, between the previous lines. 5
edge to the broken branch, work 1 line. On the branch for 2.5cm. Along the edge of left
the left side of the broken branch, work 1 line foot on right side, work 1 row of long & short 7 C2310, C310, C2310 then C310: fill in the
along the edge. On the left side, of the base stitch under previous split stitch lines. On middle section between feet working split
8 www.stitchmag.co.uk
Project
4 5 6 7
11 12 19
17 18
stitch lines, start at the top, under previous 11 Leaf 2 - D701: split stitch outline; then 15 C246: split stitch the outline of each
stitches and connect to long & short stitches. work rows of long & short stitch over the berry – unless it is part covered by another
C2310, C310 then C309: by left foot on left outline. Top Half - Row 1: D704, D703, then one. Keep your stitches short and bring your
side, continue 2 split stitch line to berries. D702. Row 2: D703, D702, D701 then D910. thread up through the centre of your previous
C309: on top left side of branch, scatter Row 3: D701, D910 then D909. 12 stitch to help create a circular line. 17
straight stitches in between previous stitches Bottom half - Row 1: D701, D910, D909
to lighten area. 6 then D3818. Row 2: D702, D701, D910, then 16 Berry 1 - 3 rows of long & short stitch; keep
D909. Row 3: D702, D701 then D910. 13 inside the split stitch outline. Row 1: 2 stitches
8 C2311, C3311 then C4311: on left side of in C100 on the left side for highlight; then the
branch, continue split stitch lines down. 12 Leaf 3 - Turnover - D701: split stitch the rest in C246. Row 2: C800. Row 3: C246. 18
C2311 then C3311: fill the very end of the outline then work rows of long & short stitch
branch, on the far-left, with 2 rows of long & over the outline. Left - Row 1: D472, D3894 17 Berry 2 -2 rows of long & short stitch. Fan
short stitch next to each other. 7 then D469. Row 2: D470 then D469. Right - stitches out from dot. Row 1: 1 long stitch in
Row 1: D472, D3894 then D469. C246; 2 stitches in C110; 2 stitches in C800.
9 C312: work the open space between the Row 2: D3894, D470 then D469. 14 Row 2: 2 stitches in C242; 4 stitches in
toes for the top and bottom of the branch. C800; 2 stitches in C242. 19
C4311: work the middle section in between 13 Leaf 3 - Right - Row 1: D701, D910, D909,
C312. 8 D3818 then D890. Row 2: D703, D702, 18 Berry 3 & 4 - 3 rows of long & short stitch
alternate D701 & D702; then alternate D701 in a radial pattern around central dot. Row 1:
Leaves & D909. Row 3 : D703, D702, D909 then 2 stitches C110; complete in C800. Row 2:
Look at colour chart for guidance on thread D890. 15 Left - Row 1: D704, D702, D701, C800 fill in. Row 3: C242. 19
placement for each leaf. Start at the tips and D910, D909 then D3818. Row 2: D704,
work down to base and stems. D703, D702, D701, D910 then D890. Row 3: 19 Berry 5 - Work straight stitches in a
D704, D703 then D890. 16 radial pattern around central dot. Top half:
10 Leaf 1 - D701: split stitch outline; then 2 stitches C110; rest in C800. Both sides:
work rows of long & short stitch over the 14 Leaf Stems - Are all worked from left to right, C242. Bottom half: C246. 19
outline. Left - Row 1: D704, D703, D702 in split stitch lines: D703, D910 then D3818.
then D910. 9 Row 2: D703, D702, D701, 20 Berry 6 - Work split stitch lines, keep
D910 then D909. Row 3: 701, D910, D909 Berries them horizontal; closer together at the sides
then D3818. Row 4: D909, D3818 then Fan your stitches out to create the illusion and fanning out in the middle. Top: 2 rows
D890. 10 Right - Row 1: D703, D702, D701, of roundness. Pay particular attention to of split stitch; for each row the first stitch
D910 then D909. Row 2: D704, D701, D910, the stitch direction for each berry. Check is C110 then complete the line in C800.
D909, D3818 then D890. 10 Row 3: D703, the chart for the thread number and stitch Middle: 2 lines in C800. Bottom: 2 lines
D704, D701, then D910. 11 placement regularly. in C242. 19 ➜
www.stitchmag.co.uk 9
Project
20 21 22
27 28
33 34 35 36
21 Berry 7 - Long & short stitch, in a radial lines in C383, C384, C386 then C895, work left at the bottom, work 2 rows of long &
pattern, at an angle, fanning stitches from to right. C895: work straight stitches over leg short stitch. 25
central dot. Row 1: 2 straight stitches on top at base of foot and 3 lines down each toe.
left corner in C110, then the rest in C800. 31 Top feather - C365: split stitch bottom
Row 2: long & short stitch on both sides in 27 Claws - G1001: work 1 straight stitch at curve over previous stitches. Run rows of
C242, with 1 stitch in C100 in the middle. the base of the bullion knot on left and right. split stitch following the pattern lines, start
Row 3: 2 stitches on bottom left side in For the middle: 2 split stitches to curve the with 3 stitches in C367 and complete in
C242, then the rest in C246. 20 claw around the branch. 22 C365. Add shadows with split stitch lines of
D3021 in between these rows. 26
22 Berry 8 - Long & short stitch. Row 1: Tail
C800, on top. Row 2: 2 stitches to the left in 28 Right Feather - A1041: split stitch outline Long thin feathers on wing
C110; C242 in the middle; C800 to the right. of bottom curve. Now work left to right 32 C367: work 3 stitches up each side on
Row 3: C246. 20 long & short stitch, bringing stitches over the design line. C365: finish line going
this line. Row 1: 4 stitches A1041, 3 stitches up, connecting to C367. D3021: add
23 Berry Dots - G8680: Use a milliner D3021, 2 stitches C713. Row 2 & 3: 2 stitches shadow with split stitch lines between
needle to form French knots with 2 twists for A1041, 3 stitches D3021, 2 stitches C713. lines of C367. 27
the dots on berries 2, 3, 4, 5, 7 & 8. 20 Row 4: 1 stitch A1041, 2 stitches D3021, 2
stitches C713, 1 stitch C369, 1 stitch C713. Small feathers on wing
Leaf Veins Row 5: 1 stitch A1041, 1 stitch D3021, 1 stitch 33 C312: work 1 long stitch and 2 short
24 C324: 1 row of split stitch down the C713, 3 stitches C369, 1 stitch C713. Row stitches; the long stitch will go all the way up
main vein of each leaf; with straight stitches 6: 2 stitches A1041, 1 stitch C369, 3 stitches the feather line. Do this five times, ending with
leading off. 20 D3021, 2 stitches C369. 23 1 long stitch. These are your shadows. D611:
work a row of straight stitches, to connect the
Bird’s Legs 29 Left Feather - C369: split stitch bottom short stitches and fill each feather. 28
25 Loosen fabric if in a hoop. If embroidery curve. Now work rows of long & short stitch
is on stretcher bars, take the tacks off one over split stitch line. Row 1, 2 & 3: 2 stitches Belly
side. C383: form bullion knots for the toes each A1041, C369, D3021 & C713. Row 4: 2 34 Irregular long & short stitch; start at
on each foot. Wrap the thread around the stitches A1041, D3021 & C369; then 1 stitch bottom of belly and work left to right and
needle 13 times for the left and right toes in D3021 & C713. Row 5: 3 stitches A1041; 2 stop stitching just before the upside of the
and 19 times for the middle one. 21 stitches D3021 & A1041; 1 stitch C713. 24 wing. Row 1: D645, D3884 and D02, alternate
colours sporadically. Row 2: D646, D648 and
26 Tighten fabric again. Left leg: work 1 Wing Tips D762 (alternate colours). Row 3: C713. Row 4:
straight stitch in C383, C384, C386 then C895, 30 Bottom feather - C365: split stitch the D3866 and D762 (alternate colours).
work right to left. Right leg: work split stitch bottom curve. C365 then C369: starting Row 5: D04. 29
10 www.stitchmag.co.uk
Project
23 24 25 26
29 30 31 32
37 38
35 These 3 rows will connect the upside of 38 Six Small feathers - Work split stitch lines: 42 Row 4: C187 across entire chest. Row 5:
the wing and fill the gap. Row 1: D3782. Row alternate D610 & D3021, repeat 6 times to D19 on the left side for highlight; then work
2: C369. Row 3: C364. 30 create 12 lines. in D3854. On top blend C186 over entire
row; add in C187 going up the far-right side.
36 Continue up the belly in long & short 39 Feathers on the back of the wing - Work Row 6: D19 & D3854; blend in D721 on left
stitch. Row 1: C100, work the whole belly split stitch lines for feathers connecting to side, then add D3853 from the right side all
from left to right. Row 2: alternate D04 and previous stitches. C366: work split stitch the way up the neck. 36
C100 but stop before you get to the grey lines on pattern line. D610: work lines in
area. 31 Switch to D02 and continue up between C366 lines. 33 43 Row 7: C186 across the chest, but not up
the side. Row 3 & 4: alternate C500 & C153 the neck. Row 8: D3853 all the way up to the
across entire belly. In G1006, add fine white, Top of wing neckline. Row 9: C187 for neckline shadow,
wispy feathers for the whole of the belly, 40 Making sure to follow the curve of the then add D3854 on right side for highlight; D19
especially along the wing. 31 32 shoulder; long & short stitch for 3 rows in on far-left side all the way up to the beak. 37
C369, alternate C368 & D646, then D646. 34
TOP TIP Keep the direction and 44 There is a drastic angle change at the
angle of your stitches correct to achieve Chest neckline. To get around this curve, shorten
organic blending and a natural shine to Irregular long & short stitch; 13 rows. your stitches and fan them out. Row 10:
the thread. Draw in directional lines for D3854, continue stitches next to D19 from
each element as you come to stitch it. 41 Row 1: D19 & C187 (sparingly). Stop Row 9 to middle; blend D3853 starting on
before the area of grey feathers. Row 2: the left over to the right. Row 11: C186. Row
Row of wing feathers A1003. Row 3: alternate C187 & D977 12: D3853. Row 13: D3854; blend C187
37 Large Front feather - Long & short stitch. sporadically. Then continue in D977 all the under the beak and eyes. 38 ➜
Left side: 1 row in C312 going up then 2 rows way up the right side. 35
in A906. Right side: work rows in D3021.
www.stitchmag.co.uk 11
Project
39 40
41 42 45
43 44
TOP TIP Always park your thread at 48 Bottom of beak - Tuck starting stitches
the front of your embroidery. When not under the previous stitch above to create a ABOUT ME
actively using a thread, bring it to the front sharp point. Work 2 lines in G9280, G4403 I have been stitching
of your piece within the design to “park” it. then G5201. 41 professionally now for a
When you’re ready to use that thread again, year and a half. I taught
bring the needle back down the same 49 Eye - C600: vertical satin stitches for myself the technique
hole it came up through. This is especially pupil. A1050: a split stitch line around the of needle painting by watching Chinese
helpful when switching between multiple pupil. C600: another split stitch line in a embroidery artists on YouTube. I also
colours. Don’t park your threads on the circle. D3866: small straight stitches at top of credit a lot of my knowledge from
reverse of your embroidery. It will cause pupil worked over satin stitch and split stitch reading books, like those written by
knots and other issues. A needle minder or lines. D19: another split stitch line around Trish Burr. She has been by far the most
magnets are really effective to hold needles entire eye, work 2 extra stitches to form the influential person in my stitching career.
for parked threads. eye corner on the right. 42 I also took an online needle painting
class offered by The Royal School of
Grey area next to wing up to eye 50 Feathers from beak to eye feathers - Needlework.
45 Irregular long & short stitch; stitch direction Irregular long & short stitch. As stitches I have never been able to follow
will change as you come to area around the move up around the eye, change the angles a pattern and believe it’s more of a
eye. Row 1: alternate D03 & D04 from shoulder to reflect how the feathers would lie from guideline than a set of rules. This is meant
all the way to around the eye. Row 2: D645. 39 pointing towards the beak to towards the to be fun, so enjoy what you create!
eye. Row 1: D3854 right under eye. Row 2:
Back D19 work 3 small straight stitches to extend www.jdevinembroidery.com
46 Irregular long & short stitch. Row 1: the bottom base of the beak and create a @jdevinembroidery
C369, start at shoulder. Bring some of point. Row 3: D3853 under the beak. Row 4:
these stitches into the grey feathers. Rows D3853 at the base of beak to the eye. 43
2-13: D610, D611, A903, C369, D610, D611,
C369, D646, C369, D646, C369 then D646, 51 Row 5: C187. Blend a few final stitches
continue up the back to the head. 40 41 on top of previous ones in D3853 above the
beak towards eye. 44
Beak
Work from tip to base and top to bottom in FINISHING To find out more about how Jessica
split stitch lines. Mount your finished embroidery to display achieves such stunning results,
your cheery chirpy chap to best effect! 45 ❤ visit our stitching blog at:
47 Top of beak - G3310, G9280, G5201 www.stitchmag.co.uk
then G4403.
12 www.stitchmag.co.uk
Project
An Autumn Picnic
FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 57
Autumn is when magic happens. The shorter days and cooler temperatures
cause the leaves to turn colour and fall in a spectacular rich and earthy display.
Snuggle up in your favourite jumper and paint the best of the season in thread.
BY SILA GUR
www.stitchmag.co.uk 13
Project
1 2 3 4
9 10 11 12
17 18 19 20
“Autumn is my favourite season. I just love watching the trees TOP TIP I recommend using a hoop
stand. You’ll achieve better results when
turn into multi-coloured works of art. Then the leaves falling both your hands are free.
away to reveal the bare and vulnerable branches, exposing
2 Complete the rest of the jumper using this
all the beautiful scenery underneath. It really is free split stitch technique and a single strand
the perfect time of year. Enjoy!” of thread. Use 3820 to fill sections around
the highlighted areas. Lengthen and shorten
your stitches depending on the type of area
TOP TIP I use a reference picture for PREPARATION you are filling: you want to create the natural
the girl’s pose, but the details of her hair, 1 Trace the template onto your fabric using shape of a jumper. 2
clothing and the rest of the scene come a transfer pen/pencil and your preferred
from me. So I like to add shadows into my method. Insert your fabric into the 3 Take the darker shade of 3852 to build
line drawing. It helps me imagine how the embroidery hoop, making sure it is as tight texture and add detail like the shoulder seams,
embroidery will turn out as I’m stitching. as possible: it should feel like a drum skin. still using the free split stitch in one strand. 3
14 www.stitchmag.co.uk
Project
5 6 7 8
13 14 15 16
21 22
23 24
4 Add shadows to the jumper with 782; The Hat stitches for highlights in Blanc. Then
this will indicate the folds as it hangs on 12 The hat is also worked in free split stitch, complete the stalks in 3032. 19
the girl. 4 using a single strand. Start with the highlights
around the brim and to the front of the hat TOP TIP Use the mustard threads
5 Use 780 to add detail and depth. Pay where the sun catches using 3032. 12 from the jumper (782, 3820 & 3852) to
attention to the ribbing on the cuffs, the make one or two in a yellow colourway.
armpits and around the bottom edge. 5 13 Continue using 838, to create the dark It will help distinguish one pumpkin from
brown areas at the back of the hat. Make sure another in the basket. 20
6 Take 898 to pop a few stitches where the you blend with the stitches formed in Step 12,
shadows would be darkest. 6 and add a few stitches of 779 in between. 13 The Pillows
20 Create the main area of the pillows in
7 Finish the jumper by taking a single strand 14 Stitch an outline across the front of long & short stitch with one strand of 01.
of each thread and stitching a few lines the brim and the top of the hat in Blanc.
between each shade. This gives smoother Complete the band in the same colour. 14 21 Add shading where it would fall naturally
colour blending. 7 using one strand of 03; and then 535 for the
15 Finally add some shading at the edge of pillow outlines along the edge and end. 21
The Hair this band with a little bit of 3821 & 3023. 15
8 The hair is created using the same free split The Leaves
stitch technique used for the jumper; again The Pumpkins 22 Fill the scattered autumn leaves using satin
stitched with a single strand. Start by forming 16 Create their round shapes using a stitch, spreading the direction of your stitches
the middle shade of the hair in 869. 8 combination of free split stitch and straight outwards from the leaf vein. Use 3821 for the
stitch; all worked in a single strand. The base leaves on the blanket; 3820 for the leaves on
9 Now use 898 to form stitches as long hair colour of the pumpkins is 921. 16 the left and 422 for the leaves on the right.
would naturally fall. 9 Fill the leaf veins in a single strand of 921. 22
17 Build their spherical shape by filling
10 Take 838; this is the darkest shade used with 922. 17 The Bouquet
for the hair. Concentrate your stitches under 23 Complete the initial spray with clusters
the brim of the hat at the back. Then within 18 Add shadow detailing at the bottom of radiating satin stitch built up using one
the mane to create body and bounce. 10 with 918. 18 strand of 922, 921 and finally 920. 23
11 For a touch of natural shine, add stitches 19 Finish with some clusters in the vibrant 24 Scatter a few French knots made with 2
here and there in 420. 11 orange of 946 and a scattering of straight strands of Blanc. 24 ➜
www.stitchmag.co.uk 15
Project
25 26 27 28
29 30 31 32
34 35
33 36
25 Fill the empty spaces with 2 strands 32 Finally take one strand of 898 to outline
of 918. And add highlights with 2 strands the top edges of the basket and work in
of 922. 25 shadowing on the right hand side in the
basket weave. Add some shadows to the
26 Make another batch of French knots in 2 stalks of the corn and pumpkin stalk in
strands of 733; add a few straight stitches in the same shade. 32 34
the same colour. 26
The Final Touches
27 For an Autumn harvest feel, form a few 33 Use back stitch with one single
Turkey rug stitches using 2 strands of 422 in strand of black 310 for the hands. And
the centre of the bouquet. Trim the loops to finally fill the trousers in satin stitch with
size. 27 28 the same thread. 35 36
16 www.stitchmag.co.uk
Stuck at home?
Discover our Digital Edition!
Now’s the time to get crafty at home. We’ve got you covered with our wonderful
Digital Editions, jam-packed full of ideas and extra content - right at your
fingertips, and you don’t even have to leave the house!
Please tell us about your work? black really helps the colours pop and gives circumstances. When she spoke about her
Following a Fine Art degree in Cardiff, I structure in a beaded work. home life it all felt familiar and genuine. Behind
completed a Masters in Printmaking at the the pomp and ceremony is a mum trying to
University of the Arts in London. By the time Who and what inspires you? balance the needs of her family with her work.
of my graduation I was already working on Mostly popular culture and particularly Yet she has the added pressures of an intrusive
and exhibiting bead embroidered portraits. musicians. I’m fascinated by the celebrities media and centuries of tradition.
My work is contemporary, pop art. It roughly with very devoted fans, who know these
splits into two sections: thread paintings strangers as good friends. What happens once you’ve settled
and cross-stitch with a little embellishment on a celebrity?
on one side, while the other is fully beaded How do you choose your portrait subjects? I use Photoshop to create a composite from
portraits and sculptures. What draws you to them? several different images of the star. The outfit,
Colour is central to all my pieces; I love I generally choose subjects that have a wide hair and facial expression will be taken from
to work in bright colours and squeeze in the interest; well-known faces most teenagers and different images to create a portrait I think
full rainbow whenever possible. My work their parents would recognise. It’s usually a best captures them. Michael Bublé is part of
is fun and a little ‘Where’s Wally’. There are person I admire; it may be a talent or skill they a Christmas themed collection with each
always a few charms or beads to add little have, or they are passionate about a cause image predominantly featuring gold or silver.
stories into the portrait. What combines I feel strongly for. I was particularly drawn So, the other colours in the background and
all my 2D works are the matt black lines to the Duchess of Cambridge as a fellow his outfit have been chosen to enhance the
reminiscent of stained glass. I find the dense working mum, albeit in extremely different gold embellishments in the piece.
18 www.stitchmag.co.uk
Interview
I lightly paint the canvas in the basic colours shade takes priority over an embellishment
Catherine
sparkly. I love a lustred finish and translucent much you’ve improved and learnt.
embellishments. It gives me a much wider
colour range because you can really play What is your favourite part?
with the light and bounce it around the And the most challenging?
portrait. When a beaded piece is hung it’s I love starting a new piece. Once it’s drafted producing prints and cards I’m able to
hard not to notice it as it captures glints of in my head or on my computer it’s so keep my practice accessible. I’m a proud
light at almost any angle. Beads also let me exciting to start. I find stitching hands my supporter of the ‘Just a Card’ campaign and
play with abstraction and realism: the beauty biggest challenge. Due to their dimensions these sales ensure a steadier flow of income.
of stitch work close up can be as appreciated they don’t lend well to bead embroidery. In My work is sold through my social media
as the whole portrait. my thread painting of a juggling Duchess of channels and Etsy store.
Cambridge I waited until I had a few hours of
With paint you can mix any shade and uninterrupted stitching time in natural light. What does the future hold?
draw any shape. How do you manage Covid-19 means the Art world is very up in the
this with buttons and beads? What’s been your proudest achievement air, I’m seeing it as an opportunity to create
Having a vast collection helps a lot. to date? more time intensive
With early portraits I had to create works with I had a beaded sculpture picked for the Royal pieces. I’m working
a much higher contrast and relied on many Academy’s Summer Exhibition in 2017. It was towards a set of
transparent beads allowing the paint behind to a literal dream come true. I got to exhibit thread paintings
show through. Sometimes I need to balance amongst some of the best British artists in the that will take over
the colours, so they work from a distance. If same building that has shown Turner, Hirst 12 months by which
an area is too pink, for example, adding a bead and nearly everyone in between. time hopefully
with a hint of green will balance it out when everything will
looked at from afar. There are also some really Where can we find your work? have settled. ❤
useful bead shapes: hearts and bugles are This year my beading work has been a
great gap fillers and for everything else there’s series of portraits of musicians who are www.sarahgwyer.com
delicas. I’ve also found its better not to be too synonymous with Christmas. I can spend @sarahgwyer
much of a perfectionist: a bead in the right months on just one embroidery so by sarahgwyerartist
www.stitchmag.co.uk 19
EMBROIDERERS’ GUILD
Are you just starting out and looking for help,
advice and information or are you already
stitching and eager do more?
Do you want to meet people and
share your passion with others?
Are you a busy parent who wants to
stitch with your child or a grandparent
wishing to share your skills and enjoyment
with a grandchild?
Are you keen to enter local, regional or
national competitions and seek new
opportunities, perhaps taking part in local,
regional and national exhibitions?
Are you a teacher, tutor, lecturer or
workshop leader, a student or recent
post-graduate, a textile artist or
a stitch professional?
JOIN US TODAY
www.embroiderersguild.com
Images clockwise from top: Flower Pelargonium (detail) by Jennie Riley, joint winner of EG Members’ Challenge 2019/20. Zardozi (detail) by Elnaz Yazdani, EG 18-30 Scholar 2020/21.
Mile 25 Ambleside (detail) by David Morrish, EG Education Scholar 2020/21. Linen Buttons (detail) by Liz Smith, joint winner of EG Members’ Challenge 2019/20
Project
FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 58
BY ALISON CARPENTER-HUGHES
www.stitchmag.co.uk 21
Project
1 2 3 4
9 10 11 12
17
22 www.stitchmag.co.uk
Project
5 6 7 8
13 14 15 16
18 19 20 21
TOP TIP Use an open toe foot; 11 Thread: Cerulean Blue. Stitch a few 17 Thread: Lemon Grass. To complete
this allows you to see the area you are highlights just under the blue centre to this section, sew a little shading over the
working on more clearly. 3 complete the second area. 10 Greens area. 16
5 Thread: Olympian Blue. Work over the 12 Thread: Greens. Moving on to the next 18 Thread: Daffodil. Starting on the final part
Sapphire thread, lightly blending the two. 4 section of the eye, fill in lightly over the of the eye, sew lightly all the way round, still
lower part and then more densely at the fanning out and then upwards. Sew more
6 Thread: Planetarium Blue. Fill in the outer top. Once again, fan the stitch direction densely on the lower half. Do not sew over
edges of the blue section, sewing lightly upward and outward. Remember to avoid the shaft area. 17
over some of the lighter blues so they the shaft line. 11
show through. 5 19 Thread: Lemon Grass. Sew over the top
TOP TIP Some of the thread colours half, leaving some of the Daffodil showing
TOP TIP Free motion embroidery are similar in tone, this allows you through. 18
needs a fairly consistent fast foot to build a subtle colour range to add
pressure, but with calm hoop and needle nuance and complexity to your work. 20 Thread: Violet. Stitch upwards on the very
movement on top. Essentially be Zen top end of the eye. 19
with your mind and hands as you sew! 13 Thread: Light Orange. Sew lightly
over the lower part, sides and edges of 21 Thread: Smoke. Working from the bottom
7 Thread: Black. Sew a little black along the the top section, allowing some green to more densely and then lightly towards the
top to finish the blue area. 6 show through. 12 top, add lines of shade. The feather eye is
now complete. 20 21 ➜
8 Thread: Lemon Grass. Next sew lightly over 14 Thread: Pumpkin. Lightly sew round the
the green part of the eye, continuing with outer edges of the area, with more coverage TOP TIP Regularly trim any loose
fanning the stitches up and outwards. Avoid of the lower section. 13 threads on the underside of your work
stitching over the central shaft of the feather. 7 so they do not get caught up as you sew.
15 Thread: Violet. Add a little colour round And check the tension of the fabric in
9 Thread: Sea Green. Lightly stitch over the the upper outer edges. 14 your hoop; tighten when needed.
same area so the two greens are variegated,
leaving more of the Lemon Grass showing in 16 Thread: Smoke. Shade the base lightly
the lower part. 8 and then more densely round the outer SEE PAGE 49 FOR TIPS ON WORK-
SEE PAGE 51 FOR
edges and around the lower edge of the ING WITH VELVET!
TECHNIQUE
TIPS ON WORKING
10 Thread: Smoke. Add a few lines to shade green second area. Add a few lines over the WITH VELVET! FOCUS
both sides of the green area. 9 Greens area at the top. 15
www.stitchmag.co.uk 23
Project
22 23 24 25
26 27 29 30
28
The Shaft TOP TIP When using metallic effect 32 Proudly display your finished embroidery
22 Thread: Black. Sew from just under the threads, loosen the tension dial on your in a hoop or frame.
blue centre of the eye and work your way to machine. This reduces the possibility of
the end of the shaft line. 22 the thread fraying and snapping. Work ALTERNATIVE FINISHES
patiently and steadily while using this 33 The design would also make a fabulous
23 Thread: Violet. Sew a line from the very type of thread as it can break easily if update to a preloved piece of velvet clothing.
base of the eye to the end of the shaft on the forced at too quick a pace. Or use it as a striking centre piece for a
inner right side. 23 bag, cushion or display quilt. For an extra
FINISHING shimmery dose of iridescence, why not try
The Barbs 27 Remove from the hoop and very carefully sewing the feather with silky rayon threads? ❤
24 Thread: Persian Pink. Starting from the cut or tear away the excess Solvy as close to
lower barbs, work up one side of the feather the stitch lines as possible.
and then from bottom to top on the other
side. Sew over the lines, filling with denser 28 Wash out any remaining Solvy with cold
stitch on some of the lower barbs and with water. Be as gentle and quick as you can. ABOUT ME
thinner lines around the eye. 24 25 Lay flat to dry, shaping or flattening any I am an award winning
parts as needed. 29 mixed-media artist and
TOP TIP Don’t worry about following workshop facilitator.
the lines of the barb feathers exactly; 29 Once dry, position and set in the I focus on free-motion
rather follow the shape. This gives a embroidery hoop, ensuring the fabric is embroidery, using the sewing machine as
more natural and organic look, making smooth and taut as you tighten it. a tool for ‘drawing’ or ‘painting.’ Reflecting
your piece individual. Capturing the on everyday experience and elements of
essence of the peacock feather is more 30 Turning to the back of the work, trim symbolism, I explore moments of intimacy
important than creating an exact copy. evenly round the fabric edges to fit the inner and vulnerability, and in turn, detachment
rim of the hoop. Using a glue gun, carefully and inner strength. I am currently working
25 Thread: Black. Add shade lines to the glue round the inner rim of the hoop a little on small surrealistic inspired artworks and
underside of the barb feathers. 26 at a time, flattening and fixing firmly in place towards a commission on the Freedom of
the edges of the fabric. 30 Expression for the Magistrates’ Association
26 Thread: Gold. Change bobbin thread to a ‘2020 Vision: 100 Years of Justice.’
metallic thread as well. Add highlight lines to 31 Now carefully glue over the fabric on the
the upper side of the barb feathers to finish inner rim only with PVA glue, using a small to @pootlesmoon
the embroidery. 27 28 medium brush. Smooth out any rough ends www.ajcgallery.com
or loose fabric. Leave to dry.
24 www.stitchmag.co.uk
Project
Forever Frosty
FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 58
BY ILKE COCHRANE
www.stitchmag.co.uk 25
Project
26 www.stitchmag.co.uk
Project
2 3 4
5 6
PREPARATION 8 Work the snowy ground. Start by couching 11 Outline the lower body in couched pearl
1 To prevent fraying, oversew the raw edges the silver rococo, working one stitch in every purl No3. The upper body and head are
of the fabric either by hand or machine. valley. Use the orange arrows as a guide. 2 couched in pearl purl No2. Remember to
leave a gap for the nose! 5
2 If there are any creases in the fabric, iron TOP TIP! Wax your thread before
them out now. Once the metal threads are use. Pull it across the beeswax a few 12 Place the hat band paper template on
on the fabric, you won’t be able to! times, then pull between your fingers to the back of the kid leather, right side down.
remove any excess wax. Make sure you Draw around it. Cut the kid on the lines.
3 Transfer the design to your main fabric by do this away from your work, to prevent Attach to the fabric. Start with four small
tracing on a lightbox or a well-lit window. bits of wax from staining the fabric. stitches at the top, bottom, right and left. Fill
If your fabric is too dense for this, use the in the gaps, securely stitching any corners
prick & pounce method. 9 Now couch a row of the silver twist or points. Always come up on the outside of
directly underneath. Place your couching the shape and go down into the kid. 6
4 Place the main fabric on top of the backing stitches in between the ones on the row of
fabric, design side up. Put them in your hoop rococo. Use the green arrows as a guide. 13 Now take the milliary wire and couch
together, making sure both fabrics are stretched Plunge and secure the ends for both the down along the top and bottom of the hat
taut and the design is more or less centred. rococo and the twist. 2 band with the triangles pointing outwards.
Trim the wire part and plunge the base
5 Make templates for the hat band and scarf TOP TIP! To minimise the amount of thread. Complete the hat by couching in
by tracing the outlines (without the scarf’s fold plunging, you can start paired couching gold twist. Do the outline of the brim first,
lines) onto tracing paper and cutting them out. with a loop. Cut the passing twice as followed by the crown. 6
Mark the right side of the hat band template. long as is needed for the arm plus some
extra for the tails. Fold the thread in 14 Fill the carrot nose by couching paired
GET STITCHING! two, pinching the fold tightly. Secure copper passing No5 with the copper thread.
6 Place the paper scarf template on the the doubled thread at the start of the Start at the base of the carrot and work a
yellow felt and draw around it. Then cut the outline by working a small stitch over sharp bend around the tip (blue arrow). Keep
felt just inside the lines. Attach to the fabric the fold, followed by a stitch over both going round to fill the shape. When you
with tiny stitches, making sure you stay threads very close to the fold. From then come to the tip a second time see whether
inside the design lines of the scarf. 1 on, couch as usual and plunge the tails there is room to do another sharp turn. If
when you have completed the arm. 3 not, plunge the two threads staggered to fill
7 Unless the instructions tell you otherwise, the tip smoothly (green arrows). Start a new
use yellow sewing thread to attach gold 10 To form the arms, couch pairs of pair to fill the rest of the nose. You may need
threads and wires, grey to attach silver, and copper passing No7 along the outlines to couch a single thread of passing right in
orange to attach copper. on the design. 3 4 the centre (yellow arrow). 7 ➜
www.stitchmag.co.uk 27
Project
8 9 10
11
12 13
14
15 Work the shading in the body with randomly the 3mm spangles for the buttons on the 25 When you have completed the circle, pull
placed silver wire check chips; use the main upper body, and the 4½mm spangles for the the two ends of the sewing thread to gather
image and the colour chart as a guide. 8 buttons on the lower body. 13 the fabric at the back of the hoop; you may
have to manipulate the fabric along the
16 Work the outlines of the scarf in couched gold 21 If you have any spare spangles, you running stitch line to distribute the gathers
check thread. Start with the parts around Frosty’s could attach them – this time using silver evenly. Tie the ends of the sewing thread
neck, and finish with the part of the scarf that chips - scattered in the sky around Frosty to tightly, and if you initially cut the fabric a little
is hanging down, including the bottom edge. represent snowflakes. too generously, trim the excess to about
Follow the direction of the yellow arrows. 9 2cm from the line of running stitch.
FINISHING
17 Fill in the scarf with cutwork in alternating 22 Take the embroidery out of the hoop used 26 Attach the felt circle to the fabric at the
lines of gold smooth purl and gold wire check. for stitching. Don’t worry about the circular back of the hoop, using tiny whip stitches
Work from the outside of the neck inwards, mark made by the hoop, as the hoop used for as close to the edge as possible in a thread
and from the bottom of the scarf upwards. framing is smaller, so this mark will not be visible. matching the felt. ❤
Use the direction of the yellow arrows as a
guide and shorten the chips as necessary. 10 23 Using the outside of the inner ring of your
framing hoop, trace a circle onto the felt ABOUT ME
18 Now work the fringe at the bottom of the and cut it out. Stretch the embroidery in the I’m a Dutch ex-pat with a
scarf. Cut eight 4mm chips of gold rough purl. hoop, making sure the outer hoop frames passion for needlework.
Attach these along the bottom of the scarf the picture to your liking. Like so many people I
as follows: bring the needle up just inside the started with cross stitch,
bottom edge of the scarf. You may have to 24 Trim the fabric to about 3cm all around but soon other techniques and materials
gently push the bottom chip out of the way and place the hoop upside down on the beckoned. I keep experimenting with my
a bit. Thread on a chip, followed by a petite table. Thread a needle with sewing thread designs, which now include Hardanger,
bead. Take the needle back through the chip and, leaving a tail at the beginning, work a Shisha, freestyle and goldwork. Currently
and go down just outside the outline. 11 12 circle of running stitch around the outside of I’m giving myself a more solid technical
the hoop, about 1cm from where the fabric grounding in the various techniques
19 Using the grey sewing thread, attach six emerges from the hoop. by doing the RSN Certificate; I’ve just
chips of black wire check to make the lump- completed the stitching on my Jacobean
of-coal mouth. 13 TOP TIP! Cushion the surface your module and hope to start Goldwork soon.
placing your embroidery on with
20 Still using the grey sewing thread attach scrunched-up tissue paper or a very www.mabelfigworthy.co.uk
the spangles with chips of black wire check. soft towel so that the goldwork doesn’t mabelsfancies
Use the two 2mm spangles for the eyes, get damaged. www.mabelfigworthy.co.uk/fof/
28 www.stitchmag.co.uk
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A Winter Mandala
Rich blues and icy hues bring sparkle and shine to the darker days!
A sublime fusion of goldwork and stumpwork.
Let It Snow!
Be entranced by these magical,
everlasting snowflakes. Simple
stitching, stunning results.
PLUS!
✶ Emma Wilkinson looks forward to a
better year with a bead encrusted
vision of the world.
✶ Settle down to a classic fairy tale
with Elaine Mork’s rendition of
The Little Mermaid.
✶ Take flight with a tutorial from Linda
Check Mate! You Need Hands Call Of The Wild Fjeldsted Blust. Learn how to make
Become a blackwork Raid your stash to make Alex Law’s striking cushion one of her flamboyant birds.
grandmaster with these cheerful hand cover gives crewelwork a ✶ Dr Jen Ballie from the V&A Dundee
Jen Goodwin’s brilliantly warmers. Perfect for contemporary take. talks to us about her role, her research
detailed chess pieces. chilly days! and reviving embroidery skills.
30 www.stitchmag.co.uk
Spotlight
Meet Adele Deloris Riley. She subjects old Do you have a favourite fabric?
I am constantly being surprised by the
bedsheets, pillowcases and curtains to an intense materials I use so it would be hard to choose
fraying technique. The deconstructed fabrics are one. The transformation is probably the part
I enjoy the most as I’m never quite sure
transformed into wonderfully calming pieces of what the outcome will be. I am enthralled by
wall art you want to reach out and touch. how the materials take on a life of their own
in the reconstruction process. The way they
represent splashes of colour to indicate sea
Where did it all begin? What about formal training? anemones and corals of the Caribbean Sea.
My interest in textiles was ignited by the I discovered fashion design and applied to
women who raised me. I remember my study womenswear at Central Saint Martins And looking ahead?
Grandmother spending hours knitting or in London. The course allowed me to realise My hope for the future is to continue to
crocheting placemats. But seeing her work my aesthetic and artistic sensibilities. My provide joy through my work. I often receive
wonders on the sewing machine - creating final degree show exemplified my ongoing feedback of how uplifting and calming the
anything from clothes to curtains - always experimentation with manipulating materials pieces are to look at. It would be a dream to
fascinated me. If I was not learning the and creating tactile textures. The techniques exhibit a solo show that educates the viewer
art of sewing from her, I would be found invented then are still used in my work today. on sustainability and
watching my Mum doing embroidery or the impact we have
touring the Manchester Art Museum and So how did you get to where you are now? on our planet to
galleries with my Aunt. I was immersed I’ve got over ten years of experience in the encourage positive
in needlepoint tapestries of florals and fashion industry, working with brands on change. ❤
affirmative statements adorning the walls of couture and ready-to-wear collections in
our Caribbean household. These were my Paris, New York, London and Hong Kong. @adele.d.riley
early years of growing up in Manchester and This has informed my meticulous attention to
they formed my love for arts and craft. detail, use of colour and my love for slow art.
www.stitchmag.co.uk 31
Project
BY PAULA PERRINS
32 www.stitchmag.co.uk
Project
1 2 3 4
“The simple, repetitive act of stitching through layers of soft-edged, tactile cloths can bring
calm and comfort in anxious modern times. These festive little trees offer plenty
of opportunity to go your own way: to transform tiny treasures of fabric from the
scrap bag into a gift for a loved one or create a memory for you and your family.”
PREPARATION Consider using hanging loops from clothes as tearing produces -although sometimes this
1 This project is all about slowing down and the finishing ribbon. There are no rules! 1 can distort printed fabrics. However, pulling
being in the moment. So make choices that out threads from a cut edge can achieve the
bring enjoyment; starting with what you already 3 Create a template by drawing round your same look. Or machine wash the cut strips in
have in your stash and going for favourites. plate or embroidery hoop on to paper. Cut and a mesh bag for a really lovely soft edge.
Pick out tactile fabrics and put together happy fold into a quarter. The trees on my garland
colour families that really appeal. Mix up measure 10cm on the straight side. Use your TOP TIP Pairing unfussy fabrics in a
weights, add in layers of sheer fabric or lace: paper template to cut out your base fabric. 2 set colour palette with vibrant, contrasting
the only limit is your creativity. 1 threads will really show off your stitching.
TOP TIP Don’t be limited by the
2 Select a range of coordinating threads, template size. You can go larger or 5 Now create a quiet spot so you can focus:
particularly smooth ones that will pass easily smaller by drawing different plates. 3 Arrange your fabric strips on top of your base
through your work. I like to include Perle for its fabric starting at the bottom. Work up to the top
sheen and variety of weight. Use your favourite 4 Tear or cut your chosen patchwork fabrics so the rough edges overlap as the branches on
needles. Rummage through your button box. into 2-3cm strips. I like the frayed edge a Christmas tree would. Secure with pins. 4 ➜
www.stitchmag.co.uk 33
Project
5 6 7 8
13 14 15 16
34 www.stitchmag.co.uk
Project
9 10 11 12
17 18 19 20
pencil will work - to push out the tip. 20 Stitch straight through the point at the
You can add more stitching over the seam top of the tree with a large needle to add a ABOUT ME
for reinforcement; it also makes your design hanging loop. Use one of your thicker threads I’m a textile artist and
look more continuous. Flatten your tree so or fine ribbon and knot when done. 15 designer maker from
the seam sits at the side. 11 Bingley, West Yorkshire.
21 Once you’ve made one, you’ll want to I am fascinated by
16 Lightly stuff with wadding, using your make a forest! To create a garland to hang historical domesticity,
turning tool to reach into the point. 12 on a fireplace, shelf or wall, simply take a when we threw much less away and our
length of jute string and attach the trees with skills with needle and thread sustained
17 Create a tree trunk by rolling a spare strip little rag bows. 16 comfort and beauty in the home. The
of fabric around a pencil or pen. Press flat principle of “use what you have” is at
with your fingers. 12 ALTERNATIVE FINISHES the heart of what I do. I often work in
22 Match your trees to your Christmas miniature, using the tiniest of scraps to
18 Pin the rough edges at the bottom of colour scheme. 17 create my brooches and artwork. I am
your tree together. Remember to include passionate about sustainable textiles
the trunk and position it centrally. Use more 23 It’s so easy to make up as a brooch to and embracing traditional mending
Boro style stitches to close the bottom, adorn your winter coat. Simply go a little techniques not just to extend their life but
attach the trunk and finish off your design smaller, concentrate your stitching to the to enhance their beauty as well. Currently
all in one go. Take a moment to see how the front and attach a pin to the back when the I am developing workshops to teach my
stitching looks on the front and back. 13 buttons are sewn on. 18 19 favourite techniques and can’t wait to
start sharing!
19 Add three buttons to each side of your 24 Use a pre-made wreath or improvise by
tree by sewing straight through your work to winding fabric strips around an old embroidery www.wychburydesigns.co.uk
attach both opposite buttons at once. Finish hoop. Then there’s the option to stitch a wychburydesigns
off by ‘losing’ the end of the thread inside the circle of trees on to the hoop or arrange a few @paula_wychburydesigns
stuffing of the tree. 14 dangling into the centre. You decide! 20 ❤
www.stitchmag.co.uk 35
Interview
F
rom her home studio in West Sussex, to secondary school and stretch my legs. But or extinction. It seeks to subvert popular
Kate Tume intertwines bright, the experience of being marked on a scale of narratives around what extinction and
uplifting colours with the innocent good and bad really affected my confidence. ecological threat looks like and asks questions
twinkle of sequins to tell the deeper, Previously my experience was purely positive: around who is responsible and who should
darker stories of the animals depicted. This you express yourself, what you see and your be held accountable. I often use religious
is Kate’s response to the world around her response. How can that be wrong? iconography and mythology in my work to
and the times we are living in. It’s done in My creativity shrank and became engage the viewer in a dialogue about what
a way that has meaning to her and, in turn, something I couldn’t take pride in or enjoy we hold sacred, and how that has changed.
the viewer. This effective juxtaposition of anymore. Then in my mid-twenties I met my
what’s obviously attractive, offset against first real-life artist, Hazel Pybis Potter. She got What impact do you want your art to have?
uncomfortable considerations is bold, brilliant to know me and my creative interest. One What response do you want to evoke?
and uncompromising. Kate talks to us about day she challenged me by saying: “But you I feel strongly that art lives in the world
her work and development as an artist. are an artist!’ This positive affirmation was and I am not always present to control the
the start of moving back towards what had interpretation or the narrative. I’m interested
When did you first feel comfortable calling always been there. in leaning into that and often ask my
yourself an artist? What caused the shift? followers what they think a piece means.
Calling myself an artist used to make me How would you describe your work today? I know what it means to me and what my
cringe. It felt like a false claim and I’d be found I make textile portraits of animals that intention is for it to communicate, but I don’t
out. I think this has a lot to do with how school explore how a decline in cultural, social, have all the answers. I’m more interested
systems work around art education. Art was or spiritual reverence for the natural world in asking the questions and engaging the
my favourite thing to do. I couldn’t wait to get has resulted in vulnerability, endangerment, viewer to think about what it means to be a
36 www.stitchmag.co.uk
Interview
www.stitchmag.co.uk 37
Project
www.stitchmag.co.uk 39
Project
1 2 3 4
9 10 11 12
“Enjoy a contemporary twist to traditional festive colours with this e-textiles bauble.
The design takes inspiration from the vibrant colours of Kynance Cove in Cornwall,
which directly influenced my graduate collection. So add sparkle to your Christmas
with this introduction to smart textiles alongside more familiar techniques
of silk shading, goldwork and beading! Go with my colour scheme or
switch things up to coordinate with the rest of your decorations.”
40 www.stitchmag.co.uk
Project
5 6 7 8
13 14 FRONT
BATTERY E-TEXTILES
PACK CIRCUIT
DIAGRAM
BACK
15 16 ON
OFF
THIS WAY UP
top edge of the circle – just inside the outer bottom and splitting it in the middle. Or by positioning matches. IMPORTANT: You must
perimeter of the 1.5cm line. This half moon coming up from underneath and down to ensure all positives and negatives are facing
shape will give a solid edge for your silk the marked line. Whatever approach you the same direction. You will begin with the
shading and create a better finish. 3 take, it’s important to keep the thread as LED board at the bottom of the design.
straight as possible. 7 8
TOP TIP To measure a comfortable TOP TIP Conductive thread knots
length of thread to sew with, simply hold 6 Repeat Step 5 to measure another row. easily so measure using the method
one end between your index finger and Now take 4 strands of your pink embroidery described previously. This will give the
thumb. Measure up to just below your thread and continue matching long stitch to right length to work with. Also hold
armpit with your other hand and cut. long stitch, medium stitch to medium stitch. it with your thumb as it passes back
Carefully split each blue stitch, ensuring not through the fabric. 14
4 Using a waste knot, start from the centre and to miss any. 9 10
work over your row of back stitch outwards 10 The positive (+) and negative (-) sides of
alternating long and short stitches between 7 Repeat Step 5 again and complete a the circuit must be kept separate. You will
medium length ones in the following pattern: second row of pink silk shading. 11 complete the negative side first. To start run a
L-M-S-M-L-M-S-M, etc. The longest stitch few tiny stab stitches along the circuit line to
length should come down to the 1.5cm line. The E-textiles circuit secure your thread. Then fasten the negative
The medium and short stitches should sit 8 Transfer the E-textiles circuit diagram for the end of the LED board by stitching 4-5
above; the length of each being adjusted to fit front to a piece of paper. Cut out and place couching stitches through the relevant hole.
the outside of the circle. 4 5 6 behind your design, matching the circle edges. Now follow the solid stitch line to the middle
Use small pieces of tape to secure temporarily. LED board using an even regular running
5 Once the first row of silk shading is Hold up to a good light source and trace the stitch. This will give a better connection. 15
complete, measure another vertical line in black lines of the circuit diagram with an air
the centre of the circle. This time 1cm down erasable pen onto the front of the design. 11 Secure the middle LED board again using
from the first horizontal line. Use the same Do not trace the outline of the battery pack 4-5 couching stitches at the negative end.
long, medium, short, medium, long stitch (switched coin cell holder). 12 13 Continue with the running stitch up to the
pattern to elongate the previous stitches. final LED board. However, make sure your
Either work by approaching from above and 9 Referring to the circuit diagram, lay out rows of running stitch are separate so there
going into each thread around ¾ from the the components on a flat surface so their is no interruption in your circuit. 16 ➜
www.stitchmag.co.uk 41
Project
17 18 19 20
25 26 27 28
12 Repeat to secure the Goldwork needle; take one big stitch then couch in
final LED board and the FOR MORE 17 Cut a length of pearl purl No3 between the beads (Method 2).
negative side of the GOLDWORK longer than the circumference of
circuit board. Don’t TIPS SEE THE the design. Gently pull the wire to TOP TIPS
worry if this stitching MIDAS TOUCH separate the coils slightly. Use your • If you cut your thread at an angle and
goes over your silk ON PAGE 44 beading needle and the grey silk smooth the fibres, you’ll find it easier to
shading as it will be thread (38) to couch down the pearl thread your beading needle.
covered later with beadwork. purl in between every other coil or so.
Push needle and thread through Pull the thread just enough so it sits between • Use a double strand of thread for the
to the back of the fabric. 16 the coils and isn’t visible to the eye. 20 larger beads so they are properly secured.
TOP TIP Secure the remainder of TOP TIP Silk thread is preferred for • To maintain a good circuit, avoid
the conductive thread for the negative goldwork because of its strength. You sewing through the conductive thread!
side by wrapping round a pin on the can condition your thread by passing it
front of the fabric. 17 through a solid beeswax bar to make it 22 The middle and bottom LED boards will
even easier to work with. be covered with the lime rainbow green
13 IMPORTANT: Do NOT cut this loose beads. Build the beadwork around the LED
thread as it will be used to connect to the 18 When you get towards the end of the bulb and over the board using Method 2 in
battery pack! circle, cut the pearl purl so the two ends the pattern shown. You will not be able to
meet and lie flat. 21 22 couch any beads that sit over the board, only
14 Cut a new piece of conductive those that lie directly on the fabric. 25 26 27
embroidery thread. Follow Steps 10-13 to 19 Cut your bright check No4 wire into
complete the positive side of the circuit. 5mm tubes and sew within goldwork area 23 Fill the remainder of the lime rainbow
indicated on the main image. 23 24 section. Be constantly aware of where the
15 Now turn your hoop over and position conductive thread is take care not to sew
the battery pack as shown on the E-textiles IMPORTANT! into it. 28
circuit diagram. It is vital to marry the Do NOT sew these goldwork chips near
positive and negative sides correctly for your the conductive thread. They are metal 24 Now complete the section of magenta
lights to work. 18 and will interfere with the circuit. duracoat beads next to the goldwork chips. 29
16 Take the conductive thread used to stitch Beading 25 Stitch a cluster of crystal Miyuki cube glass
the positive side of the LED boards and 20 The beading will cover the LED boards beads just above the magenta beads. 29
secure the positive side of the battery pack. and conductive thread. Roughly marking out
Then unpin the thread used for the negative each area on your design may be helpful. 26 Bead over the top LED board light using
side of the circuit board and secure the For ease use the smoke silk thread (36) silver lined ice blue seed beads. Use the
other side of the battery pack. Knot off and throughout and your beading needle. same technique as Step 22. 30
cut loose ends. 18
21 Depending on the area to be filled either 27 Fill in any gaps on the left of the design
17 Secure the top holes of the battery pack sew each bead individually using a small, with singular beads (Method 1) or stringing
with invisible thread, taking care not to mark condensed running stitch (Method 1). Or and couching smaller amounts of beads
the front of your bauble. 19 thread a strand of 5 beads onto your beading (Method 2). 31
42 www.stitchmag.co.uk
Project
21 22 23 24
29 30 31
32 33 34
28 Complete the beading by filling in the 33 Hold the felt backing in place with a
area to the right of the LED lights with couple of pins and secure to the fabric with
blue zircon seed beads, using Method 2. whip stitches using a matching thread. 33
The beadwork should discretely cover the
conductive thread and the edge of the 34 Finally thread gold ribbon through the
silk shading. 31 small gap underneath the screw at the top
of the embroidery hoop. Your bauble is
FINISHING now ready to hang and add sparkle to your
29 Take the outer ring of your 3in display festivities! 34
hoop. Trace the inside of it on to your felt
and cut out. Now cut out a 4cm inner circle ALTERNATIVE FINISHES
from the felt, position to give access to 35 The LED light boards come in different
switch the LED lights on and off. 33 colours, so you can match to your other
decorations. You could also paint the hoop gold
30 Remove the fabric from your larger hoop. or silver to compliment the embroidery. ❤
Use the crease left as a guide and cut away
excess fabric. Place into a 3in hoop, keeping
the design central.
ABOUT ME
31 Place the coin battery in the battery pack. While studying Textile Design at Falmouth University, I was introduced to
smart textiles by Lucy Hernandez of www.touchcraft.org.uk. It inspired
32 Use a running stitch close to the edge of me to combine traditional bead and thread work with innovative LED
the embroidery hoop. Gather and tie off your lights into my graduate collection. Since then experience with high-end
thread so the embroidery snuggly hugs the couture companies such as Jenny King Embroidery and Hawthorne
frame. For a neater finish, use 2cm strips of and Heaney has given me an appreciation for detailed work. Now I am balancing exciting
double-sided tape to stick down any loose freelance projects alongside developing a bespoke embroidered bridal veil service.
gathered fabric to the inner rim. 32 @tabithatextiles
www.etsy.com/uk/shop/TabithaTextile
www.stitchmag.co.uk 43
Focus
CHIPPING CUTWORK
1 This is where an area is filled with randomly placed chips. 1 Cut a piece of purl or check to the length needed to cover your
These are small pieces cut from one of the hollow purls, usually felt shape. Bring the needle up just outside the padding on one side.
bright or wire check. Cut a few chips, fasten on your thread Thread on the chip and push it down so one end sits snugly on the
inside the shape to be covered, bring the fabric. Go down into the fabric just on the other side of the padding;
needle to the front and thread on a chip. 2 the chip should lie flat across the width of the padding completely
Take the needle down into the fabric the and without buckling. If the chip turns out to be too long or too
length of the chip away. Pull through so short, remove it and cut one
the chip lies snugly on the surface. 1 the right length. Keep the old
piece to re-use later. 1 2 3
2 Work the next chip at an angle
to the first, and keep adding chips
in different directions until the
2
area is filled. The chips should lie
very close to each other so the
base fabric is covered. 1 1 2 3
44 www.stitchmag.co.uk
Focus
2 Place one end at the beginning of your line and bring the
needle up at the first coil, as close to the wire
as possible. Go down on the other side of
the wire, angling your stitch slightly so it slips 2 For curved lines, couch at the base of every triangle. 2
easily between the coils.
2
3 Take a second stitch over the first coil for security, then couch 3 Trim the wire part of the milliary to the required length, adding
between every coil for 2-3 pearls. Then couch every 3-4 coils. securing stitches right at the beginning and end of the cut wire if the
Straight lines require fewer stitches than curved. ends show signs of lifting. Plunge the ends of the base thread. 3
4 Finishing is simple: when you are a few coils away from the
end of couching, trim the end to the required length. Couch
each of the last few coils and finish with 2 stitches. Fasten off
your couching thread on the back.
PLUNGING
1 The ends of the metal threads are plunged to the reverse of your
TOP TIP When finishing a pair of work before being secured. Thread a large needle with a strong,
E
USE ALL THES couched threads, plunge each end doubled sewing
TECHNIQUES separately and take them through the thread to form
AND MORE IN
1 2
OSTY fabric slightly apart from each other, ie a loop. 1
FOREVER FR not through the same hole in the fabric.
PAGE 25 !
ON
2 Take the
needle down
into the fabric
where the end
2 Come up again on the starting side of the padding, just far of the metal thread needs to go down and pull through, but leave
enough away from the first chip to accommodate the thickness a bit of the loop at the front of the work. Feed the end of the metal
of the second. Thread on the next chip, push it down the sewing thread (trimmed to leave about 1in for securing) into the loop. 2
thread and take the needle down the fabric just on the other side
of the felt as before. The two chips should lie snugly side-by-side, 3 Pull the loop with the metal thread through the fabric with a
without gaps or crowding each other. Continue in this way until quick tug. If this proves difficult, wiggle the large needle to open
the whole shape is covered. 4 5 6 up a hole in the fabric first. Once the ends have been brought to
the back of the fabric, secure them by
oversewing, taking the needle through
the backing fabric only. 3 4 ❤
4
4 3
4 5 6
3
www.stitchmag.co.uk 45
The Perfect Project
for the best value embroidery magazine
We know how to treat our subscribers well, so make sure you aren’t
missing out on a single issue and make sure you subscribe today!
Kat McDonnell
Project
Project
Editor X
SUBSCRIBER BENEFITS:
3
Project 2 Project
1
PREPARATION
a gift for a loved
1 This project is
all about slowing
one or create
down and
that
Consider using
the finishing ribbon.
s -although sometim
hanging loops
There are no rules!
by drawing round
your
es this
from clothes as
1
tearing produce
can distort printed
out threads from
same look. Or
a mesh bag for
fabrics. Howeve
a cut edge can
machine wash
a really lovely
r, pulling
achieve the
the cut strips
soft edge.
in
we are always looking for new
t. So make choices 3 Create a template
being in the momen paper. Cut and
RINS
Fine Dining
Col 40557 your pen is primed, DO NOT press right
• 15mm ribbon or bias binding, gold: 3m Finished size: 26 x 106cm (10¼ x 41¾in) down on your velvet or you will end up
TOP TIP Velvet comes in many PREPARATION 8 Carefully remove the template; fill in any
weights, ideally go for a soft furnishing 1 Decide how long you want your runner to missed dots. 3
fabric as it is heavier and has no stretch. be. It’s easy to adjust the border pattern to your
Although it can be crushed, ironing on table length. See Step 15 for more information. GET STITCHING!
interfacing to velvet is fine. This really is The Trees
the trick, otherwise it is often slippy to 2 Measure and cut the velvet and interlining; 9 The design is sewn by couching down
work with. Plus the edges are stabilised. make sure the pieces are straight and square. the fine braid with the gold machine thread.
Treat your Christmas celebrations to the five star treatment with this stunning Overlock the edges of your velvet with your Couching is one of the simplest, most effective
red velvet table runner. Stylised art nouveaux trees are couched in gold braid I used a plastic backed velour velvet sewing machine to prevent fraying. and relaxing techniques in embroidery! Use
which is lovely for embroidery and didn’t the large chenille needle to bring the braid up
and finished with hand-sewn sequins. Opulence and sparkle all the way! need interlining. The added bonus is the 3 Use your iron on a low-heat, steam setting at the start of a line of stitching and then take
front and back can just be glued together to fuse the interlining to the reverse of your the thread out, leaving it loose so it’s easy to
BY MAGGIE GEE before binding the edges. front piece. manipulate with your fingers. 4 ➜
48 www.stitchmag.co.uk www.stitchmag.co.uk 49
SUBSCRIBE TO LEARN EVERYTHING
ABOUT EMBROIDERY
TO SUBSCRIBE:
1. Follow the website link below and select the rate you want, or phone our subscriptions team
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3. Wait for your copy to arrive early – this is the hardest part, we know!
FIND THE
TEMPLATE
FOR THIS
PROJECT ON
PAGE 59
Fine Dining
Treat your Christmas celebrations to the five star treatment with this stunning
red velvet table runner. Stylised art nouveaux trees are couched in gold braid
and finished with hand-sewn sequins. Opulence and sparkle all the way!
BY MAGGIE GEE
48 www.stitchmag.co.uk
Project
1 2 4
“This versatile design means you can make your runner 4 There are two templates: the trees and the
border. Copy the tree template, place on a
as long or as short as you wish. Or even make a soft mat and prick holes around the lines of
beautiful set of place mats! Likewise you can the template with a pin. To check all the lines
are pricked out, turn the template over to the
change the fabric, couching thread, sequins
back and see if there are any gaps.
and beads to match your Christmas décor.”
5 Cut your fabric to size. Secure the bottom
and sides with sticky tape to a long, flat
surface: a kitchen counter is ideal. You want
to ensure as little movement as possible.
YOU WILL NEED Use a low-tack sticky tape so no marks are
MATERIALS EQUIPMENT left on the surface of the velvet.
• Curtain weight cotton velvet, colour of • Iron
your choice: 2 pieces, 26 x 106cm • Sewing machine 6 Centralise your template at one end with
• Vilene fusible interlining (firm or Decovil): • Pins the trees facing towards the centre of your
26 x 106cm • Fine paint/permanent ink pen: white runner. Take time to be precise. Run a strip
• Low-tack sticky tape • Needles: of sticky tape along all 4 sides. 1
• Threads: - Embroidery or sharp: No10
- Sew-all thread: to match velvet - Beading: No10 7 Adapt the ‘prick & pounce’ transfer method
- 2mm gold braid: such as Kreinick - Chenille: large enough to hold braid by using a fine white paint/permanent ink
Medium Cord #16 in 002V Vintage Gold, • Scissors pen to outline the design. It’s effective, just
Lincatex ‘Gold Rush’ Decorative thread remember to shake and prime your pen
or any decorative 1-2mm braid STITCHES & TECHNIQUES frequently. Maintain an even weight on the pen
- Machine thread: Madeira ‘Heavy Metal’ Attaching a Bead, Attaching a Sequin, through the holes and keep the template still.
Col 6022 (No30 Art No9844 200m) Couching, Straight Stitch This will leave light pen marks on the velvet. 2
• Flat gold sequins: 8mm
• Mill Hill Petite Beads, or similar: See Stitch Guide for details on stitch formation. TOP TIP A word of caution! Once
Col 40557 your pen is primed, DO NOT press right
• 15mm ribbon or bias binding, gold: 3m Finished size: 26 x 106cm (10¼ x 41¾in) down on your velvet or you will end up
with great big splodges of ink. Keep a
scrap of fabric nearby for this. 2
TOP TIP Velvet comes in many PREPARATION 8 Carefully remove the template; fill in any
weights, ideally go for a soft furnishing 1 Decide how long you want your runner to missed dots. 3
fabric as it is heavier and has no stretch. be. It’s easy to adjust the border pattern to your
Although it can be crushed, ironing on table length. See Step 15 for more information. GET STITCHING!
interfacing to velvet is fine. This really is The Trees
the trick, otherwise it is often slippy to 2 Measure and cut the velvet and interlining; 9 The design is sewn by couching down
work with. Plus the edges are stabilised. make sure the pieces are straight and square. the fine braid with the gold machine thread.
Overlock the edges of your velvet with your Couching is one of the simplest, most effective
I used a plastic backed velour velvet sewing machine to prevent fraying. and relaxing techniques in embroidery! Use
which is lovely for embroidery and didn’t the large chenille needle to bring the braid up
need interlining. The added bonus is the 3 Use your iron on a low-heat, steam setting at the start of a line of stitching and then take
front and back can just be glued together to fuse the interlining to the reverse of your the thread out, leaving it loose so it’s easy to
before binding the edges. front piece. manipulate with your fingers. 4 ➜
www.stitchmag.co.uk 49
Project
5 6
8 9
10 11
10 Simply lay the braid over the dotted lines TOP TIP Where two threads share down to the centre; then top right down to
and gradually sew down with tiny couching one hole, pull a couching stitch across the centre. Add the beads and sequins. 10 11
stitches. Use the gold machine thread. Place both threads of braid to make the joins
your embroidery/sharp needle as close to or tree tops sharper. The Beads
the braid as possible and take it to the other 19 Finish the design with a final flourish of
side to complete the stitch. 4 14 Repeat Steps 9-13 for the trees at the Petite beads. I placed mine at the base of the
other end. 9 trees and at the end of each border, but you
TOP TIP Don’t pull your thread can place where you wish. 12
too tightly; lay it gently over the braid. The Border
Work the stitches every couple of 15 Copy the border templates for as many FINISHING
millimetres guiding the braid with lengths as needed for your runner. Cut and 20 With wrong sides together machine the
your fingers as you go. adjust the templates so the design extends front and back of your runner with a 5mm
along each side with the motifs matched, seam around all four edges. A walking foot will
11 When you come towards the end of level and evenly spaced. 10 help stop the velvet slipping if you have one.
a section, re-thread the braid into the
chenille needle and take to the reverse of TOP TIP Aim for an odd number of 21 Finish the edges by attaching a gold
the velvet. Continue to the next section hearts in the border, starting with one border of bias binding or ribbon by hand.
or secure end. facing into the runner. This will fit better
with the tree design at either end. 10 ALTERNATIVE FINISH
12 Work in the following order: 22 You could make up your runner with a softer
- Outline the tree tops: work the left scroll 16 Repeat Steps 4-8 to transfer the fabric and back with satin. In which case, add
round to the top, then the right. 4 border design. 4cm to your cut dimensions to allow for sewing
- The trunks & the base of each tree. 5 the edges together and turning out. This gives
- The inside of the trees. 6 17 Lift the template carefully, fill in any missed the option to add gold piping. However, to
dots and repeat for the border on the other side. make the velvet easier to work with still attach a
13 Sew on the sequins with 5-6 straight strip of Vilene fusible interlining to the reverse of
stitches and use your beading needle to finish 18 Couch the braid in exactly the same way your front. Just cut it to the finished size of your
with a tiny Petite bead in the centre. 7 8 as the trees. Work from the top left following runner and position centrally. ❤
50 www.stitchmag.co.uk
Focus
7
1 2 3
4 5 6
The Velvet
12
Touch
Velvet is a gorgeous fabric and is so incredibly versatile
in embroidery. However, because it can be troublesome
to work with, you need different rules of engagement!
Hints and tips by Maggie Gee & Alison Carpenter-Hughes
1 Velvet is produced like miniature rugs. Yarn strips of lightweight fabric. Also take your work
is woven and cut horizontally to create a out whenever you stop stitching. Or you can
minute, soft pile. The yarns can be silk, cotton get away with placing velvet on a square frame,
ABOUT ME or manmade. The raised surface means pieces such as a Siesta, and pinning right to the edges.
A creative childhood, must be joined facing in the same direction.
love of vintage clothes 7 Minimise your use of pins and clips, they
and need for concert 2 You need to decide how you want the nap leave marks and bruises. And don’t use them
dresses always ensured to fall as this changes its appearance. When it on velvet that will be seen in the finished piece.
my love of sewing. An honours degree in runs from top to bottom, it feels smooth to the
Humanities saw me meet my best friend touch, but the colour is less intense. When the 8 The same for needles: park them away
and, thanks to her, cross stitch! Although pile hangs the other way, it is rough under your from the working areas. Otherwise you’ll be
I specialised in embroidered linen at my hand but the colour is richer, more saturated. 1 left with unsightly holes.
antique shop, it wasn’t until I opened
my needlework shop I learnt how to 3 Always cut your velvet in a single layer, 9 For straight stitching on your sewing machine,
embroider myself. Chiefly self-taught, I find otherwise the layers slip making your cutting adjust the tension and lower the foot pressure
embroidery instinctive but a work ethic inaccurate. And keep your cuts running in the so your feed dogs don’t scar the velvet.
courtesy of ‘musical’ practice has never same direction.
left me! I quickly realised it can inspire a 10 When joining pieces, the layers of velvet tend
sense of accomplishment and promote 4 A rotary cutter and a grippy quilting ruler to slip as you stitch them. To avoid this hand
self-esteem in anyone; they just need make easy work of cutting clean lines baste the layers together and use a walking
encouraging instructions. Since 2013 I have through the thicker fabric. Then it’s best to foot. Otherwise you’ll end up unpicking! 5 6
focused on designing and producing my overlock the edges otherwise fibres will get
own kits. My style is fairly formal and rooted everywhere! 2 3 11 Always steam press on
in my appreciation of historical design. the wrong side so the pile
5 Alternatively use pinking shears to contain isn’t crushed. TECHNIQU
E
www.etsy.com/shop/ the shedding. 4 FOCUS
MaggieGeeEmbroidery 12 A lint roller makes quick
@maggiegeeneedlework 6 The pile of velvet can be crushed in an work of picking up any fluff
MaggieGeeNeedlework embroidery hoop, so bind the rings with long and stuff! 7 ❤
www.stitchmag.co.uk 51
Letters & Social
In the
Join the conversation! Share what you’ve achieved with
needle and thread; tell us your stitching stories and successes.
Loop!
Plus, the winner of the best contact receives a beautiful set
of metallic ‘smooth’ threads from Madeira. Perfect for adding
sparkle to machine embroidery projects!
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52 www.stitchmag.co.uk
Spotlight
Desire by Linda Fjeldsted Blust
Wings of Desire
but mostly they just accumulated around
the house. Did they qualify as art? If so, what
category? The answer came from Studio Art
Quilts Associates. They define an art quilt as
“a creative work that is layered and stitched
or references this form of stitched layered
This flamboyant phoenix is adorned with feathers, lace, structure.” Well, my birds certainly meet their
criteria. Since then,
metallic paints, glass beads, buttons and Swarovski I’ve exhibited them at
crystals. She’s called Desire. She’s also an award- quilt shows all over
the world, including
winning quilt. And she was made this year’s Festival
by Linda Fjeldsted Blust. of Quilts. Desire was
named the winner in
Please, introduce yourself… whirlwind scene, but my husband and I the Quilt Creations
I am a happily semi-retired textile artist, retired to the smaller quieter city of Reno. category. ❤
finally able to set my imagination free and
enjoy the sheer thrill of creativity for its How has the Reno lifestyle influenced you? www.wildthingsbylindab.com
own sake. For many years I ran a business Here in the high desert, I am surrounded WildThingsByLindaB
in Las Vegas, Nevada, making costumes for by natural beauty. Our house is located @lindablust1
ballroom dance competitors. Vegas was a near a wetlands wildlife sanctuary.
great place for a costume business thanks Coyotes and wild horses wander through You can see all the winners and
to the thriving entertainment industry and the neighbourhood. Pelicans and other shortlisted entries from this year’s Beyond
the availability of supplies like feathers, waterfowl nest nearby, and our backyard the Festival of Quilts Competition at:
beads, crystals, laces, trims and fine fabrics. feeders attract quail and colourful songbirds. www.thefestivalofquilts.co.uk/beyond-
The ballroom world is a wonderful, busy, Hawks, owls and eagles soar overhead. foq-quilt-competitions/
www.stitchmag.co.uk 53
Project
Wanderlust
Take a trip through your travel memorabilia and
pack them into a handy passport cover to hold
all those essentials for future adventures!
BY ANNE KELLY
“Travel features heavily in textile art; it helps us locate our place in the world. Here is a simple but
effective way to use up ephemera and fabric from your stash. Combine them to recall a place,
an occasion or person. My cover is in memory of my dad. He went to Oxford University; an old
map of the city is my base. He grew roses, so these are added as a feature.”
54 www.stitchmag.co.uk
Project
1 2 3
4 5 6
7 8
ABOUT ME
I am an award-winning
textile artist, author and
tutor. I love to honour
and repurpose old
textiles, using hand and
machine embroidery, vintage thread
and string to add texture and character.
My work has been described as ‘small
worlds’ trapping and preserving pieces
GET STICKING! These will be less visible once it has dried of embroidery and objects within it. My
3 Assemble the base layer of your memorabilia and been ironed. 4 fourth book for Batsford Press ‘Textile
roughly on your heavier paper base; I used a Travels’ is published this October. It’s an
vintage map. Lay them onto the background 7 Now brush on a second coat of the evocative exploration of how travel can
using scissors or tearing the edges to make the glue mixture over your piece. Take care inform, inspire and enhance textile art.
shapes show up. Remember to leave some not to tear the fragile tissue paper. Put it
of the background exposed as your collage somewhere warm to dry. 4 www.annekellytextiles.com
ENTER
develops. Once satisfied, attach everything https://annekellytextiles. ONLINE
with a glue stick. 2 8 Place your dried collage between layers of blogspot.com
greaseproof paper to protect your iron and
TOP TIP Use just enough glue to board. Now press using a dry setting on the WIN! WIN! WIN!
secure everything in place. Too much is reverse so it’s flat. This should result in a nice For your chance to win
not good for your sewing machine! oilcloth feel. a copy of Anne’s latest
book, simply enter your
4 Now you can add a layer of thin pieces of GET STITCHING! details at:
colour tissue or organza. These act like filters 9 At this stage you can embellish your paper craftmag.co/stitch-win
over your work. Again secure with a light base with free motion embroidery. Look Competition closes on
touch of the glue stick. 2 to use simple straight stitches to highlight Wednesday 1 December
a feature. Explore the decorative stitches 2020. For more information see Page 3.
5 When you’re happy with the layout, make on your machine to add detailing. Hand
up a solution of PVA for coating your piece. A embroidery would also work well. 5 6
mixture of 50% PVA and 50% water is about FINISHING
right. Brush your collage with a generous coat TOP TIP Set your machine up as usual, 11 Fold in half to create a central line. Then
of glue; it should sink into the layers nicely. 3 but treat the piece with care. Use a smaller fold the edges to make a slip-in case for your
needle as larger holes left by a bigger one passport. Complete with a row of zig zag
TOP TIP Use builder’s PVA which could cause tearing. For the same reason, stitching top and bottom to secure the folds
is stronger than craft PVA. It’s always a keep stitches long and not too dense. and prevent fraying. 7 8
good idea to test on a sample first: if it’s
too diluted it won’t stick properly, too 10 Attach the completed paper collage to 12 Any final touches such as ribbons for tying,
thick and you’ll get a plastic coating. your backing fabric. Use something you buttons or badges should be added last.
have already like an old piece of thin shirting
6 While the first layer of PVA is still damp, or sheeting in a neutral colour. Secure the ALTERNATIVE FINISH
lay the thin tissue paper over and gently pat layers with a slight bit of glue stick around This would work equally well as a cover for a
down into place. You may get some creases. the edges. Machine together. 6 7 notebook or sketchbook. ❤
www.stitchmag.co.uk 55
Fantastic
Feature Reader Offer Fantastic Reader Offer Fantastic Reader Offer
Or visit www.embroiderersguild.com
AURIFIL COLLECTION PRICE QUANTITY TOTAL
EG Special Collection £25.00
EG Sheena Norquay Collection £25.00
POST & PACKING £1.50
TOTAL TO PAY
56 www.stitchmag.co.uk
Templates
An Autumn Picnic
Page 13
Scale:
100%
www.stitchmag.co.uk 57
Templates
A Proud Plume
Page 21
Scale:
100%
Forever Frosty
Page 25
Scale:
100%
58 www.stitchmag.co.uk
Templates
Fine Dining
Page 48
Scale:
100%
www.stitchmag.co.uk 59
Templates
DMC
Number Colour Name
D02 Tin Robin Red Breast:
D03 Medium Tin Thread Charts
D04 Dark Tin Brands, Numbers & Substitutions
D19 Medium Light Autumn
D469 Avocado Green
D470 Light Avocado Green
D472 Ultra-Light Avocado Green
D610 Dark Drab Brown Cosmo
D611 Drab Brown
D645 Very Dark Beaver Grey Number Colour Name Substitutes
D762 Very Light Pearl Grey C309 Bronze Brown DMC 433
D3021 Very Dark Brown C365 Dark Oyster White DMC 3033
D3884 Medium Light Pewter C384 Light Teak Greyish Brown DMC 839
D3894 Light Parrot Green C386 Amber Greyish Brown DMC 839
C500 Medium Vivid White DMC Blanc
C600 Black DMC 310
Anchor C713 Medium Twill Grey DMC 713
Number Colour Name Substitute C800 Aurora Red DMC 321
A903 Medium Tawny DMC 829 C895 Dark Shadow DMC 645
A906 Dark Brass DMC 3032 or 640 C2310 Brown DMC 938
A1003 Amber Glow DMC 3853, 921 or 922 C2311 Dark Earth DMC 938
A1041 Very Stone Grey DMC 844 C3311 Bark DMC 3031
A1050 Medium Dark Tawny DMC 3781 C4311 Dark Chocolate DMC 3371
Gütermann
Number Colour Name Substitutes Alternative
G1001 Black Black Cotton Sewing Thread DMC 310
G1006 White White Cotton Sewing Thread DMC Blanc
G3310 Dark Off-White Dark Off-White Cotton Sewing Thread DMC 746
G4403 Grey Grey Cotton Sewing Thread DMC 317
G5201 Dark Grey Dark Grey Cotton Sewing Thread DMC 3799
G8680 Black Olive Dark Olive Cotton Sewing Thread DMC 730
G9280 Greymore Medium Grey Cotton Sewing Thread DMC 169
60 www.stitchmag.co.uk
Templates
Leaf 3
Leaf 2
Leaf 1
www.stitchmag.co.uk 61
Korry’s Little Shop
Goldwork & Embroidery Supplies
Hand Embroidery Tutor
Embroidery supplies, goldwork wires and threads.
Unusual embroidery kits.Textile art supplies.
Madeira and Aurifil distributor. Online Classes
5% off with discount code STITCH
www.korrylittleshop.co.uk
email [email protected]
email: [email protected]
Studio Préniac
Fully Catered Creative Textiles Holidays
in South West France