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recreate
Stitch magazine is published 6 times a year. Spring is a time of renewal and
refreshment. As we emerge from
winter, it’s often a good time to give
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Branding and content © Warners Group materials stacks a ‘spring clean’. However,
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Bourne, Lincolnshire, PE10 9PH fabrics, threads and embellishments could be used
+44 (0)1778 391000 instead to give new life to our projects?
I thought about this when I heard about the
Editor: Lucy Evans
[email protected] Embroiderers’ Guild Project for 2024: Repair, Restore
and Recreate. It is inspired by the idea that, “Textile
Digital Content Manager: Sally Stirling
artists see holes and tears as part of a fabric’s history
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even as we embrace the idea of repairing and/or
Design: Lucille Randall restoring them. We take old table linen and re-use
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holes becomes a new canvas.” This annual project for
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Advertisement Copy: Kay Cotterill In the same spirit, we have the perfect thrifty ‘upcycling’ project for you on page 23. Maria
+44 (0)1778 395065 Livesey shares how to use old denim fabric as well as a selection of fabric scraps to make the
[email protected] prettiest purse. No two purses will look alike as all of you will have different fabrics to use – I
can’t wait to see the various results! Plus, Jay Hooper’s smocking cushion on page 41 makes a
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The rest of the issue is bursting with ideas. Alex Law’s crewelwork quetzal bird on page 7 is
Digital & E-commerce Marketing Executive:
a riot of colour. On page 33 you’ll find our cover star, Joyce Wong’s silk-shaded hedgehog. You
Emily Warner
can get set for Easter, with Catriona Patience’s delightful needle-felted egg decoration. Chris
Publisher: Lucie Dawson Yates’ leaf wall hanging combines gelli printing with hand stitching to great effect. Plus, Loëtitia
[email protected] Gibier’s water dragon on page 48 is a goldwork triumph!

The views expressed by contributors are not

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All material published remains the copyright with Debbie von Grabler-
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 Stitch
Inside your issue...
ISSUE 147 FEBRUARY/MARCH 2024

7 19
EDITOR’S
PICK

48

23

28

www.stitchmag.co.uk
 Contents

33 41

Projects
7 TAIL OF SPLENDOUR COVER STAR!
Use crewelwork with a modern twist to
create Alex Law’s colourful quetzal bird

19 DELIGHTFUL DAFFS
Celebrate Easter and get to grips with 17 STITCH TOGETHER 54 ON THE SHELF
needle felting with Catriona Patience’s Stitch-ED share their past projects and New books on embroidery and stitching
hanging egg decoration their enduring love of Dorset Buttons!
55 NEXT ISSUE
23 STASH STREET 57 MEET THE ARTIST A sneak peek at what’s in store for
Use free-motion embroidery and upcycled We interview Joyce Wong, creator of our next issue
fabrics to make Maria Livesey’s pretty purse our hedgehog thread painting project
in this issue 60 TEMPLATES
28 FULL CIRCLE All the templates and guides you’ll need
Chris Yates shows how to combine gelli
printing and stitching to make a leaf display
Regulars to complete this issue’s projects

22 WHAT’S ON 64 STITCH GUIDE

33 SPRING ARRIVAL A selection of upcoming events and Use this handy guide to refresh your
Thread paint Joyce Wong’s hedgehog exhibitions across the UK featuring memory, hone your technique or get
emerging from hibernation and hiding embroidery and textile art to grips with new stitches
among ribbonwork crocuses

41 STORIES & STITCHES

Jay Hooper shows how to make a book
cushion that acts as a smocking stitches
06 20% off
just for you... 18 Subscribe and
save money
54 SIGN UP
sampler at the same time
every issue to our emails and
receive a FREE
48 DRAGON’S GOLD In our book of Elevate your embroidery guide
the month offer embroidery with
Explore stunning goldwork and leatherwork
(Sorry, UK only) our fantastic
techniques to create Loëtitia Gibier’s HALF PRICE
water dragon subscription offers!
! OW INSPIRING IDEAS WITH NEEDLE AND
DE -H THREAD
SI NOW

Inspiration
INRT K YOUR
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NO.1
EMBROIDERY
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FEBRUARY/MARCH 2024 | £5.99

ISSUE 147

14 GATHERING INSPIRATION Thread painting

perfection!

We chat with Caroline Hyde-Brown about bit.ly/STCHSIGNUP

her love of foraging for her textile work

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 BOOK OF
THE MONTH!
RRP
This exquisite book unveils a mesmerizing collection of
flora and fauna, inviting you to bring the beauty of nature £25
to life through the art of embroidery.
£20
What's Inside?
• Starter Project: Master essential
stitches like long-and-short stitch,
split stitch, satin stitch, bullions,
and French knots with a
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• Nine Sampler Projects: Immerse

yourself in the enchanting world
of embroidered wonders, from
delicate butterflies and birds to
charming rabbits and hedgehogs.

• Comprehensive Guidance:
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• Reusable Iron-On Transfers:

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This product is subject to availability and priced correctly at the time of publication. Geographic restrictions apply.
 Project

FIND THE
E
TEMPLAT
FOR THIS
ON
PROJECT
PAG E 63

Tail of
Splendour
A Costa Rica adventure inspired this crewelwork design with a
contemporary twist, featuring the quetzal bird in all its resplendent glory
BY ALEX LAW

www.stitchmag.co.uk
Project

1 2 3

4 5 6

T he quetzal bird is such an amazing creature! I first encountered one on holiday in

Costa Rica. A group of us got up in the early hours of the morning in the hope of
spotting one. Thankfully, we were rewarded! His bright turquoise feathers and incredibly
long tail feathers make for quite a sight, especially when in flight! I’ve wanted to capture
this beautiful bird’s vivid colours and spectacular tail in embroidery for
a while. I hope you have fun stitching it and that you enjoy bringing
some tropical colour into your home!

YOU WILL NEED PREPARATION

MATERIALS • Needles: 1 Transfer the design onto your linen twill
• Fabric: - Chenille, size 24 and 22 using your pen or pencil and a light source.
- Linen twill fabric, Natural, 35 x 35cm - Tapestry, size 24 Take care to line up the design with the grain
• Appletons crewel wools: - Curved of the fabric.
- 432, Very light green • Scissors:
- 433, Light green - Embroidery 2 Frame up your fabric in a 10in hoop frame
- 435, Mid green - Fabric or slate frame. Ensure that the fabric is
- 438, Dark green drum-tight. 1
- 448, Red STITCHES
- 501A, Pink Battlement Trellis, Bullion Knots, Burden START STITCHING
- 525, Mid turquoise Stitch, Buttonhole Stitch, Chain Stitch,
- 528, Dark turquoise Cross Stitch, French Knots, Herringbone NOTE! Use a size 22 chenille needle
- 554, Yellow Stitch, Lazy Daisy Stitch, Padded Satin unless otherwise stated.
• Felt, colour of your choice, 20 x 20cm Stitch, Raised Chain Band, Raised Stem
• Strong sewing thread, colour to match Band, Seeding Stitch, Split Stitch, Stem 3 With 554 and 435, fill the two large leaves
your felt Stitch, Straight Stitch, Trellis Stitch, Whipped with seeding stitch. Use 554 in the middle of
• Embroidery hoop, 8in (for framing) Back Stitch, Woven Wheel the leaves and 435 around the edges of the
leaves. 2
EQUIPMENT See Stitch Guide for full stitch
• Pen or pencil for transferring design formation details 4 Work the veins of each leaf with 448 in
• Light source chain stitch. Start with the side/branching
• Embroidery hoop frame, 10in Finished size: 17.5 x 16.9cm approx, veins and finish with the central vein. 3
(or slate frame) to fit an 8in hoop
5 With 448, fill the upper and lower parts of the

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 Project

7 8 9

10 11 12

13 14 15

quetzal’s belly with diagonal trellis stitch. 4 solid edge of your buttonhole stitch should one stitch of the old colour and then
be down the outside edge of the wing. 8 continue with the new colour.
TOP TIP! Starting your trellis grid in
the middle of your shape, then working 9 With 438, work a straight stitch inside each 12 Repeat steps 10 and 11 for the other tail
out to one side and then the other, of the gaps of your buttonhole stitch. 9 feather. Outline the sides of the upper tail
makes it easier to keep the angle of your feathers in stem stitch with 438. 12 13
stitches consistent. You can also lay a 10 Work a sparse cluster of French knots
spare length of thread across the fabric around the end of the top tail feather in 432. 10 TOP TIP! To create a sharp point at
to help you check the positioning of the tip of the feathers, work one line
your next stitch. 11 Work the top tail feather in shaded of stem stitch to the point, then start a
fly stitch. Start at the end with 432, then new line of stem stitch for the other side
6 Secure each intersection of your trellis grid switch to 525 for the middle and 528 as (rather than stitching one continuous
with a small horizontal-vertical cross stitch you approach the body. Around the upper line as this will create a curve).
with 501A. Then fill each gap in your trellis tail feather, work a few straight stitches to
stitch with a French knot in 448. 5 6 continue the effect of the fly stitch, so that it 13 Outline the left side of the belly with 448
looks like the long tail feather sits behind the in stem stitch. Also outline the right side of
7 Use lazy daisy stitch in 525 to add some upper tail feather. 11 the belly that’s below the branch in 448 and
texture inside the upper tail feathers. 7 stitch stem. 13
TOP TIP! To create a blended
8 With 528, work a line of buttonhole stitch transition between shades, when 14 Start filling the lower part of the right
down the upper and lower sides of the left changing colours, work one stitch of wing with buttonhole stitch in 438. Have
side wing. Leave a gap between your stitches the new colour, two stitches of the old the solid line of the buttonhole stitch along
that’s wide enough to fit another stitch. The colour, two stitches of the new colour, the belly side of the wing and leave a gap ➜

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Project

16 17 18

19 20 21

22 23 24

between your stitches that’s big enough to makes it easier to keep your long row and 528 along the bottom and right
fit another stitch. 14 stitches parallel and even across the edge. 21
whole shape.
15 Complete this part of the lower right wing 21 The next two rows are worked with
with another line of buttonhole stitch in 528 18 Fill the head with closely worked burden 435 along the top of the rows. The first of
with the solid line along the outside edge of stitch (so that you don’t see the fabric these rows uses 528 for the interlocking
the wing and with the stitches interlocking between your stitches). Use 432 around his buttonhole stitches and the second row
with the stitches of the 438 buttonhole eye and top of his head and 433 down the uses 525 for the interlocking stitches. Work
stitch. 15 middle of his neck. Use 435 along the edge straight stitches as needed at the sides of
below his beak and across the top of his the rows to continue the pattern and fill the
16 With 528 create a 5-spoke woven wheel belly. And 525 along the right edge of his shape. 22 23
for the quetzal’s eye. Use a tapestry needle head and neck. 19
while weaving the wheel to avoid catching 22 The top two rows are both worked with
the needle in your spokes. 16 17 19 Outline his head in stem stitch. Use 525 525 along the bottom of the rows and 433
from the beak, around the top of his head, for the interlocking buttonhole along the top
17 The quetzal’s head is worked in burden down to the top of the right wing. Use 435 of the rows. 24
stitch. Start by filling the space with rows of from below his beak and around the top of
horizontal foundation stitches in 433. 18 the belly, stopping when you get to the right 23 Continue with 433 to outline the inside of
wing. 20 the right wing with stem stitch. Use 528 to
TOP TIP! As with the trellis stitch, outline the outside edge of the right wing in
starting in the middle and working up 20 Fill the right wing with rows of stem stitch. 25
to the top before coming back to the interlocking buttonhole stitch. The bottom
middle and working down to the bottom row is worked with 438 along the top of the 24 Outline the beak in small split stitch with

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 Project

25 26 27

28 29 30

31 32 33

554. Then fill the beak with padded satin first with 501A, then a third layer with 448. and then the last row in 435 again. You may
stitch in 554. Use the split stitch edge to Secure the trellis layers by working small need to work one or two partial rows on the
help create a nice smooth edge to your satin horizontal stitches in 501A across all the right side of the stem to fill it since it’s wider
stitch by stitching over it. 26 27 intersection points of just the 448 layer. 30 than the left side. 32

TOP TIP! To create a sharp point 28 Next work the upper part of the main 30 Use 554 and backstitch to work the
for the beak, extend that stitch a little stem in raised stem band. Work the tendrils of the small flowers around the stem.
beyond your split stitch edge. Then work foundation ladder stitches in 435. Switch to a At the end of each tendril, work a French
the stitches on either side by tucking the tapestry needle for stitching the rows of your knot, also in 554. 33
needle close to your split stitch. 26 stem band. The first, innermost row of the
stem band is worked with 438. 31 31 In the space around these flowers, work
25 Use 554 and seeding stitch to add some two or three French knots in 501A. Then
colour to the large flower around the TOP TIP! Although your ladder switch to a tapestry needle and keep using
outlines as shown in the photo. 28 foundation stitches won’t be directly 501A to whip the tendril backstitch. Still
seen, keeping them an even distance using 501A, switch back to a chenille needle
26 The base of this flower is filled with apart will create a better-looking stem to work the base of the small flowers and the
battlement trellis stitch (layers of trellis stitch band. Also, take care to keep these twisting vines in chain stitch. 34
worked next to each other). To start, work stitches at right angles to the curve
your first trellis layer in 432 and angle it so of the stem, so they smoothly sweep 32 Work a line of stem stitch in 528 below
that you have a slanted grid making diamond around the curved shape. and next to the chain stitch of the twisting
spaces rather than square spaces. 29 vines. 35
29 Fill most of the rest of the stem band with
27 Work a second trellis layer next to your 435. The second to last row is worked in 433 33 For the small flower at the end of the ➜

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Project

34 35 36

37 38 39

40 41 42

middle branch, work the tendrils and base 37 Now outline the different sections of 41 The thin leaf at the bottom of the stem
of the flower as in steps 30 – 31. Use 438 to the large flower using stem stitch. Start is filled with raised chain band. Use 525 to
work stem stitch next to the chain stitch of with the base of the flower and use 448 to make a ladder stitch going across the shape.
the base of the flower. Then continue with outline the outer edge of this section. The Then use 433 and a tapestry needle to work
stem stitch in 438 all along the lower edge of top part of the flower is then outlined with the raised chain band down the leaf. 44 45
the branch. 36 501A. 40
42 Use 501A and chain stitch to outline the
34 Work another line of stem stitch in 438 38 The two large leaves are also outlined upper edge of this leaf. Continue with 501A
from the large leaf to the middle of the with stem stitch. Use 528 for these. 41 and chain stitch to work the twisting vine. 46
branch. Then fill the rest of the branch with
rows of stem stitch in 435. 37 39 The quetzal’s feet are each made up of 43 The lower edge of the leaf is outlined
two bullion knot claws worked with 554 and with 528 and stem stitch. Where this joins
35 Work the lower two sections of the main using a size 24 chenille needle. Work the with the vine, continue with 528 and work a
stem with raised stem band. The foundation knots so that they create a couple of upside- line of stem stitch next to the chain stitch all
ladder stitches are worked with 435. 38 down ‘V’s over the branch. 42 along the twisting vine. 47

36 Starting with the inside edge of the stem 40 Next, work the inner part of the left- 44 The left-hand leaf’s outside is filled with
of one of the sections and using a tapestry hand thin leaf in herringbone stitch. First raised chain band. Use 525 for the ladder
needle, work a few raised stem band rows stitch herringbone stitch in 501A, with fairly stitches and 433 in a tapestry needle for the
in 435. As you get towards the middle of the wide spacing. Then work another line of raised chain band as before. At the lower
stem, work one row in 438, followed by one herringbone stitch over the gaps of the first part of this section, finish the chain band
in 435, then continue and complete the band line with 554. Use 554 to outline the right above the point of this shape, so it looks like
with 438. Repeat for the other section. 39 edge in stem stitch. 43 the band is twisting around the leaf. 48

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 Project

43 44 45

46 47 48

49 50 51

45 Outline the right side of this section of you’ve got a rough circle of fabric that is just
the leaf in 501A and chain stitch. Continue a few centimetres larger than the hoop. 50
stitching around the lower curve of the leaf
and then complete the connecting twisting 49 Using a strong thread, work a line of
ABOUT ME
vine. The left side of the leaf is outlined with running stitches all around your circle of I love helping people
528 and stem stitch that continues next to fabric and then gather this up so that all the feel the pride and joy
the chain stitch of the base of the leaf and excess fabric sits within the hoop. 51 that comes from making
the twisting vine as before. 49 something beautiful
50 Cover the back with your felt circle, using with your own hands
FRAMING YOUR QUETZAL IN A HOOP blanket stitch and your strong thread around through fun embroidery kits and patterns
46 First, use the inner part of your 8in hoop the edge to stitch it in place. I like to use a with super clear instructions. I believe
to draw a circle on your felt backing. Next, curved needle for this. that taking time to connect with your
cut this felt circle out so that it is the same size creativity is a stress-busting superpower!
or a little bit smaller than the inside of the ALTERNATIVE FINISHES Check out my website for tutorials and
inner hoop. This colourful quetzal bird design would inspiration. Plus sign up to be an Elara
also look great mounted onto card and insider and you’ll get bonus resources to
47 Remove your embroidery from the hoop traditionally framed or you could make it help you stitch with confidence.
frame or slate frame and centre it within up as a cushion. I love the finish that the
the 8in hoop. When you’re happy with the crewel wool gives the design, but you could www.elaraembroidery.com/
placement, tighten the hoop and the fabric also stitch this using stranded cotton if you stitch-mag/
so that it’s drum-tight. prefer. Three strands of stranded cotton are instagram.com/elara.embroidery
approximately the same thickness as the facebook.com/elara.embroidery
48 Next, trim the edges of your fabric so that crewel wool. ❤

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 Interview

Photo courtesy Search Press

Photograph courtesy Caroline Hyde Brown

Photo courtesy Search Press

Gathering of nature and textiles where I could bring the
outside in, came naturally and I did not plan
for this in any way. As my interest grew my

Inspiration
collection of materials did too, and sewing
into them started as pure experimentation.
When I worked for the High Street, I knew
that flowers and plants could represent
a multitude of emotions and feelings
and my pictures sold well. This income
supplemented my research into biomaterials.

Caroline Hyde-Brown, author of Forage & Stitch, gives How did the pandemic affect your art
practice at the time?
us a glimpse into her life as a textile artist whose The first lockdown during 2020, informed
passion for nature informs every aspect of her work my work in an extremely positive way.
During this time, I was studying for a Master’s
Degree. I was able to have the time to tune
What is your needlework background? sold at many art & craft fairs including Art into local woodland as we are lucky to live
I trained originally in Fashion Design but in Action at Waterperry, The Knitting & in a rural county. I had plenty of inspiration
after working in London for a clothing Stitch Show, Contemporary Textile Fair in and materials to gather. As my research into
design company I decided to do a degree in Teddington and Chelsea Craft Fair in London. agri-textiles intensified towards the end
Embroidery at Nottingham & Trent University. I recently graduated from a Master’s of this period, my creativity evolved into
In 1995 I was awarded a Graduate Showcase Degree at Norwich University of The Arts a thoughtful and more reflective practice.
Award from the Embroiderers’ Guild which in Textile Design where I specialised in I also took part in digital projects. One I
enabled me to exhibit at the Knitting & Stitch researching agri-textiles and the ancient was really proud of is a small written piece
Shows in London, Dublin and Harrogate. craft of paper making. about ‘time’ and what it means to us, for
These shows started my freelance career the book Made At Home in aid of Covid-19
and I could share my love of educational How long have you been foraging? homelessness. Published by Wide Open Sea,
outreach, nature and textiles with others. I started foraging very early on in my career this book raised over £2,000.
After this I worked freelance for many high as I was always studying plants and botanical
street stores including Liberty Plc, London, materials. My interest in plants stems from What are the ‘observational studies’ you
John Lewis and Takashimaya in Japan. my childhood. I was always outside in nature refer to in your book?
I also exhibited my work in the UK and and woodlands. Combining my two passions An integral part of my creative practice

www.stitchmag.co.uk
 Interview

involves what I refer to as ‘observation my daughter at the time, and it had always textile innovations and cost-cutting country
studies’. Observation is an active process been in my mind to open up a dialogue skills such as foraging were always going to
which involves drawing meaning and with Search Press one day. I approached feature heavily throughout the book.
taking note of your surroundings. When I them with a draft proposal and she happily I am happy with the way Search Press
am outside in the countryside I can switch accepted. As it was during the pandemic all have embraced simplicity and how to
off from the outside world. Tuning into my the correspondence was online with various appreciate the changes of the year in your
immediate surroundings, I almost become Zoom meetings with the team at Search own way.
one with the landscape. I see observation Press and the first photoshoot was in May Wintertime foraging is always a special
as an essential skill both professionally and time of year for me. Going outside whilst
personally. These studies then allow me to everything is dormant has a special quietness
interact effectively with my environment I had always wanted to my gathering practice. Your immune
and when I bring my materials indoors from system is activated when exposed to the
foraging, I can live with them for a while
a highly visual book, with cold and enhances your ability to fight
before deciding how to recreate them into a separate projects reflecting infections. Wrapping up warm on a bright
textile piece. I may simply leave a collection sunny wintry day always boosts my mood
the different seasons and how
of pieces of moss, leaves or lichen as well and the colours of moss, lichen and windfall
as a twisted piece of willow on my window you can forage prolifically silver birch twigs are rich and deep. The
sill or on the floor in my garden studio. I throughout the yearxxxx light in the winter months in Norfolk is a
sometimes put my treasures into big jam jars special one. The low tracking angle of the
on my shelf. sun throughout the day offers shadows and
Observation is powerful and can enhance 2021 after our lockdown was lifted. It was a misty colours that you do not get during the
your ability to notice minute and significant glorious sunny day and we had an amazing summer. There is a bluer tinge as our eyes
details. The collection of certain data in the day shooting photographs in the buttercup perceive a richer colour palette. This is due
scientific world, I liken to the way artists build meadows and cow parsley-filled lanes near to the colder air and the water droplets are
their own creative practice. to where I live. much smaller. The limited amount of light
I had always wanted a highly visual scattering favours more deep blues and
How did your book Forage & Stitch first book, with separate projects reflecting the purples which offer vivid contrast.
come about? different seasons and how you can forage Flora to be found in February and
The new book came about during the first prolifically throughout the year including March for foraging is always plentiful. Wild
lockdown. I first met Katie French, the the wintertime. I live by the rural almanac, snowdrops carpet the ground as well as
Managing Editor at Search Press at one of purposely seeking a more natural and the cowslips and primroses. I usually seek
my shows in 2009. I was pregnant with self-sufficient way of life. Descriptions of out our native primroses which scatter the
ditches as well as the early daffodils, aconites
and pulmonaria. All of these are suitable for
drying and pressing. The yarrow, and greater
knapweed are other tiny wild plants as
well as the purple lungwort flowers, purple
Photograph courtesy Caroline Hyde Brown,

deadnettle and pale pink hellebores.

Right: Photo courtesy Search Press

You cover hand dyeing in the book. How

difficult is it to hand dye your fabrics?
I hand dye during the warmer late Spring
and Summer months. This is so that I can
use the harvested oak gall dye which yields
deep greys, blacks and purples and I can
then combine this with dried and ground
summer meadow plants such as nettles,
comfrey and buddleia.
I have lots of colours all on the go at
the same time and if the sun is warm, I can
dry my linen yarns on the fence behind
my studio. I try to utilise as much solar
heat as possible preferring to dry all my
yarn and fabric naturally. I do not have any
complicated processes with my dyeing
practice. I try to reuse and upcycle as much
as possible and very rarely buy anything
new, preferring instead to buy second-hand
Photo courtesy Search Press

induction hobs or saucepans from the local

marketplace on Facebook or Ebay.

Are there any particular techniques you use

recurringly in your work?
I do not have any favourite techniques as
such. I am very much intuitively driven. I
wholeheartedly trust my instincts with my ➜

www.stitchmag.co.uk
 email [email protected]

Interview

textile work and this comes about from Do you have a favourite project in in towns and cities – do you think that is it
years of allowing myself to experiment and the book? possible to forage in urban areas?
play. I have made plenty of pieces that I I don’t have a favourite project in the book Urban areas are often surprisingly better
have not been happy with but I have learnt but the environments that I mention with the to go foraging in than in agricultural
that intuition makes it so much easier to Ling in Wortham and the Brecks are wild and counties. When I lived in London, I found
then make your own decisions along untamed areas of heathland that are special out surprisingly, that it is one of the greenest
the way. locations for me to forage in. I never visit cities in the world. There has been an
Foraging allows for the brain to naturally these landscapes without returning home investment of thirty million to make London
take in a lot of information but also lets with a trug full of treasures. The layering greener for everyone and you don’t have to
the unconscious brain figure out what is process of dye, image transfer and soluble walk too far to find an area of parkland full
important. I find a clarity in being outside embroidery for the Brecks project is typical of autumn leaves or alder cones. Oxford is
in nature that I do not get whilst indoors. of the way I like to unpeel my thoughts. also named as being one of the greenest. I
Whether I am sewing, weaving or painting, Layers of colour and imagery combined also lived in Nottingham and Southampton
these activities always calm and refresh my with machine embroidery is a creative and for many years and I miss visiting the
mood. Choosing the right path by trusting calming process which I prefer in winter. arboretums which held a myriad of different
your intuition can transform your life and species of trees which you do not get when
help you develop more empathy and make Finally, for readers who love the idea of you live in an intensively farmed county such
better decisions. foraging for their textile practice, but live as Norfolk and Suffolk. ❤

WIN! WIN! WIN!

We have a special giveaway for Stitch readers with Published by Search Press, it’s available to order
copies of Forage & Stitch up for grabs! Combine the from www.searchpress.com for £15.99.
power of the natural world with renowned textile We have three copies to give away! For your
artist Caroline Hyde-Brown’s suggestions to stitch chance to win, register for an account and ENTER
beautiful textile creations. Caroline offers expert enter your details at: bit.ly/stitch-win
ONLINE
guidance on a range of techniques from hand and
machine stitching to solar dyeing, felting and Competition closes on 29 March 2024.
email [email protected]
Hapa-Zome, with eight projects to try. For terms and conditions see page 3.
email [email protected]

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 Stitch Groups

“The meeting always starts with a lot of chat,

sharing examples of each other’s work, then
whoever is leading the project that month will
explain what everyone needs to do. Often, the
meetings are quite quiet once everyone
concentrates on their work.”

Dorset buttons have been the

Stitch Together
group’s favourite project so far.

Jane of Stitch-ED shares with us their love of workshops, working with other
communities and how the humble Dorset button never fails to inspire…
What does your group name mean… is a new project each month, and we try to other groups and enjoy the camaraderie.
Stitch-ED is a name to reflect where we are cover a range of interests and appeal to a Some members also attend the annual
located – East Dunbartonshire, as ED is used wide variety of skills. Our January meeting Summer School held by SST.
by a variety of local organisations. is online and is usually a talk from a textile
artist. Projects have included Indian-themed Did you undertake projects in lockdown?
How long has the group been running and stitching, stumpwork, bargello, sashiko, We had a lockdown postcard project,
how many members are there? inchies and Dorset buttons. The workshops where each member supplied a postcard
We currently have 20 signed-up members with something that was a personal reaction
and also have occasional visitors who join us to lockdown. During lockdown, we also
for single meetings. The group was formed We get enormous made a lot of Dorset buttons, which are
from the ashes of Kirkintilloch Embroiderers’ satisfaction from our extremely popular!
Guild in 2021, and I think it is fair to say that
we are faring much better as an independent outreach projects, and hope Have you had any favourite workshops?
stitch group, and have wider appeal as our that we might enthuse the As our whole-day workshops are open to
remit is much less rigidly embroidery focused. non-members, we get to meet more like-
stitchers of the future!xx minded folk from other stitching groups.
Where do you meet and how often? It is also an opportunity to get outside our
We hold our meetings twice a month from have covered mixed-media textile techniques, comfort zone and learn new techniques.
September to May at St. Ninian’s High School textile jewellery, working with sheer fabrics, We also get enormous satisfaction from our
in Kirkintilloch, with our January meeting held and stumpwork, amongst others. We are also outreach projects, and hope that we might
by Zoom, with a speaker on a textile topic. involved in outreach projects, to date, we enthuse the stitchers of the future! The
We hold two whole-day Saturday workshops have made a banner with Bishopbriggs Cubs recipients of the three banners we made were
per session, once in the Autumn, and once and Baldernock Youth Club, involving the thrilled to have their very own banner. In the
in Spring at Milton of Campsie Parish Church youngsters in the stitching project, and using past we collaborated with a local artist to put
hall. We also hold occasional meetings, open recycled fabrics. We have made a banner for on a textile exhibition at the local town hall,
to non-members, at a local charity enterprise the Kirkintilloch Inner Wheel, to celebrate reflecting the history of Kirkintilloch. We were
shop, Gavin’s Mill. their 75th anniversary, and we are holding a given access to the local museum archive to
Christmas Craft workshop for the clients of get inspiration. ❤
What sort of regular activities does the our local carer charity. Many of us attend the
group like to put on? annual Gathering of the Scottish Stitch and www.facebook.com/
For our regular fortnightly meetings, there Textile Group where we can meet up with stitcheastdunbartonshire

www.stitchmag.co.uk
 Would you like to enhance your
Take our skills with original tutorials and
expert demonstrations?

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quiz! develop your techniques with

step-by-step projects?
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 Project

Delightful Daffs
Use both 3D and 2D needle felting techniques to create this
pretty Easter hanging decoration, adorned with daffodils

BY CATRIONA PATIENCE

www.stitchmag.co.uk
Project

W elcome to another three-

dimensional needle felting
project, which incorporates two-
dimensional felting techniques as well.
I hope you enjoy creating this seasonal
celebration of Spring – you could
use the finished egg to decorate
an Easter branch, or your
Springtime nature table, or
simply allow
it to hang in
a window.

YOU WILL NEED 5 Next, we’ll start to add the stalks of the
daffodils and surrounding foliage. Roll very
MATERIALS thin lengths of the Light green, which should
• Felting wool – I use carded Jacob almost resemble thread. Softly stab these
tops and Corriedale which have a nice into place using the gold needle. Repeat with
texture, and natural feel: the Dark green, all the way around the egg.
- White START MAKING Don’t worry about the detail at the very base
- Grey 1 We’ll start by rolling up a length of White of the egg, as we will finish this off in the
- Dark green wool, approximately 30cm long into a rough final step. 5
- Light green egg shape. Stab firmly using the green
- Lemon yellow needle. 1 6 Using tiny pieces of the Golden yellow
- Golden yellow wool and the gold needle, felt the central
- Orange TOP TIP! In my last tutorial (issue 139), daffodil, with five petals approximately 5mm
• Thin golden yellow ribbon I mentioned that if you’re feeling brave each and a central orange section. Now roll
you can use two needles instead of one, very thin strands of the Lemon yellow and
EQUIPMENT to speed up the initial process of forming felt these around the daffodil flower shape to
• Needles: shapes. You can also get needle holders, help give it definition. 6
- Felting x 3 – I used Heidi Feather’s some of which are battery operated,
triangular felting needles 36 (green), which allow you to felt with three or 7 Repeat this process for the daffodils on
40 (blue) and 42 (gold) gauge more needles, which are useful for either side of the central flower, using
- Large embroidery bigger projects. Golden yellow for the one on the left, and
• Felting mat – I used an eco-friendly Lemon yellow for the one on the right. Add
felting mat from The Crafty Kit Co. 2 Add more wool until your shape resembles a few daffodil buds lower down, using the
• Scissors an egg, measuring 4 x 6cm. Roll the egg Golden yellow. 7
shape in your hands, this felts in any loose
STITCHES & TECHNIQUES fibres and ensure the shape is even. 2 8 Continue this process creating a Lemon
Needle felting yellow daffodil with an Orange middle
3 Smooth out a length of Grey wool, and daffodil on the back of the egg, and a few
Finished size 6 x 4cm. approx. wrap it around the egg. Felt this into place more buds scattered across the design, until
with the green needle, until it covers the you feel it looks balanced. 8
shape completely. Roll the egg shape
between your hands to felt in any stray 9 Felt a small tuft of Lemon yellow onto
strands. 3 the very top of the egg, using the blue
needle. Roll thin strands of Golden yellow,
4 Now we’ll add some variation to the and felt these into place using the gold
background colour, by adding small tufts of needle, to create a basic star pattern on
the Light green at the bottom, and Lemon the top of the egg. 9
yellow at the top of the shape using the
green needle. 4 10 Thread the embroidery needle with the
Yellow ribbon and insert into the base of the
TOP TIP! This project involves both 3D egg, leaving a few centimetres of ribbon at
and 2D felting techniques, first creating the base. Bring the needle up through the
the egg shape and then adding the floral centre of the star you have just created.
details. You can use the skills learned Leaving an 8cm loop, pull the needle back
here to apply details to any 3D felt shape. through to the base. Tie the two ends of the
ribbon firmly at the base. 10

www.stitchmag.co.uk
 Project

1 2 3 4

5 6 7 8

9 10 11 12

11 To hide the knot, cover it with a wee bit

of grey wool and stab gently with the gold BONUS VIDEO FOR DIGI READERS!
ABOUT ME
needle. Roll some thin strands of the Dark This digital issue includes a special I create seasonal art
green, and extend the daffodil stalks down video presented by Catriona Patience. which celebrates the
over the Grey to the very base of the egg. Catriona introduces this beautiful outdoors. As a multimedia
This completely hides the base of the ribbon, Easter egg project, talks through the artist I use photography,
giving a neat finish. Stab very gently during techniques involved and gives her textiles and paint to
this step, as the ribbon under the wool can expert tips and advice. To watch the record, explore and share my encounters
cause needles to snap. 11 video, simply click the button below! with the natural world. I sell my work
through my art and craft company
12 Using the gold needle, add a few very thin Patience Creations, and I also work for
Lemon yellow strands to highlight the stalks. The Borders Forest Trust.
Tidy up any loose strands, using the gold
needle to felt them in. 12 www.etsy.com/uk/shop/
PatienceCreationsCo
ALTERNATIVE FINISHES www.catrionapatience.co.uk
Using this tutorial as a guide, why not instagram.com/catriona_patience
choose your favourite spring flower and facebook.com/
create your own design? Primroses, bluebells CLICK HERE TO WATCH catrionapatiencecreations
and snowdrops would all work well, or you
could mix and match. ❤

www.stitchmag.co.uk
Latest

inclusion with us this throughout the

What’s On Spring! We’re coming

together to celebrate the
beautiful diversity of our
creative community and
years, with a chance
to get up close to
fascinating Archive
pieces and find out

Photo courtesy of RSN

SCOTLAND give a voice to all through artistic expression; more about how
EDINBURGH MUSEUMS regardless of race, gender, age, sexuality, or ability, some of the pieces
SCOTTISH FOLK ART EMBROIDERY WORKSHOP everyone is welcome here. So, visit a show and let were created. From
WITH KAREN THOMSON your creativity flow in a judgement free zone. Join images and designs
SATURDAY 10 FEBRUARY 2024, 10:30AM a workshop, watch an inclusive fashion show, hear to interesting ‘left
City Art Centre, 2 Market Street, success stories on the textile stage, and enjoy a overs’ and souvenirs,
Edinburgh EH1 1DE crafty day out surrounded by likeminded crafters. this is a unique chance to view the different
This workshop will take inspiration from details www.creativecraftshow.co.uk coronations from behind the scenes.
in our Shifting Vistas exhibition. Take a break The display due to popular demand has been
from the hustle and bustle everyday life in this SOUTH EAST extended until May 2024. Days and dates can be
slow hand stitching workshop. Slow hand stitching CITY OF LONDON viewed via the website. Pre-booking is essential.
is all about stitching with intention and being SPECIAL CORONATIONS DISPLAY royal- needlework.org.uk
absorbed in the moment. In this workshop we will UNTIL MAY 2024
use the simple and ancient embroidery method of HAMPTON COURT PALACE RAMSTER GARDENS
Kantha Stitching. Hampton Ct Way, Molesey, East Molesey KT8 9AU RAMSTER EXHIBITION OF EMBROIDERY AND
www.edinburghmuseums.org.uk The Royal School of Needlework has worked on all TEXTILE ART
the Coronations of the British Royal Family since it MARCH 1 – 17, 2024
MIDLANDS was founded, from the Coronation of Edward VII in Ramster Gardens, Petworth Road,
NEC 1902 to the Coronation of King Charles III in 2023. Chiddingfold, Surrey GU8 4SN
CREATIVE CRAFT SHOW The special display examines the role of the RSN Over 250 pieces of the finest embroidery and
14 – 17 MARCH 2024 at these different Coronations and gives visitors a textile art by leading artists from across the country
NEC, Birmingham B40 1NT chance to revisit these iconic moments in British will be on display and for sale within the splendid
The Creative Craft Show, Sewing For Pleasure and history. Book your place and enjoy a Talk on how Jacobean Hall and the Great Drawing Room.
Fashion and Embroidery invite you to celebrate embroidery has featured in these historic events www.ramsterevents.com

Got an event or exhibition happening? Tell us and we’ll spread the word. Email the dates, details, and venue address to: [email protected]
Deadline for submissions for the April/May issue: Friday 23 February 2024.

Learn the Art of

Hand Embroidery
At the Royal School of Needlework
Teaching hand embroidery for all levels
Day Classes at different venues around the UK
Certificate & Diploma in Technical
Hand Embroidery
BA (Hons) in Hand Embroidery
Online Courses & Talks also available
Join us at Hampton Court Palace, in Bristol,
Rugby, Durham & Glasgow

royal-needlework.org.uk

RSN is a registered charity no: 312774

www.stitchmag.co.uk
 Project

Stash Street
Experiment with fabrics from your stash, free machine appliqué
and transfer paints to create a cute cottages clip purse

SEE PAGE
62 FOR T
HE
TEMPLAT
ES
FOR THIS
PROJECT

BY MARIA LIVESEY

www.stitchmag.co.uk
 Project

A s a graduate many moons ago, I stepped into designing and making little handmade bags
from my own unique handmade fabrics for galleries. Over recent years with students we’ve
explored creating textiles through several processes including devoré and stitch manipulation
to create your own fabrics for bags. Clip frame bags have been a popular vehicle
to show off creative skills without getting too lost in bag making. Here we
have a post-winter blues cutie, with a little zing of transfer paints. Enjoy!

YOU WILL NEED

MATERIALS • Bondaweb, approx. A5 sheet • Water pot
• Heat transfer paints (concentrated dyes for • Button, 1.5cm • Palette
synthetic textiles). If you have never used • Basic sew-in clip frame, 10cm • Pens:
this paint try a test sheet of the colours so • Threads: - Fabric heat
you know how the colour appears when - Cotton sewing threads for windows, - Fabric water
its transferred to fabric. (The colour tones White and chimneys, Black • Scissors:
change during the transfer process). 1 - Machine embroidery threads in two - Fabric cutting
I bought Colourcraft paints from colours (I used Black for the main detail - Paper
www.dryadeducation.co.uk and Off-white for stitching down the leaf • Sewing machine with free
• Paper, A4 transfer and lace) stitch capabilities
• Nylon/polyester translucent netting, - Colour top stitching (tough) thread for • Needles:
White, A6 (or larger pieces if you want to sewing the frame on (hand embroidery - Sewing
play and test) threads though pretty, are best avoided - Embroidery – one small enough to go
• Your leafy stem because they can splinter and fray as through the holes on the clip frame and
• Tissue or card etc, A4 – to draw and cut they get abraded through the tiny holes one for embroidery floss for the button.
out your ‘bag body’ pattern onto (I used a on the frame). • Pins
scrap of stitch and tear here) - Embroidery floss to stitch the button
• Fabrics: on with STITCHES & TECHNIQUES
- Denim, A3 • PVA glue Paint transfer, hand embroidery and sewing,
- Inside lining fabric, A3 appliqué free machine stitch (or careful
- Scraps of fabric that sit with your colour EQUIPMENT footwork with straight stitch will do it)
palette for the appliqué. • Sheet of acetate & a fine marker for tracing Sewing to make up the purse
- Small disc of lace/doily paper & a pencil to trace the appliqué
• Iron-on medium-weight interfacing, A3 design onto Project size: Approx. 23cm tall including clip
(for the denim) • Paint brushes frame and 17cm wide.

PREPARATION

HOW-TO and 3. the painted paper with the ink side

PLAN YOUR PROJECT facing downwards) Note: The leafy stem
• Set up an ironing station (plus a have the body of the bag? If not check out your acts as a resist in transferring the paint. Iron
a stack of paper/board to iron your nearest charity shop! the back of the painted paper. Follow the
image transfer on – that works better on • When you are ready to get started, pick manufacturer’s instructions for paint transfer.
a stiffer surface). yourself some small leafy stems (I used (The result will be something like that in 4 ).
• Ensure enough working space to lay out/ small mini rose leaves about 6cm tall)
cut fabrics. GATHERING AND CUTTING
• Have a painting station for your paint TOP TIP! In selecting interfacing REMAINING FABRICS:
transfer process. weight, a good rule of thumb is to select 4 Iron a rectangle of interfacing to the
• Consider a colour palette, then attack the same or a thinner weight interfacing back of the denim fabric you have selected
your fabric stash! than the textile it’s for – this saves the for the main face fabric – iron to the front
• Do you have an old pair of jeans to cut puckering that can occur when ironed on. and back denim fabric. Iron as per the
manufacturer’s instructions.

5 Trace/Transfer your main ‘bag body’

START PAINTING 2 When the paint is dry, tear or cut out a pattern to your tissue and so on (make sure
1 When you have decided on your overall section you like over the blend marks, say to include the hinge marks) and then mark
colour palette, select say two colours of 7cm wide by 8cm tall. 3 out your bag body pattern on the denim (in
transfer paint and paint out a blended layout line with the straight of the grain) using the
on the paper – here I used a yellow to green. 3 On your ironing board with your stack water pen. 5 At this stage don’t cut out the
2 Note: the colours soften if you water of paper/board – place/lay out a sandwich denim, that little extra makes it a little easier
them down first. of 1. the synthetic netting, 2. a leafy stem to hold under the machine while stitching.

www.stitchmag.co.uk
 Project

1 2 3 4

5 6 7 8

9 10 11 12

13 14 15 16

6 Transfer the design onto tracing paper/ 11 You can use your overall design sheet to 13 Use the heat pen and your design tracing
plastic – overlay it to help you visualise the help placement here as you iron. 10 to mark out the stitch lines/design 12
layout. Here I used scraps of textiles to get
an idea of balance and colour, etc. 6 TOP TIP! Keep using your tracing 14 Stitch the leafy transfer and lacy sun. 13
of the design to line up and keep your
7 Trace through onto the paper side of appliqué straight and level with the 15 Swap over to a needle and thread and
your Bondaweb all the elements of the bag bottom. embroider rows of a regular satin style stitch
appliqué. 7 to fill the windows. 14
FIX AND STITCH
8 With the exclusion of the leafy image 12 You can fix down and stitch by fixing 16 Decide if you are free stitching the drawn
transfer – cut the Bondaweb out with a little the background pieces with an iron then appliqué lines or using a straight stitch and
rough extra border and iron fix to the back of stitching each piece one by one. Here stitch in your ‘drawing’. 15 When it comes to
your chosen appliqué fabrics. 8 I cheated a little by iron fixing the leafy the windows on the houses, these are two
transfer, the two grass pieces and the stitches on each side of the square, worked
9 Cut out your leafy transfer about 2-3mm houses at the same time. 11 Usually, I would in with two stitches to create a cross in the
wider all the way around (so you get a frayed have stitched a box around the leafy transfer, centre (over the white satin stitch).
edge). 9 instead I had to do it in a U shape because
I had iron fixed down other pieces. Don’t 17 By the time you are finished with this
10 Now cut out the exact sizes of the forget to pull off the Bondaweb backing stitching you have the fence lines, houses;
remaining appliqué pieces. paper before you iron fix your fabrics! roof/tiles lines/doors/windows, and the ➜

www.stitchmag.co.uk
Project

17 18 19 20

21 22 23 24

foreground tree. 16 Don’t forget to stitch the points are the same on each set of fabrics. 33 Get your thick thread and needle ready.
three chimneys (black cotton sewing thread, Put a knot in the thread.
in a satin stitch like the windows). 26 Flip the front face fabric (denim) on top of
another denim (facing each other) and line NOTE Having a perfectly neat
18 Now move forward in the appliqué layers them up against one another, so that they hand-sewn-in frame on the lining
by iron fixing the ‘path’ and the ‘road’. are right-sides together! 24 fabric is nigh on impossible. Please
don’t punish yourself for a few stitches
19 With your machine, stitch the rows to TOP TIP! Again, check that the hinge out of line!
fix the ‘path’ and the ‘road’ and sew in your points match. If not… unpick a few
button in the centre of the lace. Now your stitches and re-stitch. 34 Having counted and found the centre
appliqué is done! 17 hole on one side of the frame, secure the
27 Mark up your 1⁄4in seam allowance. thread and knot in the centre at the top. 32
MAKE THE PURSE
20 Pin and cut your lining fabric using the 28 Pin in position while holding back 35 Pull the first stitch from the lining side of
body template – here I wanted to use a the upper join in the fabrics – stitch ‘hinge the fabric through to the centre hole. Stitch
scrap of a lovely dotty textile I had but it fell point to hinge point’ around the base of every other stitch/hole in the direction that
short, so I pieced on a little bit of pink to the denim fabrics this time with fabric suits you.
make the panel larger. 18 19 ‘pouch’, as in image 25 .
36 When you get to the end, come back
21 Cut out the denim appliqué and the back TOP TIP! You can trim a little of the filling in the missing stitches/holes. 33 Work
denim panel – tightly to the inside of the pen corners to help with neatening the your way past the centre 34 to the end and
marks. 20 edges (though I didn’t in this sample). follow back to the centre one final time.

22 Transfer the hinge marks from the pattern 29 Repeat steps 25, 26 and 27 this time with 37 On the last stitch, pulled from the front
to the interfacing on the back of the denim the lining fabrics. 26 However, note there through the centre back, remove the needle,
body face fabric (the back of the appliqué). is a gap (approx. 9cm) at the bottom of the tie and cut the tail to about ½in. 35
21 Mark out the ¼in seam allowance that lining, for pulling the bag through itself.
lies between the hinge points. 22 38 With a little glue on a pin head tuck the
TOP TIP! For a neat edge try your best thread into the frame. 36
23 Place and pin together one lining fabric to iron open/press back the seams on
and one main body (denim appliqué) the denim fabrics. 39 Repeat steps 31 to 36 on the other side of
together, facing each other (the wrong the frame! Don’t forget to iron off any heat
side out). 30 Pull the bag through itself using the hole pen marks and tidy up your threads. Your
in the lining fabric. 27 28 29 purse is complete. 37
24 Stitch the ¼in seam allowance, around
the top ‘hinge to hinge’ mark that you 31 Press in the hole/seam ready for stitching ALTERNATIVE FINISHES
already transferred over. 23 Make sure you 30 and top stitch the hole/gap in the lining Challenge yourself further by making your
secure or back stitch at each end, but only fabric 31 . Place the lining neatly in the bag. own strap or just pick up a fine chain handle
stitch up to the hinge marks! from a bag making supplier. You could
STITCHING IN THE FRAME use this design scaled up, together with
25 Repeat steps 21, 22 and 23 to the other 32 Measure and mark the centre of the the techniques, to make a denim tote bag
set of fabrics. Before stitching, check hinge bag top. instead if you prefer. Happy making! ❤

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 Project

25 26 27 28

29 30 31 32

33 34 35 36

37 ABOUT ME
My training includes an
MA in Art & Design, a City
& Guilds in Free Stitch, and
a Certificate of Education.
I’ve also taught for several
years in higher education. What inspires
me creatively though is amazingly simple:
it’s texture, with a leaning to the unusual.
That could be in the context of materials
to combinations of materials or utilizing
mediums that were never intended for
textiles or stitch. So, let’s print with silicone,
free stitch on paper prints, use paper silk
screen prints to stitch faux chenille, take
a soldering iron to organza, stitch sticks
into felt and I’m happy. Many of these
inspirations filtered into the leisure courses
I ran for several years at my studio in
Warrington. I am currently taking a break
from teaching regular termly class. Pop
along to my website or social media to see
what I’m up to.

www.thetextile.studio
www.facebook.com/
creativetextileclasses
Instragram.com/maria.creativetextiles

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Project

Full Circle
Display the delicate beauty of seasons past,
present and future with this versatile leaf project
that includes gelli printing and stitched details

BY CHRIS YATES

L eaves are featuring increasingly in my work. So many

varieties are readily available at all times of year so this
project is ideal for any season and any types of leaves that
inspire you. They all have different textures, shapes and sizes
so I couldn’t possibly pick out a favourite. For me this project
could change quite significantly according to the leaves that
are available at any particular time. Pick the ones that
you love the best and create this lovely
wall hanging to remind you of seasons
past, present and still to come.

YOU WILL NEED

MATERIALS (that go together ie. a mix of greens and
• Selection of fresh leaves from your locality blues, dark, light and medium)
• Fabric: • Wet wipes/kitchen towel or a piece of
- Cotton or polycotton fabric, White – cloth to clean off your gelli plate and
1⁄2m will be plenty (something that’s nice brayer (if using cloth have a container for
and soft to stitch into) water too)
• Felt, light coloured 10 x 10cm x 12 • Pair of tweezers
• Pelmet vilene or card or thick paper, 9cm • Appropriate needles, scissors etc (usual
diameter circles x 12 hand embroidery kit)
• 505 spray or small oddments of
Bondaweb if you prefer STITCHES & TECHNIQUES
• Hand embroidery threads in Blanket Stitch, Chain Stitch, Herringbone
colours to match or contrast with Stitch, Running Stitch, Stem Stitch, Twisted
your chosen paint colours Chain Stitch
• Narrow ribbon or cord, 80cm
• D ring or similar alternative to hang your See Stitch Guide for full stitch
circles from formation details

EQUIPMENT Finished size: Each circle measures 10cm

• Gelli plate and brayer diameter approx.
• Acrylic paints – no more than 6 colours

PREPARATION & PRINTING TOP TIP! If you don’t have a circular

1 I have chosen to use a 10cm diameter gelli plate, cut a 10cm circle from a piece
circular gelli plate for this project. You of thin card or paper and use this as a
can of course work larger or smaller if mask on top of your existing gelli plate.
you choose.

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 Project

1 2 3 4

5 6 7 8

9 10 11 12

2 Cut or tear your fabric into 12cm strips to full contact with the gelli plate and there are textured than the background paint. 11 12
allow a small margin around the edge of the no air bubbles.
10cm circles. 12 Continue making prints in this way until
8 Carefully and slowly lift the fabric away you have at least 12 different prints. Vary
3 Choose three paint colours from your from the gelli plate but not all the way off the colours of your backgrounds, sticking
chosen selection and apply three or four the plate. 6 7 . The aim is to be able to within the colour family that you originally
small blobs of paint to your gelli plate. 1 reposition the fabric again in exactly the chose. 13
same place.
4 Gently spread the paint with the brayer, TOP TIP! Mixing different colourways
taking care not to merge the colours too 9 Remove the leaf from the gelli plate from your selection may give different
much if possible. 2 3 and you should be able to see where the results than you expect. Be prepared to
imprint of the leaf has been in the paint. 8 experiment a little. It is not necessary to
5 Position a leaf carefully and centrally on Remember that all the while you are still clean off the gelli plate in between each
the circle, taking care not to make any marks holding the fabric slightly onto the edge of print unless you feel the mix of colours is
in the paint with your fingers. 4 the gelli plate. getting too dark and blurry.

TOP TIP! Check the leaf to see which TOP TIP! Use tweezers to remove the 13 Choose your favourite prints from the
side you think will give the best print, leaves from the gelli plate as this is less selection you have created and place a
some have more prominent veins on the likely to leave any unwanted marks in square of felt behind each printed piece and
underside of the leaf and this may give a the paint. 9 pin in place.
better print.
10 Carefully re-position the fabric back onto START STITCHING
6 Gently lay your fabric on top of the leaf the gelli plate so that it sits in exactly the 14 Stitch the printed circles onto the felt as
and gelli plate, allowing a small margin on all same position as before. Smooth the fabric desired. I have used DMC thread - variegated
sides. 5 over the gelli plate again to remove any air 4506, as this was a great colour match for
bubbles. 10 my chosen paints and a plain white thread
7 Use the flat of your hand to smooth the to give contrast to the pieces where I have
fabric flat onto the gelli plate. You can 11 Peel back the fabric from the gelli plate stitched on the leaves rather than around
alternatively use a second brayer if you have to reveal where the leaf print sits centrally them. I always stitch with one strand of
one. The aim is to make sure the fabric has in your circle. The leaf print should be more stranded threads as this gives a much finer ➜

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Project

13 14 15 16

17 18 19 20

21 22 23 24

finish to the work. Use your favourite stitches TOP TIP! You may find it useful at 25 Repeat this process for all remaining
or follow the suggestions below: this stage to number your circles 1a – 6a circles so that you have a hanging made up
and 1b – 6b (a being the front side and b of six double-sided circles. When you get to
15 Kantha style; a) following the shape of being the reverse side). circle number 6, secure the end of the ribbon
the circle 14 or b) following the shape of the inside the circle so it cannot be seen. 31
leaf. 15 16 20 Cut six circles of pelmet Vilene or thin
card to 9cm in diameter. Position these ALTERNATIVE FINISHES
16 Create borders around the circles; centrally on the 1b-6b circles and hold in The versatility of this project is that it can be
a) Herringbone stitch 17 ; b) Blanket stitch place with 505 spray or a small square of produced at any time of year according to
and Running stitch 18 ; c) Twisted chain stitch Bondaweb. This will give a little extra weight what leaves are available to you in your local
19 ; d) Two rows of stem stitch 20 ; e) Chain and help the hanging to hang straight. 27 area. It can be made in any shape or size.
stitch 21 . You may want to consider making labels
21 Take your length of ribbon and fold over to position on your pieces to identify the
17 Outline the shapes of the leaves in white 6cm at one end and secure the D ring in different leaves you have used or you may
using a combination of stem stitch and back this fold. 28 prefer to use multiple leaves on one larger
stitch. 22 23 24 25 piece. 32
22 Now place the length of ribbon centrally Once you have mastered the technique
18 Once all of your pieces have been on the 1b circle leaving the D ring approx. of repositioning your fabric directly on
embroidered, cut them down to the circle 4cm above top edge of the circle. Secure the top of the original print, to get the correct
shape outlined by the paint. These should be ribbon with either 505 spray or Bondaweb. positioning of the leaf print, the world is
10cm in diameter. Cut both the fabric and your oyster. Try using flowers to print with or
felt layer. 26 23 Position circle 1a on top of circle 1b and even feathers or dried grasses to achieve a
blanket stitch around the edges to hold the similar effect.
19 Play around with the ordering of your two circles together, enclosing the ribbon If hangings are not your thing, you could
circles to decide on the finished look of inside. 29 make a larger piece to place in a frame or on
your hanging. You will need two columns a canvas instead. Alternatively, each textile
of six which will be placed back to back. 24 Place circle 2b approx. 2cm below circle piece could become either an individual
Think about the colours you have used and 1, secure the ribbon centrally as before, 30 page in a book or a small element to add
whether you want to alternate them, perhaps place circle 2a on top and blanket stitch to a larger collage piece. Have fun deciding
by colour of thread, or colour of paint. around the edges as before. how to display yours! ❤

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 Project

25 26

27 28

29 30

31 32

ABOUT ME
I have always had a love of textiles, be it
dressmaking, working within the clothing industry
or more latterly, embroidery. I love the tactile
nature of fabric and threads and confess to a bit
of an obsession with variegated threads
in particular.
Over recent years I’ve been able to indulge my love of
experimentation with different materials, incorporating all sorts
of mixed media into my work. I love to pass on this ethic of ‘play’
through teaching and talking about my work, in addition to doing
demonstrations at stitching and textiles shows. Whilst I am a
stickler for precision when learning a technique, particularly new
stitches, I enjoy nothing more than then taking them off in a whole
new direction to see what else can be achieved.

instagram.com/chrisyatestextiles
facebook.com/Chris-Yates-Textiles
chrisyatestextileart.weebly.com
Dark Winter Nights?
We’ve got lots of events and activities
going on to brighten them up...

Embroiderers’ Guild Talks

17 FEBRUARY
HELEN MCCARTHY A BRIEF HISTORY
OF COSPLAY
This talk looks at cosplay’s origins and history, and
reveals how cosplay has evolved and changed under
many different names to its current levels of creativity,
skill and inclusiveness.

Embroiderers’ Guild Workshops

24 FEBRUARY
STITCHING ALONG WITH JAN & JEAN
Exploring the exciting and complex structures that can
be achieved with hand stitches. The workshop will
include demonstrations of two versatile stitches that will
be further developed into textural jewels.

Embroiderers’ Guild Talking Threads

14 MARCH
FRAN BUXTON & EMILY NOTMAN: FINDING
BEAUTY IN THE UNEXPECTED
Fran and Emily find beauty in the ‘overlooked’; Fran by
taking inspiration from items that many consider ‘imperfect
or used’ such as old matchboxes or knitting needles and
Emily from flaky walls and perished paintwork.

Embroiderers’ Guild Workshops

23 MARCH
AILISH HENDERSON NARRATIVE
BASED STITCH COLLAGE
Inspired by Ailish’s artwork explore visual storytelling
in a fun creative play session learning how to use
inspirational collage resources, your photos,
memorabilia, and other personal treasures.

www.embroiderersguild.com
 Project

Spring Arrival

FIND THE
TEMPLATES
FOR THIS
PROJECT ON
PAGE 63

We may associate hedgehogs with autumn, but by March they are

starting to wake from their hibernation. Bring your spring hedgehog to
life by silk shading on painted fabric, with ribbonwork flowers too!

BY JOYCE WONG

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Project

1 2 3 4

5 6 7 8

S pring is just around the corner and what’s more joyful than feasting our
eyes on the beautiful blossoms? Join me in stitching this little
hedgehog who enjoys the spring crocuses as much as we do!
The hedgehog is padded and silk shaded for a realistic look and
the ribbonwork crocuses provide the perfect foil.

YOU WILL NEED

fabric from around the bottom half of the
MATERIALS • HB Pencil or water-soluble fabric pen hedgehog. 2
• Fabric: • Pins
- Cotton, Light pink, 20 x 20cm • Fine waterproof pen 5 Make a big stroke across the wet area so
(background) and 7 x 7cm (hedgehog) • Embroidery scissors the colour spreads naturally. Do not make
- Lightweight calico, 20 x 20cm • Embroidery hoop, 5in the paint too thick as it will be difficult to
- Beige felt, 10 x 10cm • Needles: stitch on it. 3
- Backing fabric, cotton (plain or print of - Embroidery, Size 10 or 12
your choice), 20 x 20cm - Chenille, Size 24 IMPORTANT! It’s important to sample
• Threads: your watercolour on another fabric
- DMC stranded cotton, 739, 3033, 3782, STITCHES & TECHNIQUES before applying it to the design.
3790, 839, 3371, 3031, 310, 3021 Back Stitch, Detached Chain Stitch, Long
- Machine sewing thread, Beige & Short Stitch, Satin Stitch, Silk Shading, Hedgehog (Feet)
- Buttonhole thread, White Slip Stitch, Split Stitch, Straight Stitch 6 Starting with the toe at the back, thread a
• Silk ribbons: single strand of 841 on a size 10 needle and
- Yellow See Stitch Guide for full stitch apply straight stitch for the nail, from the
- Purple formation details. base to the tip of the nail. 4
- Olive green
See Stitch Plan on page 63 for the 7 Use a single strand of 3031 to split stitch
EQUIPMENT directions and order of stitches. the outline of the toe. Then apply satin stitch
• Tracing paper across the toe. 5 6
• Watercolour paint, Grass green Finished size: 10.5 x 5cm (stitching area),
• Big painting brush 5in (hoop) 8 Repeat Steps 6-7 for the other toes.

TOP TIP! To keep the stitch direction

PREPARATION 3 Put the calico underneath the pink fabric straight for satin stitch, always start from
1 Tape the template on page 63 onto a and place them in a hoop together. the centre and work sideways.
lightbox or a strong light source.
START STITCHING! Hedgehog (Padding)
2 Put the pink fabric on the template and Background 9 Cut out the template of the hedgehog. Put
trace the design with a pencil. 1 4 Use a big paintbrush to wet the pink it on top of a beige felt and use a fine marker

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 Project

9 10 11 12

13 14 15 16

17 18 19 20

to draw the outline then cut it out. 7 15 Use pink or white machine thread on a stitches further away from the edge, but
Size 10 needle to apply the fabric as in Step make sure the stitches are close enough to
10 Use the template to make two extra 11. Trim the frayed edge with a pair of sharp cover the edge of the padding. 17
layers of felt which are 5mm and 10mm and small scissors. The hedgehog is now
respectively smaller all around. 8 ready to be stitched on. 15 18 When one side is finished, continue
towards the other side and stop at the back
11 Pin the smallest felt at the centre of the IMPORTANT! The whole hedgehog of the hedgehog’s ear. 18
hedgehog on the pink fabric. Thread a beige is stitched with long and short stitch,
machine thread on a Size 10 needle, take the using one strand of cotton thread and 19 Add spikes with 3033 and 739 (switching
needle from the edge of the felt and make a size 10 or size 12 needle. Refer to the the colours randomly) before proceeding
small stitches along the felt. The stitches Stitch Plan on page 63 for reference of with the next row. Bring the needle up from
should be around 2mm long and 2mm apart. stitch directions. the stitched row and take it down at an angle
Remove the pins when you feel the felt is across the established stitches so that the
secure. 9 10 11 12 TOP TIP! Use a waterproof pen to stitch won’t disappear. Vary the length and
mark the flow of stitch for the area you angle of the stitches and take some of the
12 Place the second largest piece of felt on are going to stitch next, to help guide stitches away from the previous row to create
top of the smaller felt and hold them with your long and short stitch. Start from the a spiky look. A rough guide for the angles
pins. Apply small stitches along the shape as centre and work sideways to maintain and placement of the spikes is in the Stitch
in Step 11. Remove the pins. the direction of the stitches. Plan but feel free to add more. 19 20 21

13 Repeat Step 11 for the largest piece of Hedgehog (Back) 20 Continue to add more rows on the
felt. 13 16 Starting with the outer edge and the hedgehog’s back with 839, 3031 and 3371. 22
middle part of the hedgehog’s back, use
14 Trace the hedgehog on another piece mainly 839 and randomly add 3031 to apply 21 Add spikes after every row. It is fine for
of pink fabric (the same as the background long and short stitch. Stop at where the belly the spikes and fur to be overlapping a little
fabric), then cut it out, leaving about 2mm starts. 16 when adding new rows. 23 24
around the design. Pin the traced fabric on
top of the felt. 14 17 Vary the length of stitches and take some 22 The fur at the back of the hedgehog’s ➜

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Project

21 22 23 24

25 26 27 28

29 30 31 32

33 34 35 36

head should finish sooner than the other the needle a little into the stitched toes. 27 3782 to add a row towards the right. Take
end. Do not attempt to even it out with the needle down into the stitched part. It
longer stitches. Simply fill the remaining area 25 Continue to add more rows, with brighter is fine if the stitches overlap with the
with extra rows and spikes. 25 shades closer to the spiky back and darker spikes. 31
shades towards the belly. To join the rows
Hedgehog (Belly) to the spikey back, take the needle into the 28 Avoid the ears and continue until it
23 The hedgehog’s belly is silk-shaded with stitched back. Vary the length and directions reaches around two thirds of the face. 32 33
3782, 3790, 839 and 3031. Starting from of stitches so that it looks furry. 28
the middle part of the edge, use 3782 and 29 Repeat Steps 27-28 on the other side of
3790, and make a row by bringing the needle 26 Use only dark shades in the area close to the face. 34
down outside the edge. Vary the length and the mouth. Add more rows to fill the area if
directions of the stitches to create a furry needed. 29 30 30 Use 3031 to apply split stitch along the
effect. 26 upper outline of the ears. 35
Hedgehog (Face)
24 Continue the row towards the belly with 27 At around the middle part of the face 31 Use 3031 to apply satin stitch on the
darker shades (3789 and 3031). It’s okay to take where it joins the back, use 3033, 739 and ears. 36 37

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 Project

37 38 39 40

41 42 43 44

45 46 47 48

49 50 51 52

32 Continue silk-shading the face by making 36 Use 3033 and 3782 to add highlights to 40 Use 310 to apply split stitch along the
more rows from the forehead towards the the eyes. 43 44 45 outline of the nose. Use 310 to apply satin
eyes. Use 3033, 739 and 3782, with darker stitch for the upper part of the nose. 48
shades for the areas above the eyes and 37 Continue silk-shading the face by making
lighter shades for the cheeks. Stop when the more rows towards the nose. Use lighter 41 For the lower part of the nose, bring the
two areas around the eyes are partly filled. shades (3033, 739, 3782) for the middle part needle up from the upper row and take it
38 39 and cheeks. down on the edge, with 310 at the middle
and a few stitches of 3021 on two sides to
33 Use 310 to apply split stitch along the 38 Use darker shades (blend in 3790 and outline the nostrils.
outline of the eyes. 40 839) for the areas under the eyes. Take the
needle a little into the eyes so it looks more 42 Use 3782 to add one stitch on the side
34 Use 310 to apply satin stitch on the natural. 46 of the nose (across a few stitches) as
eyes. 41 highlights. 49
39 Continue silk-shading towards the nose,
35 Use 3031 to add back stitch along the gradually fade out the lighter shades (3033 Crocuses
upper outline of the eyes. 42 and 739). Stop at the nose. 47 43 Cast on a green ribbon and apply back ➜

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Project

53 54 55 56

57 58 59 60

61 62 63 64

KNOW-
HOW
the calico, along the hoop, leaving an edge
RIBBONWORK of around 3cm.
• To prepare the ribbons for stitching, stitching is intended to start. Cut off the
cut a length of around 24cm and cast it knot after a few stitches. 49 Thread a long buttonhole thread, tie a
on a chenille needle. Tie a knot at one knot at the end and work running stitch
end. 50 • When the stitching is finished, turn around the excessive fabric. When the
the hoop over. Weave the end in the stitch has come back to where it starts,
• Put the needle through the other end established stitches and cut off the pull the thread tightly and draw the fabric
(leave around 5mm left). Tighten the ribbon. 53 together. Secure the thread with two back
loop to secure the knot at the eye of the stitches. 62
needle. 51 52 IMPORTANT! Please refer to the
Stitch Plan on page 63 for the stitches 50 Prepare a piece of backing fabric which
• Take the needle down in an area which used in creating the flowers. is around 3cm bigger than the hoop. Place it
will be covered and bring it up where the on the back of the hoop, fold the excessive
fabric in and secure it with pins. Keep folding
the fabric in and pinning until all excessive
stitch along the stem. 54 and detached chain stitch for the rest of the fabric is tucked under. 63
flowers. Stitch the petals in the background
44 Use green ribbons to apply straight stitch first, then add other petals on the front. 59 51 Thread a buttonhole thread and cast it
for the leaves, bring the needle up from the on the embroidered fabric and on a spot
bottom and take it down the tip of the leaf. TOP TIP! Use a mellor to guide and which will be covered. Apply slip stitch
Repeat for all stems and leaves. 55 56 manipulate the shape of the ribbons. 60 along the backing fabric to secure it on the
embroidered fabric. 64
45 Use yellow ribbons to apply straight stitch 47 Secure and tidy up all the ends at the
and detached chain stitch (lazy daisy) for back of the hoop. 61 ALTERNATIVE FINISHES
some of the flowers on the right. 57 58 If you skip the padding and ribbons, this
FINISHING hedgehog should make a cute motif for bags
46 Use purple ribbons to apply straight stitch 48 Trim the excessive fabric, together with and garments. ❤

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 Project

ABOUT ME
I am an embroidery
artist who is exploring
traditional hand
embroidery techniques
with the RSN Diploma
course. I love using
bright and warm colours in my designs,
which are often inspired by animals.
My favourite technique is silk shading,
and I like adding textures to my designs
by combining different techniques and
materials. You’ll find my artwork and
more about my creative journey on my
website Blooming Kapok.

bloomingkapokembroidery.com
Instagram.com/bloomingkapok
Facebook.com/bloomingkapokuk

Why should I choose digital?

A digital subscription is a super money-saving,
OWN inflation-busting option!
IT!
ü Indulge in your embroidery passion wherever you are.
ü Enjoy the flexibility and convenience, access all your easy to
follow, high resolution projects from any of your devices.

ü Can’t wait to get started with your next embroidery project?

Don’t worry, you’ll have early access straight to your devices
before the magazine even hits the shops.

SCAN ME! Take a look at all the great

offers we have waiting for you…
bit.ly/STCHPM www.stitchmag.co.uk 39
 email [email protected]

White Rabbit retreat

Join us for a White Rabbit adventure.
Create your own free standing
white rabbit, with Needlelace Flag
Goldwork Needle case tabard
Pewter trumpet, Pocket watch
and much more.

USE: STITCH01
DISCOUNT CODE

We will be going
on an adventure
-Visit the footprint home
of Lewis Carroll
-Lewis Carroll Centre
-Lewis Carroll Talk
-Topped off with our very
own Alice in Wonderland Your
Themed tea party. Appletons
wool stockist
by choice,
Or join our Mon/Tues Day Classes all colours
Phone: 01925 810697 in stock

Easy online ordering www.cleopatrasneedle.co.uk

dl k
Or email [email protected]

Studio Préniac
Fully Catered Creative Textiles Holidays
in South West France

Join our fully-catered, tutor-led Creative Textile

holidays, set in a stunning and tranquil
part of South West France.
Develop skills and confidence, have fun,
relax and enjoy a week of creativity,
good food and great company.
MANDY PATTULLO LOIS BLACKBURN
8th - 15th May 2024 6th - 13th June 2024

ALYSN MIDGELOW-MARSDEN
4th - 11th July 2024

LOUISE BALDWIN AMANDA HISLOP

5th - 12th September 2024 19th - 26th September 2024
For further details, contact Chris & Nicki
www.studiopreniac.com +33 (0) 6 30 05 54 45 [email protected]
SIRET: 878 449 156 00016
 Project

Stories & Stitches

Practise a variety of smocking techniques with our beautiful
book cushion that doubles as a smocking sampler

FIND THE
STITCH
R
CHART FO
P RO J E CT
THIS
4 5
ON PAGE

BY JAY HOOPER OF DIZZY & CREATIVE

www.stitchmag.co.uk
Project

B efore the advent of elastic, smocking used embroidery stitches to hold fabric in pleats
which allowed bodily movement. Used in Britain since the Middle Ages, the main
use was practical rather than decorative. This design uses a sampler approach to use
and display a few of the classic smocking stitches, then gives a practical use for
the finished panel in the form of a cosy book cushion. I finished my cushion by
adding a few Dorset Buttons – I think the ‘cottage industry’ link between the two
traditional techniques brought me to that final embellishment.

YOU WILL NEED

MATERIALS (I used DMC 166 / 21 / 3447 / 4100) • Steam iron
• Fabrics: - Sewing thread in contrast • Optional: Sewing machine (for cushion)
- Cotton fabric – Gingham or colour to fabric
Polka Dots with a consistent 6mm - Sewing thread in colour to match fabric STITCHES & TECHNIQUES
square pattern are perfect. Approx .75m, • Sew-on magnetic closures or press studs, Cushion-making, Smocking, Steaming
in the following pieces: x 3 OR strip of sew-on Velcro 36cm long, Hand embroidery: Half Chevron, Smocking
- 58 x 29cm (smocked panel), x 1 OR buttons, x 3 Stitches, Running Stitch
- 5 x 25cm (panel border), x 4 • Cushion pad, 30cm Hand or Machine stitching:
- 25 x 25cm (panel backing), x 1 Back Stitch, Buttonhole Stitch
- 36 x 36cm (cushion front), x 1 EQUIPMENT
- 36 x 25cm (cushion back), x 2 • Needles: See Stitch Guide and page 46 for stitch
• Medium-weight iron-on interfacing: - Hand embroidery formation details.
2.5 x 36cm, x 2 - Hand sewing needles
• Threads: • Embroidery scissors Finished smocked area: 20 x 20cm approx.
- Stranded cotton, three/four colours • Pins Finished cushion cover: 30 x 30cm approx.

PREPARATION 1 The first step, is to create the pleats. 1

Gathering threads sit at the base of the
KNOW-
pleats, whilst the smocking stitches are
HOW
SMOCKING worked across the top of the pleats. 2

• As with most things, preparation is 2 Smocking pleats are created by working

everything, and smocking requires threads in a horizontal line over the width of
some diligent attention from the outset. the fabric, picking up a small stitch through
• It’s possible to purchase transfer sheets the centre of each intersection of the
of smocking dots which can be ironed squares in your marked grid, using a separate
onto the reverse of your fabric. These thread for each horizontal line. These are
are helpful if you are using plain fabric, called gathering threads. 2
or fabric with a random pattern. Take a length of thread slightly longer
• Alternatively, use a rule and tailor’s than the width of fabric. It’s helpful to use
chalk to create a grid of uniform dots. a dark or contrast colour thread to that of
A set square is also a helpful tool for your fabric because, although the lines of
this method, to make sure your grid gathering stitching will not show completely
is absolutely square. For this design, from the surface of the fabric, they will 3
create a 6mm grid across the length provide a helpful horizontal guide for the
and width of the fabric. surface stitching.
• Or – by far the easiest option – use Make a large and secure knot at one end.
a fabric that already has a uniform, Keeping the knot in the seam allowance,
square pattern either woven or printed. make a running stitch, picking up the fabric
Gingham is the obvious choice, through each intersection (dot) of your grid,
although many dotted fabrics are also keeping the needle horizontal in the direction
very easy to use for this method. of travel for each stitch. At the end of the line,
4
The trick is to ensure the squares are leave the end of thread loose. 3 4
of the correct size for your project.
A 6mm square pattern is needed for 3 Repeat this step across the whole grid,
this project. always working in the same direction and
• Equally important, is ensuring that the keeping the knots in a vertical line down
grid is absolutely uniform in terms of the side of the fabric. For this project, the
vertical and horizontal lines. 1 stitching area will need 31 lines of gathering
stitches. 5

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 Project

5 6 7 8

9 10 11 12

13 15 16

14

Leave 1cm unstitched at inner edges

TOP TIP! If you have enough fabric, pleats out across the width. Use the blunt STITCHING THE DESIGN
make two or three additional gathering end of a large needle to run down between AND CREATING THE PANEL
lines above and below the stitching area each pleat to ensure each pleat is well- 9 If using stranded embroidery thread, use
– this all helps to keep the pleats even. defined. 9 three strands for all stitching. Start by making
a line of Outline Stitch at the top and bottom
4 When all lines are complete, pull the loose TOP TIP! If necessary, re-steam to lines of your project (Lines 1 and 31). This
ends of thread until all are uniformly tight. help set the pleats helps to stabilise the pleats and maintain a
Place the fabric right-side up on an ironing uniform width. It will also help to prevent the
board and hover a steam iron over the fabric STITCHING THE SURFACE – STARTING finished panel from overstretching.
for 2-3 minutes. Leave untouched for 5-10 AND FINISHING A further line of Outline or Cable Stitch at
minutes until thoroughly dry. This will help to 8 Whilst the gathering stitches sit along the the mid point (Line 16) can also help to set
‘set’ the pleats. 6 bottom of the pleats, the surface design is the pleats for stitching. 11
stitched across the top of the pleat. To start a
5 Place a rule or tape measure on a flat thread, work a tiny back stitch or two across 10 Now follow the Stitch Chart on page 45
surface and bring the pleated fabric to it. the base of a pleat at the back of the work, to complete stitching the design.
Gradually ease out the gathers until the or knot the thread and position this inside
pleated area measures 20cm (8in), (plus the bottom of a pleat at the back of the work. 11 When all surface stitching is complete,
seam allowances at either side of the Take the thread up inside a pleat, and bring it carefully snip the knots of the gathering
gathering stitches). Keep checking down the out to one side or at the start of the next stitch. threads and pull all the threads out of the
length of the fabric to ensure you have To finish a thread, take the thread to the back fabric. The smocked fabric will give very
a uniform width. 7 of the work at the last stitch made. Make slightly. If necessary, carefully press the
a couple of tiny back stitches across the seam allowances flat, but avoid pressing the
6 Turn the fabric over and tie off the bottom of a pleat. 10 stitched area. 12
gathering threads in pairs. Knot each
together three times, and trim ends to TOP TIP! When stitching, use the grid 12 Take four lengths of fabric, each 25 x
10cm (4in) or so. Do this for all the lines provided by the gathering threads 25cm. Mitre each end of each piece, and join
gathering threads. 8 (or the fabric pattern if using gingham or together into a square, keeping to 1cm seam
dots) to ensure that lines of stitching are allowance and leaving 1cm unjoined at each
7 Turn the fabric to the right side. Ease the horizontal and uniform. inner corner. 13 14 15 ➜

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Project

17 18 19 20

21 22 23 24

25 26 27 28

13 Position one side of the stitched panel your stitching does not show through on the folded edges, and stitch buttonholes with
and one inner edge of the mitred frame right side of the fabric. 18 machine or by hand. Overlap the two pieces
together, right-sides together. Match squares over the folded edges, by the depth of the
where possible, and ease the smocking 17 Use three strands of thread and work a folds, with the buttonholes uppermost on
stitching to fit the inner frame, between Half Chevron Stitch around the midpoint of the overlap. Mark the position of buttons and
the unjoined mitred length. Stitch in place, the mitred border. 19 sew those in place on the underlap. 23 24
leaving 1cm unstitched at each end of the
smocked panel side. MAKE THE CUSHION 22 If using snaps or magnetic closures,
Use a sewing machine or if hand sewing, 18 Take two pieces of fabric, 36 x 25cm. Fold overlap the two pieces over the folded
use a colour thread to match the fabric and under 1cm along one of the short edges of edges, by the depth of the folds. Mark the
work in back stitch. 16 Press seams open each piece to the back of the fabric, and position of three evenly spaced snaps and
and flat. press in place. 20 sew those in place (‘male’ on the underlap,
and ‘female’ on the reverse of the overlap). 25
14 Pivot the smocked panel at the corner 19 Take a strip of medium-weight interfacing
seam allowance, and bring together with the 2.5 x 36cm and position it against the crease 23 If using Velcro fastening, stitch one strip
next inner edge of the mitred frame. Stitch in just pressed, on the reverse of the fabric. across the centre of the underlap, and one
place, leaving 1cm unstitched at each end of Press in place. 21 Repeat for the second strip across the reverse of the overlap.
the smocked panel. Repeat for all four edges. piece of fabric.
Open out flat and carefully press the seams, 24 Secure the fastenings and press the back
avoiding the smocked area. Press the outer 20 Fold the fabric a second time, folding of the cushion. If using snaps or magnetic
edge of the mitred frame to the back of the it on the edge of the interfacing. Press in closures, add the final button embellishments
work by 1cm. 17 place. Stitch in place close along the inner on the overlap, if desired. 26 27
fold edge; if hand sewing, on the underlap
15 Take a square of fabric 25 x 25cm. Press work, Back stitch from the front of the 25 Take a piece of fabric 36 x 36cm and
the outer edge under by 1cm. Position fabric. I worked a woven back stitch using position the stitched panel centrally. Pin in
behind the stitched panel and border, wrong two colours of embroidery thread, on the place. Stitch the panel to the fabric on the
sides together. Pin. overlap. 22 23 edge of the mitred frame, working around
three sides only; leave the upper edge
16 Stitch the two pieces together around the 21 If using button fastening, mark three unstitched. Work a couple of additional
outer edge, using slip stitch. Take care that evenly spaced buttonholes on one of the reinforcing stitches at each of the upper

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 Project

29 30 31 32

33
STITCHING CHART
Use gathering threads as a guide to help keep lines horizontal

34

ABOUT ME
Dizzy & Creative is
where I design and
produce a wide range
of embroidery and
sewing kits, suitable
for all ages, stages and
corners. Use a sewing machine or if hand sewing machine or if hand stitching, work in levels of experience. Our signature is in
stitching, work Back Stitch. If hand sewing, back stitch. 30 crisp design, quality materials and clear
add a second round of stitching close to the stitch guidance, set out for both Right
first. 28 29 27 Turn the cover through to the right side. and Left handed stitchers.
Fold the seam allowances flat at the corners We offer kits, patterns, project books,
26 Place the front and back of the cushion before turning, to ensure nice crisp corners, gift cards, gift boxes and monthly
together, right-sides together. Pin around without snipping or poking at the seams as subscription packages.
the outer edge. Undo the central fastening. this weakens the part of the cushion that
Stitch all around the edge, keeping to a 1cm takes most wear. Press the edges. Insert a dizzyandcreative.co.uk
seam allowance all the way around. Use a cushion pad. 31 32 33 34 ❤

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Focus

Smocking Stitches
Jay Hooper’s book cushion uses a variety of classic smocking
stitches, so here she goes into detail about the formation of
each stitch, so you can achieve perfect results every time

CABLE STITCH 1 1
This stitch is a good stable stitch and handy
to insert as a break between blocks of
stitching. It can be used as a single line,
or worked in multiples close together to
create a block of pattern.

Bring the needle up on one side of a pleat

on the stitching line. Take it over the next
pleat. Take the thread back through the
pleat, keeping the needle horizontal. 2
Keep the thread alternately above and
below the needle for each stitch.

DIAMOND STITCH 2
Diamond Stitch is essentially Half Chevron
Stitch worked across the pleats, with a
second row below, inverted to create a
diamond pattern. Each row can be worked
between two gathering threads, or for a
tiny diamond, between hallway points.

1 Bring the needle up in the side of the first

pleat, on the stitching line. Take a stitch
over the next pleat keeping the thread
above and slanting the needle to emerge
slightly lower (usually halfway between 3
gathering threads).
2 Repeat until the final stitch on one side
(3rd, 5th, 7th). This stitch is worked on a
gathering thread, with the needle horizontal
and the thread kept below the needle. This
is the bottom stitch of the trellis.
3 Now work back up the other side of the
trellis in reverse, keeping the thread below
the needle until the final upper stitch,
where the needle is horizontal and the 4
thread above the needle. This is the upper
stitch of the trellis and should be on the
same gathering line as the starting point.
4 Repeat Steps 1-3 to the end of the row.
5 The second row is worked in reverse
order, so the upper stitch of the trellis
meets with the bottom stitch of the
previous row and forms a diamond pattern.

HONEYCOMB STITCH 3
Honeycomb Stitch is one of the most squares or larger areas (two gathering 1 Bring the needle up in the side of the first
elastic of smocking stitches, which can be threads and pleats) which creates a hollowed pleat, on the stitching line. Take a stitch
worked over gathering threads in single honeycomb effect. over the next pleat and back through the

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 Focus

first. Repeat with a second stitch, this time 5

taking the needle down inside the back of
the second pleat, bringing the thread out
at the side of the second pleat on the next
gathering thread.
2 Make a stitch across the second and
third pleats, then make a second stitch
over the two pleats and take the needle up
inside the back of the third pleat, to the first
gathering line.
3 Repeat Steps 1-2 on next pair of gathering
threads, inverting the stitching if a diamond
pattern is required. 6

OUTLINE STITCH 4
Use this stitch at the start and end of
patterns, and if your piece is a long one,
also use it at regular intervals down the
pattern. It creates a firm line, helping to set
the pleats and prevent the finished work
from over-stretching.

Outline Stitch is essentially Stem Stitch,

worked over the pleats. Bring the needle up
on one side of a pleat, then over the next 7
pleat. Take the thread back through the
pleat, slanting the needle slightly to allow the
finished stitch to sit along the stitching line.
Keep the thread either above or below the
needle for each stitch you make.

TRELLIS STITCH 5
Trellis Stitch can be worked using different
numbers of stitches to create each side of
the trellis, usually 3, 5 or 7 (always an odd
number). It is worked in two rows, which are
usually grouped over two or three gathering
threads, with upper (1st) and lower (3rd,
5th or 7th) stitches made on the gathering
threads and others halfway between.
WAVE STITCH 6 behind the second pleat.
1 Bring the needle up in the side of the first Wave Stitch is worked in exactly the same 2 Take the thread upwards and over the
pleat, on the stitching line. Take a stitch over way as for the first row of Trellis Stitch. second pleat, taking it down to the side
the next pleat keeping the thread above and Second and Third rows are made either a of the second pleat, on the line of the first
slanting the needle to emerge slightly lower half or full gathering stitch lower, to fit into gathering thread.
(usually halfway between gathering threads). the zig-zags. 3 Bring the thread up on the opposite side
2 Repeat until the final stitch on one side of the second pleat, and make a stitch
(3rd, 5th, 7th). This stitch is worked on a WOVEN (SURFACE) across the second and third pleats on the
gathering thread, with the needle horizontal HONEYCOMB STITCH 7 line of the first gathering thread. Bring the
and the thread kept below the needle. This is Work this stitch in the same way as for thread up between the two pleats.
the bottom stitch of the trellis. Honeycomb Stitch, except instead of taking 4 Take the thread downwards over the
3 Now work back up the other side of the the thread down behind pleats, take it third pleat, taking it down to the side of
trellis in reverse, keeping the thread below down and over the surface of the pleat, the pleat on the line of the second
the needle until the final upper stitch, where bringing the thread out to the side of the gathering thread.
the needle is horizontal and the thread pleat on the upper/lower gathering stitch. 5 Bring the thread up on the opposite side
above the needle. This is the upper stitch This stitch is worked in two rows, the of the first pleat, and make a stitch across
of the trellis and should be on the same second row inverted to create a diamond the third and fourth pleats on the line of the
gathering line as the starting point. honeycomb effect. second gathering thread. Bring the thread
4 Repeat steps 1 -3 to the end of the row. up between the two pleats.
5 The second row is worked in reverse order, 1 Bring the needle up in the side of the first 6 Repeat Steps 2-5, advancing one pleat at
so the upper stitch of the trellis meets with pleat, on the line of the second gathering a time across the row.
the bottom stitch of the previous row and thread. Make a stitch over the first and 7 Repeat the row, inverting stitches to form
forms a diamond pattern. second pleats and bring the thread up a diamond pattern.

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Project

Dragon’s Gold
SEE PAG
E
60 FOR
THE
TEMPLA
TES
FOR TH
IS
PROJEC
T

A symphony in transparent materials, goldwork techniques and padding, Arya the

water dragon creates a shimmering spectacle that will dazzle all who see her!
BY LOËTITIA GIBIER

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 Project

C oming out of the waves, Arya is a majestic mythical dragon

representing water. Bring her to life with imitation leather and simple
goldwork techniques for a truly striking effect. The use of organza
and pearl purl reinforces the transparency of water.

YOU WILL NEED

HOW-TO WORK FELT/LEATHER
MATERIALS EQUIPMENT
APPLIQUÉ
• Fabric: • Slate frame, 12in – I recommend using
- Calico – enough to frame your a slate frame for this project as it will • Use the Gutermann Sew All thread,
slate frame give you enough space and maintain the no need to wax it, and your smallest
- Cotton background – Moda Grunge in tension. If you choose to work in a hoop, needle. Come out of the background
colour Peacock – enough to frame your you may need to reduce the background, and into the felt or leather, just catching
slate frame a 10in hoop would fit the dragon head the edge with a tiny stab stitch.
- Iridescent imitation leather, Peacock, • Hoop, 9in, x 1 or 2
20 x 20cm • Freezer paper, A4, x 2 • Always come out of the background
- Pearlescent imitation leather, Gold, • Fine permanent marker to trace and into the felt/leather – the other way
12 x 12cm on the organza round would shred the edge.
- Felt, Turquoise or Blue, 20 x 30cm • Needles:
- Organza – Champagne and Teal green - Embroidery, size 9 • Start with a few stitches spread around
– 30 x 30cm, x 2 - Embroidery, size 10 the shape so it keeps the shape in
• Pearl purl (1mm), Cream (EM133), 4m - Large needle for plunging, I use a place. Then go around adding more
• Threads: chenille size 18, and a blunt needle such stab stitches splitting the distance in
- Passing as a tapestry size 28 two, repeat until the stitches are
– Light Gold (EMC002) and Blue Opal • Scissors: about 1-2mm apart. This prevents the
(EMC064), 3m - Goldwork, with serrated blade pieces slipping out of place and is useful
- 3-ply twists - Embroidery, small, sharp when using several layers on top of
- Blue Opal (BJ030), 5m - Curved embroidery (recommended) each other.
- Lagoon (BJ035), 4m • Block of beeswax
- Champagne (BJ044), 1.5m • Pair of tweezers or a mellor
- Aurifil Cotton 12; • Dry clear PVA glue
2692, 1148, 2525, 6001 and 2123 • Iron and ironing surface for IMPORTANT! All threads are used as a
- Gutermann Sew All; the freezer paper single length. Use the embroidery needle
189, 325 and 800 size 10 for all threads. If struggling with
- Chenille threads, Ice Blue and Pacific STITCHES & TECHNIQUES the Aurifil cotton 12, swap for the needle
Blue, 5m of each Couching Pearl Purl and threads, Felt and size 9. When whipping the back stitch
• Paper yarn, Sky Blue, 5m Leather Appliqué, Stem Stitch, Whipped or chain stitch, swap to the blunt needle
• Dragon eye of your choosing (glass Back Stitch, Whipped Chain Stitch for the ‘whipping’.
cabochon), 6mm – I used a blue and
orange one with a round pupil See Stitch Guide for full details of
stitch formations TOP TIP! To plunge the twists and
All the supplies listed above can be passing, I use a large needle such as a
bought as a materials pack at Finished size of dragon, including tapestry or chenille needle size 18. The
www.korrylittleshop.co.uk. The codes background: 30 x 22cm tweezers or mellor are useful to turn
in brackets refer to the reference of the the sharp angles with the pearl purl and
supplies on the same website. generally as a ‘pocking’ tool.

TOP TIP! Always make sure your

fabric is drum-tight in the slate frame or
KNOW- the hoop. Organza can be unforgiving if
HOW WORKING WITH PEARL PURL it is not tight enough.
• Always use Gutermann Sew All thread to slip between the coils making
thread or something similar to couch them invisible. PREPARATION
pearl purl. Wax the thread by running it a 1 Trace the felt and leather patterns on the
few times through beeswax. • When couching, you should hear a slight matt side of the freezer paper. The leather
pop when the thread settles in the coil. patterns have been mirrored to be ironed on
• Cut the desired length of pearl purl by If your thread is sitting on top without the back of the imitation leather. Keep that in
roughly measuring around the shape, hold slipping inside the coil, the stitch is not at mind if you are not using the freezer paper
it by each end and pull gently to open the correct angle, it may kink the wire, so method to cut the pieces.
the coil. This will allow for the couching come back out and try again.
2 Iron the shiny side of the freezer paper ➜

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Project

1 2 3 4

5 6 7 8

9 10 11 12

to the felt and on the back of the imitation START STITCHING 12 On the crest and the beard, add a line of
leather. 9 Couch the paper yarn and the two whipped chain stitch as per the image. The
chenille threads over the background, chain stitch is done in Aurifil 6001. Then
3 Cut all the pieces of felt and imitation creating wavy lines and swirls. Placing swap to the blunt needle and Aurifil 2123 to
leather. Don’t forget to cut the slit for the eye the threads in a pleasing manner, then whip the chain stitch. 10 11 12 13
of the dragon in the gold head piece. couching them all with a few stitches using
the White Gutermann, works well. Try to be 13 Add couched lines of Blue opal twist
4 Run a black permanent marker alongside spontaneous and free with it. Go up to the in between, in one single thread using the
the edges of the eye slit. It will give it definition appliquéd felt. The idea is to represent water. Green Gutermann thread. 14 15 16 17
when placed over the glass eye later. 1 5 6 7 8

14 In the dragon’s horns, couch lines of

5 Put the blue background fabric on top of TOP TIP! Cut the paper yarn and the Champagne twist using the Light yellow
the calico and mount in a slate frame. chenille threads flush to the surface, Gutermann thread. If you are unsure of
as it is easier and less damaging than placing your couched lines, you can trace
6 Place layer 1 of felt roughly in the middle. attempting to plunge them. Hide your them first with the permanent marker. At
To check the placement, use the leather couching stitches as much as possible. the top, plunge the end to the back and
body piece on top as this will be your last then tie them back cleanly. At the bottom,
layer. Stitch in place using Green Gutermann 10 Place the two pieces of Champagne there is no need to plunge as it will be
thread. 2 3 organza in a 9in hoop. Turn it over the stitched under the leather so it will be
pattern sheet – the patterns have once again covered. 18
7 Place layer 2 on top, check again for been mirrored for this method of tracing.
placement with the top layer and stitch the Use the permanent marker to trace them. 9 TOP TIP! Working on transparent
same way. fabric means you must be extra careful
11 Couch the Cream pearl purl using the with tying back ends or trailing threads.
8 Repeat for layer 3, it is very important to Light yellow Gutermann thread on the Be mindful at all times of areas that will
check placement as it can show underneath outline of the piece. The beard and the crest remain uncovered later before starting/
the leather. The leather is not as flexible as will not need a full outline as they will be stopping threads or trailing threads.
the felt. 4 stitched under the leather.

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 Project

13 14 15 16

17 18 19 20

21 22 23 24

NOTE! It is not recommended to use Use the permanent marker to place small 22 Place the gold part of the head in the
the waste knot technique on organza as registration marks to know where to stitch right place, and use the permanent marker
it is a fairly unstable ground and it can each piece without having to place them to mark a spot for the eye, roughly in the
become undone easily, so use a knot! back on to check in time. 20 middle of the eye slit. Remove the leather
piece and place a dot of glue on the spot.
15 When all the stitching is done, apply a thin 18 Use the Green Gutermann thread to Add the eye on top carefully, and leave to
line of PVA glue under the pearl purl outline stitch down the Peacock leather and the dry for a few hours. 26 27
of each piece. No need to apply glue to the Light-yellow thread to stitch the Gold
bottom outline of the crest and bread. Leave leather. Stitch the crest in place by using just 23 Once the eye is dry, stitch the gold part of
to dry for a few hours. 19 a few straight stitches at the bottom of the the head using the Light yellow Gutermann
piece. 21 thread the way you did the body.
16 Once dry, cut off the crest, beard, and
horns from the hoop as close to the pearl 19 Add on top the body, start with a few stab 24 Use the permanent marker to draw a line
purl as you dare. The bottom of the crest stitches all around, every inch or so. Then above and below the eye. Stitch those lines
and beard where there is no pearl purl can go around again placing more stab stitches using the Black Aurifil thread (2692) and stem
be cut about 5mm away from the black line. to split that distance in half. Repeat until you stitch. Use the mellor or tweezers to push
have a stab stitch every 1-2mm and a nice open the eyelid as you stitch. 28 29 30
TOP TIP! Using a small pair of curved smooth finish. 22
scissors can be really helpful to cut 25 Add an outline of stem stitch in Black
those pieces out. 20 Stitch the gold belly in place using the Aurifil thread around the gold part of the
same method. Make sure to use the smallest head. Add some more around the body and
17 Put all the dragon pieces on the stiches possible, in particular for the thin finally around the Peacock part of the head.
background check they’re in the right place: areas. 23 31 32 33 34 35

- The crest goes on top of the felt and

underneath the leather body. 21 Add the beard and horns, just attaching 26 Next, couch Cream pearl purl on the
- The beard and the horns go on top of them at the bottom with a few stitches. inside outline of the gold dragon belly piece
the body and underneath the Peacock- Stitch the Peacock head on top the same using some Light yellow Gutermann thread.
coloured head. way you did the body. 24 25 36 37 ➜

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Project

25 26 27 28

29 30 31 32

33 34 35 36

27 Place the 2 layers of Teal green organza in trailing threads!) and also make sure to add loops at the top and then hanging it
a 9in hoop. Turn over the wave patterns (they enough. I kept on placing the wave on top from a pole. ❤
have been mirrored) and use the permanent of the dragon to check whether there was
marker to trace them. enough area covered, we want these to
stand out. 44
28 Couch Cream pearl purl using the Green
Gutermann thread on all the outlines. Try 32 When all the stitching is done, apply a thin
ABOUT ME
to use one single length for each. The large line of glue underneath the pearl purl outline I have been teaching
wave will need about 75cm of pearl purl. 38 and let it dry. 45 and designing
embroidery for nine
29 Inside the waves, add some swirls of 33 Cut off all the waves from the hoop as years, following
whipped back stitch, using Aurifil 2525 for close to the pearl purl as you dare. Place two City & Guilds in
the back stitch and colour 1148 for the them on the background to make a pleasing Stumpwork. I use traditional techniques
‘whipping’. I traced the swirls using the arrangement. Stitch them in place using such as goldwork, stumpwork and silk
permanent markers to give me an idea of the Green Gutermann thread. Only a few shading in modern designs and I am
spacing. 39 40 41 42 stitches over the pearl purl outline should passionate about colour. I am also the
be enough to keep them in place and in the owner of Korry’s Little Shop, an online
30 Add more swirls and wave lines using all shape you want. Do not overdo it, you want shop specialising in goldwork and
the remaining metallic threads: the Lagoon them to stand proud. 46 47 48 difficult-to-find supplies for embroidery
and Blue opal twists, the Blue opal and and textile art. I also teach embroidery
Light gold passing. Match the Gutermann FINISHING online and in person, as well as giving
threads to the colour of the metallic threads 34 That’s it, ready for framing. I just laced talks about my embroidery work and
for couching. Use single or pairs of metallic mine on a piece of foam-core board ready design process.
threads. 43 to put in a frame.
korrylittleshop.co.uk
31 As you did for the background, try to ALTERNATIVE FINISHES facebook.com/KorrysLittleShop
be spontaneous and free for this step, just You could alternatively mount it as a wall instagram.com/korry77
be mindful of transparent open areas (no hanging by backing it with fabric, adding

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 Project

37 38 39 40

41 42 43 44

45 46 47 48

SEE PAG
E
60 FOR
THE
TEMPLA
TES
FOR TH
IS
PROJEC
T

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Latest

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you’ve yet to explore three-dimensional Smocking is a visually dictionary is an invaluable resource that
embroidery, and relish a challenge, plus a beautiful guide celebrating
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STITCH: MAKING BEAUTIFUL EMBROIDERY EASY
FRESH
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BREEZY BEAUTY PERFECT PORTRAIT
Jenni Davis’ washing line Alison Carpenter-Hughes’
design showcases a free-motion embroidery
multitude of stitches & appliqué tutorial

WHAT A CATCH! LAVENDER LOVE

Practice beading with Debbie von A trio of detailed floral

PLUS!
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✶ Pretty Parterre: Garden-inspired needlebook and pincushion by Brenda Sortwell

✶ Geo Patterns: Chris Yates shares a new technique for ‘parabolic zentangling’ in stitches
✶ Green Fingers: Lisa-Steed Davey’s topiary design combines punch needle with classic embroidery stitches

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 UNIQUE SELF-STUDY ONLINE COURSES

It’s time to develop your own designs and challenge your creativity.
No more kits or following along in a group re-creating another artist’s designs.
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EXCLUSIVE EXTENDED INTERVIEW FOR DIGITAL READERS! ★ EXCLUSIVE EXTENDED INTERVIEW FOR DIGITAL READERS!

“My Highland
cow silk
shading
project, is the
coursework for
my advanced
silk shading
module of my
RSN Diploma.”

Meet the Artist

We chat with one of our talented embroidery artists. Regular Stitch
TURN
contributor Joyce Wong shares with us her love of silk shading and TO PAG
E
talks about her current course at the Royal School of Needlework FOR JO 33
YC
HEDGE E’S
HOG
PROJE
The hedgehog you created I’ve loved drawing and all kinds of crafts since easy task to keep CT!
for Stitch is so sweet – I was a child. I had an office day job but I a heavily stitched
what did you enjoy the took all sorts of art classes such as sketching, fabric straight
most about creating it? watercolour, crochet and ceramics in my but it’s such an important
It has to be the making of leisure time to fill my creative void. job for the piece to be kept in pristine
the spikes! When it comes A few years ago, my husband’s job condition. After putting so much effort into
to silk shading, sometimes brought us to the UK so I took the chance to the embroidery, imagine my frustration when
it’s more tricky to make the rethink my career and pursue my passion in there’s a wrinkle that draws all the attention!
stitches look random than to make them embroidery. I then signed myself up for the
smooth. In this design, I tried to create a C&D course with RSN and started my journey Who would you say has been the biggest
smooth fur with the darker colours and use as an embroiderer. influence on your work so far?
contrasting colours for the spikes so that they Every RSN tutor I’ve encountered personally
stand out. It was really fun and satisfying to Can you explain a bit about the course you has had a huge influence on my work. Their
see the spikes popping from the hedgehog’s are on at RSN – what’s involved, what have feedback has encouraged me to pursue a
fur, one by one. been the most rewarding parts and what higher level for my work. But if I really have
you have found the most challenging? to name one, I’d say, Margaret Dier, though I
What would be your top tips for any readers I’m currently working on my RSN Diploma. haven’t met her, I’ve learnt a lot from her silk
yet to try silk shading who’d like to stitch Like every other student, I need to finish shading book and I still refer to it from time
your hedgehog? six modules for which I can choose a to time.
I think readers with less experience in silk specific technique and create coursework
shading could be intimidated by the spikes. respectively. I’ve finished appliqué, blackwork, Where do you get your inspiration from?
It’s actually easier than they think! The key is silk shading and advanced goldwork and am For silk shading projects, it’s important for
to follow the stitch directions for the darker currently on stumpwork. It may sound like me to use a reference photo that I feel
fur so that it appears smooth and to vary an exaggeration but my journey through the connected with, as I think a photo with good
the length of the stitches so that the rows course does feel like a rediscovery of myself composition is the start of a good design.
wouldn’t look blocky. For the spikes, it’s ok artistically. I’ve found the experimental side of Therefore I always take lots of photos of
to be a little random. Make the stitches long me through lots of sampling and have come everyday objects that catch my eye. There are
and across the previous rows, as that’s what a to love mixing different materials in now so many photos of birds and flowers on
hedgehog’s spikes look like. my embroideries. my phone waiting to be stitched!
After years on the course, I still find
Tell us about your journey to becoming mounting very challenging, especially when How would you describe your style?
an embroiderer and your general artistic there are 3D elements in the embroidery. I My embroideries are pretty realistic and
background… do think mounting is an art itself and it’s no detailed and I love silk shading with a little ➜

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EXCLUSIVE EXTENDED INTERVIEW FOR DIGITAL READERS! ★ EXCLUSIVE EXTENDED INTERVIEW FOR DIGITAL READERS!

You may recognise

these gorgeous pieces by
Joyce from previous issues
of Stitch. The panda was
featured in issue 135, the fox
in issue 139, the goldfish was in
issue 141 and the fuchsias in issue
143. If you’d like to stitch them,
you can visit www.stitchmag.co.uk
to order a back issue!

start in the evening after my girl is in bed.

I really enjoy the precious hours when I
can stitch quietly.

Can you describe your favourite

materials and threads to work
with and why you love them?
I love using cotton strands for my
silk shading projects. Common as
they are, they come in the widest
range of colours that are good
enough for most projects. I usually use
DMC and Anchor threads as I love their
shine and shades. Silk ribbon is my recent
favourite. It’s such a quick and elegant
way to add textures to a piece. I’m currently
sampling with ribbon roses for a stumpwork
project and I really enjoy the 3D touch they
bring to the piece. I’m sure it will make more
bring. Sometimes just by adding one or two presence in my future projects.
stitches of highlight, it could brighten the
whole piece of work. What do you think about the embroidery
scene in the UK – has it helped to be based
What is your creative space like? in the UK while you pursue your passion?
My stitching room had to give way to my I find the embroidery scene in the UK. very
baby’s nursery last year so I’m now sharing vibrant and it’ll only get even better as there
an office with my husband. I have my own are just so many talented artists around!
corner consisting of a work desk, trestles and Being based in the UK. has certainly helped
twist. I like using traditional techniques to slate frames, and a shelf full of embroidery my career as an embroiderer. First of all,
express everyday subjects such as flowers books and boxes of materials and tools. I wish there are inspirations everywhere, from the
and animals. I study the subjects very to tell you that I have a tidy and organised rich history of embroideries that we see in
closely and try to deliver in a realistic style. space but the truth is my fabrics and threads museums to the wonderful nature that is ever
Influenced by what I’ve learnt at RSN, I’ve are all over the desk as I always have multiple so inspiring. These have all fuelled my desire
been experimenting to combine different projects at hand. Having said that, I always to create. I also enjoy being in the embroidery
techniques with silk shading, for example, this keep my desk clean as I have to make sure my community in the UK. as I believe like minds
hedgehog and the ribbon flowers. embroideries are in the best condition. could drive each other forward. I always feel
so encouraged by the comments left on my
You work across a variety of stitching What’s a typical day spent designing and social media by other fellow embroiderers.
techniques – which is your favourite? creating like for you?
My favourite technique is definitely silk I work and stitch whenever my baby takes What’s the trickiest technique you’ve ever
shading because I love drawing and colours. a nap! It means that it can be as short as mastered – and your top tip for getting it
It’s also because my favourite subjects are only 30 minutes during the day. Having a kid just right?
flowers and animals, and silk shading is the means I have to excel at multitasking, so I I had a really love-hate relationship with
best medium for me to create the flow and always write down any ideas that come to me broad plates for goldwork projects. I love how
textures. I’m always amazed by the subtle during the day and go back to the ideas and it shines but it is a very unforgiving wire to
change in colours that a single stitch could get stitching at night. My real working hours use. Any dents would spoil the perfectly shiny

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EXCLUSIVE EXTENDED INTERVIEW FOR DIGITAL READERS! ★ EXCLUSIVE EXTENDED INTERVIEW FOR DIGITAL READERS!

surface that I try to create. The worst thing is Joyce gets to

that it often leaves a mark on the fabric when work when her
baby is asleep.
it is undone. To apply the broad plates neatly,

My journey through
the course does feel
like a rediscovery of
myself artisticallyxxx

the key is to have a very firm padding and

to let the folds overlap a little bit so that the
underneath padding wouldn’t show.

Do you know which technique you’ll be

choosing for your final module and why?
It’ll still be a while before I get to my last
module but I’ve already decided that I’d go
for Creative Goldwork. After doing two
goldwork modules I’ve got a glimpse of
goldwork techniques and materials, so next,
I’d love to go deeper and explore more ways
to express my ideas in goldwork. I was told
that in this module I’d need to throw the
goldwork rules I’ve learned out of the window
and I honestly can’t wait!
own works. When I look at my works, I’ll try to on our honeymoon on the Isle of Skye - I
What makes a finished piece perfect in look at the big picture, and I’ll be happy when still vividly remember that cow taking the
your eye? When you love something my ideas are delivered. food from our hands! I love that the contrast
you’ve done, what are you usually most of light and shades has given drama to the
happy about? Finally, which embroidery piece are you design. It took me a long while to create the
For me, a perfect piece of embroidery isn’t most proud of and why? fur but I think it is well worth the effort. This
always about techniques. When you’ve got a I’m pretty proud of my Highland cow silk handsome cow is now proudly hung in my
brilliant design, sometimes simple techniques shading project, which is the coursework of living room. ❤
work best. Being an embroiderer it’s easy to my advanced silk shading module of my RSN
criticise myself and pick out the flaws in my Diploma. The design is from a photo I took See page 39 for more about Joyce’s work.

Blackwork and
goldwork pieces
form part of
Joyce’s RSN
coursework.

www.stitchmag.co.uk
Templates
Trace on the champagne organza

Templates Crest
All the templates, guides and patterns you will need to complete
this issue’s projects. Please note the scale before starting.

Trace on the champagne organza

Trace on the
Champagne organza
Horns
Crest
Beard

Horns

Beard

Dragon’s Gold
Page 48

Scale:

Trace on the
100%
Trace on teal green organza
the Teal
green organza

Trace on the teal green organza

www.stitchmag.co.uk
 Cut in gold imitation leather Templates

Cut in gold imitation leather

Cut in gold imitation leather Cut the slit for
Cut the
theslit
eyefor the eye
Cut in Gold
imitation
leather

Cut the slit for the eye

Cut the slit for the eye

1 reyaL
If using the freezer paper technique,
2 reyaL Cut in Gold
mirror the patterns to iron on the back
imitation of the leather
leather
usingtechnique
If using the freezer Ifpaper ,
Peacock paper tec
Cut infreezer
the
to ironthe
mirror the patterns mirror the back to iron on
on patterns
imitation
of the leather of the leatherleather

Cut in peacock imitation leather

tlef eulb ni sreyal 3 lla tuC

Cut in peacock imitation
Cut leather
Cut in Peacock
in peacock imitation leather
imitation
leather
If using the freezer
paper technique,
mirror the patterns
to iron on the back 3 reyaL
of the leather

1 re2ya
reLyaL
Cut all three
A WORD ON COPYRIGHT inner shapes in
Sharing may be encouraged in many aspects of life,
Blue felt
2 reyaL
but when it comes to original material, you have to
be wary of copyright. By all means, copy the project
or demonstration for your OWN PLEASURE, but no
part of this magazine may be published, reproduced,
copied, or stored in a retrieval system without the
prior permission in writing of the publisher.

Even where permission is gained, it’s still courteous

to credit the original source and designer. Any activity
used to benefit commercially from the magazine is
not permitted. By respecting copyright, you ensure
that we, as publishers, can continue to provide you
with the content you want.

For more on how you can navigate this tricky area, visit
hobbies-and-crafts.co.uk/information/copyright.
For any further queries relating to copyright, contact
[email protected] and state your
query is related to Stitch.

www.stitchmag.co.uk
Templates

Bag template Stash Street

– stitch with Page 23
a 1/4in seam
allowance
Hinge
points Scale:
60%

Straight
of grain
Appliqué placement
and stitch guide

Appliqué pieces – some Tree

pieces are intentially
reversed image

Scale: House House

100% 1 2 and 3

Grass (right) Grass (left)

Sun

Path

Road

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 Templates

Tail of
Splendour
Page 7
Scale:
100%

^ƚŝƚĐŚWůĂŶ


Spring Arrival Scale: 
Page 33 100%
Template

 
Stitch diagram
The coloured lines show the stitch
direction for long and short stitch
dŚĞĐŽůŽƵƌůŝŶĞƐƐŚŽǁƚŚĞƐƚŝƚĐŚĚŝƌĞĐƚŝŽŶĨŽƌůŽŶŐĂŶĚƐŚŽƌƚƐƚŝƚĐŚ͘
A - Back stitch
Ͳ ĂĐŬ ƐƚŝƚĐŚ B - Detached chain stitch
 Ͳ ĞƚĂĐŚĞĚĐŚĂŝŶ C - Satin stitch (nose, eyes, ears and toes)
D - Straight stitch (all leaves and petals
Ͳ ^ĂƚŝŶƐƚŝƚĐŚ;ŶŽƐĞ͕ĞĂƌƐ͕ĞLJĞƐĂŶĚƚŽĞƐͿ
that are not labelled)
 Ͳ^ƚƌĂŝŐŚƚƐƚŝƚĐŚ ;ůůůĞĂǀĞƐĂŶĚƚŚĞƉĞƚĂůƐƚŚĂƚĂƌĞŶŽƚůĂďĞůůĞĚͿ
www.stitchmag.co.uk
Stitch Guide

Back Stitch point of the needle. Repeat following the design line. to the right at D and take a small stitch to the left (E).
Bring thread through on the stitch line and take Repeat as shown, making sure that the stitches are
a small backward stitch through the fabric. Bring Detached Chain Stitch - see Lazy Daisy Stitch of equal size and evenly spaced.
the needle through again a little in front of the first
stitch, take another stitch, inserting the needle at the Couching Ladder Stitch (Slip Stitch)
point where it first came through. Repeat. Lay down the cord or braid to be couched and with To join two flat pieces, such as fabric covered
another thread catch it down with small, evenly cards, invisibly, work ladder stitch as shown. When
Interwoven Back Stitch spaced, stitches worked at right angles over the top. thread is tightened, the stitches should be virtually
Work a row of back stitch along the line of the invisible. Work this stitch with a fine curved needle
design. Next, using a contrasting or toning colour Cross Stitch if you can.
of thread, lace the stitches as shown on image 23 Create X-shaped stitches on a piece of evenly
on page 44. woven fabric, such as aida. Lazy Daisy Stitch
Also known as
Double Interwoven Back Stitch Fly Stitch detached chain
Work this in the same way as interwoven back Bring the thread stitch. Bring the
stitch, but on completion, go back round the through at the top thread through and,
other way, filling in the gaps to create a left, hold it down holding it down
symmetrical effect. with the left thumb with your thumb,
and insert the insert the needle
Battlement Trellis - see Trellis Stitch needle to the right again just a single
on the same level, thread away. Still
Blanket Stitch a little distance from where the thread first emerged. holding the thread,
Bring the thread out on the lower line, insert the Take a small stitch downwards to the centre with bring the needle
needle in position in the upper line and take a the thread below the needle. Pull through and insert through. Pull the
straight downward stitch, keeping the working the needle below the thread, as shown, to hold it thread through
thread under the point of the needle. Pull up the in place, bringing the needle up again in position gently to form a
stitch to form a loop and repeat. to work the next stitch. Place the stitches closer small loop, then
together with a short tying stitch for a closed fly insert the needle to
Bullion Knot stitch filling. form a small tying stitch over the loop.
Make a back stitch,
the length of French Knot Long & Short Stitch
the bullion knot Bring the thread The stitches in the first row are alternately long and
required. Bring the out at the required short and closely follow the shape of the outline.
needle out where position. Keep the In the following rows, the stitches are even in size
it first entered the thread taut, holding and worked to achieve a smooth appearance. The
fabric, but do not it firmly about diagram shows how to achieve a shaded effect. To
bring it out all the 4cms from where give a good edge, stem, back or chain stitch can be
way. Twist the working thread round the needle it emerges. Encircle worked around the outline; stitches should be taken
point, as many times as is necessary to equal the the thread twice over the stitched outline, as shown.
length of the back stitch. Holding the left thumb on with the needle and, still holding the thread firmly,
1 2
the coiled thread, turn the needle back to where it twist the needle back to the starting point, inserting
was inserted (see arrow) and insert it in the same it close to where the thread first emerged (not in the
place. Pull the thread through until the bullion knot exact place or it will simply pull back through). Pull
lies flat. the taut thread so that the knot slides down
the needle until it is touching the fabric. Pull the
Burden Stitch needle through to the back, leaving a small knot on
A filling stitch that the surface.
starts with a series
of horizontal single Half Chevron
stitched lines over Stitch Padded Satin Stitch
the area to be Bring the thread Work a layer of straight stitches horizontally across
filled; lock the last through on the the shape to be filled, keeping the stitches just inside
stitch on the reverse. Next stitch a series of vertical lower line at the the design line. The stitches must lie side by side so
straight stitches to anchor each row down. The left side, insert closely that none of the background fabric shows
vertical stitch length should lie over a horizontal the needle a little through. When working the top layer of vertical
row, spanning the gap between the previous and to the right on stitches over the padding, start in the centre of the
the next horizontal lines. Space these stitches the same line petal to establish the direction of the stitches. The
across each row depending on the effect desired: and take a small top layer of stitches should be worked just over the
denser stitching gives a woven look. In subsequent stitch to the left design line so that the line does not show.
rows the vertical stitches should sit in between the emerging half-way
stitches of the previous row in a brickwork pattern. along the stitch Plunging Threads
Keep adding these vertical couching stitches until all just made. Next, This is used to take the ends of threads to the
horizontal lines are covered and the area is filled. insert the needle reverse of the fabric.
on the upper line 1 Thread a large needle with a loop of sewing
Buttonhole Stitch a little to the right thread. Take needle through fabric, leaving loop of
Bring the thread out on the lower and take a small stitch to the left. Insert the needle thread on the surface.
line, insert the needle in position in again on the same line a little to the right and take a 2 Place loose end of the other thread through loop
the upper line and take a straight small stitch to the left, emerging at the centre as in (if couching two strands, take them to the back
downward stitch, keeping the working diagram. Continue in this way, working alternately one at a time) and then pull the loop to bring the
thread under the point of the needle. on the upper and lower lines. end of the thread to the wrong side.
Pull the stitch up to form a loop, and The Half Chevron Stitch has only one connected 3 To hold the ends in place, use sewing cotton in
repeat. side. The other side forms peaks or crests, giving it a fine needle to over-sew end in place on the
an attractive appearance. reverse.
Chain Stitch
Bring the thread Herringbone c b g f Raised Chain band
up at the top of Stitch A series of chain stitch loops made over rows of
the line and hold it Bring the needle straight stitches. Stitch a ladder, bringing the needle
down with the left out at A on the up on alternate sides to make short stitches on
thumb. Insert the lower line at the the back. Thread a needle with another colour
a e d i h
needle where it last left side and insert and bring up through at the top of the ladder in a
emerged and bring on the upper line a central position. Draw the thread through and swap
the point out a short distance away. Pull the thread little to the right at B, taking a small stitch to the left to a tapestry needle. Pass needle upwards and left
through, keeping the working thread under the to C. Next insert the needle on the lower line a little under top stitch of ladder. Draw thread through and

www.stitchmag.co.uk
 Stitch Guide

pass downward on the right-hand side under the Stab Stitch only need to secure your final lattice grid.
same top stitch of ladder. Ensure loop of thread lies This is a very small By securing this, you’ll also secure all your
under needle. Pull thread through then down to holding stitch used other stitches.
create a ‘Y’ shape. Draw thread through. Pass needle to hold fabric layers
downward on right-hand side under same straight together without Twisted Chain Stitch
stitch. Ensure loop of thread lies under needle as visible distortion Start as for ordinary chain stitch, but instead of
before. Pull thread through then down to create a ‘Y’ of stitching on inserting the needle into the place from where it
shape. Repeat down the ladder. the fabric surface. emerged, insert it close to the last loop and take
The needle needs a small slanting stitch, coming out on the line of
Raised Stem Band to come up from under the fabric and be plunged the design. Pull the thread through. To create the
Make a series of down through the layers being secured. correct effect, the loops of this stitch should be
parallel stitches, Stem Stitch
worked closely together.
approx. ¼in apart. Stem Stitch
Using a blunt Work from left to Waste Knot
needle, come up right, taking regular Make a knot in the end
at A and with the small stitches along of the thread. Take
thread to the right the line of the the needle through
of the needle, slide it under the first bar. Do not go design. The thread from the right side of
through the background fabric. Continue working always emerges on the fabric, about 5cm
up the bars to the top. Take your needle and thread the left side of the from where you want
to the back of the work and come out beside the previous stitch. to begin stitching.
last row worked at the bottom of the ladder. Work as It can be used for Bring the needle back
many rows as required to fill the area. flower stems, outlines, etc. It can also be used as through to the surface
a filling stitch if worked closely together within a at the point where
Running Stitch shape until completely filled. you want to start
Pass the needle stitching. Once you’ve
in and out of the Straight Stitch worked 3-4 stitches,
fabric, making the Single, spaced stitches sometimes of varying size. snip off the knot and
surface stitches of The stitches should lie flat on the surface and not be darn the end into
equal length. The loose or pulled too tight. stitching on the back
stitches on the of the work. Snip off
underside should Trellis Stitch the excess.
be of equal length,
but half the size b Whipped Back
1 d 2 r t
or less than upper Stitch/Chain
f p
stitches. Stitch/Running
h n Stitch/Stem Stitch
Satin Stitch a s First form a
j l
Work straight stitches so they lie side-by-side. The c foundation row;
number of strands of thread used for stitching will q back (shown),
e o
vary depending on the effect desired; fewer strands g chain, running and
m
gives a smoother result. k i stem stitches all
work well. Next, using a contrasting or toning colour
Seed Stitch/Seeding 3 4 of thread in a blunt tapestry needle, weave along
This is a filling stitch the line of stitching, taking the needle under each
made up of small straight stitch (from right to left) and looping over to the
stitches placed at random next without piercing the fabric.
directions which flow over Work a row of back stitch along the line of the
the surface. design. Next, using a contrasting or toning colour of
thread, work along the line of stitching, taking the
Slip Stitch needle under each stitch without piercing the fabric.
See Ladder Stitch
Split Stitch
Work long, evenly spaced stitches diagonally over Woven wheel
Split Stitch the area to be filled. Next work long, evenly spaced Begin with an
(Split Back Stitch) stitches at right angles over the first layer of stitches uneven number
Following the line to create a grid. Now secure the grid by working of spokes in the
to be covered, take small upright stitches over the intersections where star. Work around
a small back stitch the lattice stitches cross. the wheel
so needle comes A trellis stitch variation that creates layers of grids weaving under
up through working next to each other, is battlement trellis, which gives and over the
thread. a tartan/check style look. With battlement trellis you spokes as shown.

Sustainability at
The Forest Stewardship Council® is an international nongovernmental
organization that promotes environmentally appropriate, socially
beneficial, and economically viable management of the world’s forests.
To learn more, visit www.fsc.org.
FSC® is dedicated to the promotion of responsible forest management worldwide, helps
take care of forests for future generations and helps take care of the people and wildlife
that call them home.
Therefore, by choosing this product, you are supporting responsible management of the
world’s forests, because the materials used for this product come from well-managed
FSC®-certified forests and from recycled materials and other controlled sources.

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