UNIQUE Handmade TEXTILE Art Slow Stitching Embroidery VINTAGE Antique Fabrics Sustainable Colourful Flowers Orange Green Blue Repurposed !! This is a repurposed work of art made out of a vintage army blanket, vintage 1970s sheets, and vintage buttons. I used a blanket stitch, french knots, and suffolk puffs. The textile is attached to a branch which can be easily hung up anywhere in your home. Featuring gorgeous colourful flowers of orange, yellow and green. At the stems there is beautiful vibrant repurposed vintage buttons. All fabrics are antique and vintage , therefore the colours come across as faded grandeur Please feel free to check out my other handmade art !! All items are sent tracked and signed for.

playground IV, 2002, hand embroidery, 84x84cm, trubadour songs II, he, 1998, hand embroidery on cotton, 100x100cm, bestiary III, 2004, hand embroidery, 135x148cm, rainyday II, 2002, hand embroidery, 166x144cm i've always been a huge fan of this artist's child-like and carefree imagery, yet, skillful and painterly stitch...see more here.

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Another way of filling a shape in your embroidery pattern :) Lots of pictures below, you were warned! So, the stitch of this month is detached buttonhole! Or, rather, the technique of this month, because actually, this stitch has some variations and the name can even be extended to a technique common for stumpwork (which will hopefully be covered in one of the next posts). But I digress. If you are not familiar with a regular buttonhole stitch, check out these posts first: Buttonhole stitch basics Buttonhole stitch variations Buttonhole stitch as a filler Buttonhole stitch tip I recommend trying it out on a spare piece of fabric first, at least the basic one, to get used to the way it is worked. Although, you can actually work detached buttonhole without any preparation! Now, let's start the lesson because it is quite long as it is. Detached buttonhole type 1: loose I'm working this one with 1 strand of floss. First, we need to outline the shape. I used chain stitch, but other line stitches will do just as fine: back stitch, stem stitch, split stitch will suit this purpose. Now, if you strive for perfection, you might want to work the stitches evenly on the left and right sides. In this case, they will serve as a sort of mark. I'm usually the one to take it easy, so my stitches aren't perfectly aligned, they only serve the purpose of being an outline. Because of that I don't have marks and have to rely on my intuition, but I don't really mind, haha. We begin the first row of detached buttonhole the following way: bring the needle up through the fabric at one side of the shape, a little under the top, then slide the needle through one of the stitches of the outline vertically with your tip going downward. Notice how the working end of the thread is being tucked under the needle tip at this step. Pull the needle through, forming a loop. Keep it loose enough, don't pull too tight. But also, keep it in shape, you know? Well, you will get a hang of it once you try! Keep making stitches the same way and don't forget to slide your needle under the top stitches with its tip down and with the working thread tucked underneath. After you make the last loop, insert the needle on the other side of the shape, a little below the top level, mirroring what you did in the first step. Now come up through the fabric on the same side and repeat all the steps except that now you will be anchoring your loops on the ones from the row above. Keep going! By the way, for weaving techniques like this it is always better to use a needle with a blunt tip to avoid picking on thread fibers. I was too lazy to search for one in my stash though, so I just moved the needle with the needle eye down. If you look closely at the loops from different rows you will see the slight difference in how they are formed. It is because we change the direction with every row. But the difference is very difficult to notice without looking closely so we can make this sacrifice in order to save thread, right? It will not work for the other type of detached buttonhole though.... When we finished, we need to anchor the last row. For that, make a loop like you would normally do, tucking the working end of thread under the needle, and then slide the needle under one of the stitches from the outline. It will anchor the loop to that stitch. Keep doing the same with the rest of the loops in the last row. Anchored well! The result. Well, not perfectly neat, but it is a practice so I didn't really sweat over it, haha. I actually used this detached buttonhole for the leaves in this pattern! You can see that it can be worked for irregular shapes as well. Going to be a little challenging, but you just need to calculate the way place your rows. Detached buttonhole type 2: close woven The order of work for this is almost the same, the core movements are identical – we just add one more element. For this shape, I'm using 3 strands of floss, to make the weave even more close and dense. If I worked it with 1 strand of floss it would be a little more airy, but I wanted to show how to get that “heavy” effect. So, work an outline for your shape, I used back stitch here. Then, come upwards through the fabric at one side of the shape and insert the needle at another side on the same level. You are making a giant straight stitch this way, which lies horizontally on the fabric. And then, on the same side where you inserted the needle last time, you will come up a little below that bar, and make a loop. The loop is worked almost the same way as before: the needle sliding downward through the stitch above, except that the needle also goes under the bar before you tuck the working thread under it. So, remember: under the stitch above, under the bar, but over the working thread. This way, you are trapping the bar stitch inside your loop. And then you can continue working the full row repeating the previous steps. When you reach the other side, you need to make a new bar and start another row of detached buttonhole. So, basically, you always start on the same side. With this type of weaving and this thickness of thread, if you start a new row of loops from another side, the difference will be more visible. It is not that likely to start from the other side, though, because you always come back to the same one after making another bar, anyway. But I'm telling this in case your thread ends and you want to continue from the other side. The difference in loops will be clear! Now to the topic of anchoring the loops. I have two suggestions. Here, as you are working the last row of loops, you can slide under the outline stitch as well. So, the order will be: under the loop above, under the bar, under the stitch from the outline, over the working thread. It will create a sort of an edge. Another way is to work the last row of stitches completely (I cut it in half here just to show you what it would look like), and then anchor every loop like you would do with a fly stitch. This is how it can look like. You can also anchor it right over the outline stitches! I used the first method to save thread because it was about to finish, haha. It can be worked even closer, actually. To the point that the background hardly peaks through at all. For that, make your loops shorter – I skipped every other back stitch when I was working the first row, but you can make a loop for each one. So, here are the new ways you can fill your shapes in embroidery. One is an open filling, like lattice, the other is... semi-solid, I would say? It will depend on how closely you work it and how thick your thread will be! Oof, congrats if you made it till here! See you at the next tutorial! :)

Hello all, Today i am going to continue my investigation into the Provençal Costume by talking about something which may be surprising in such a warm climate, namely, quilted clothing. Quilted clothing is extremely widespread, as far as China, being a practical way to produce warm clothing. There are three garments worn as part of this costume which are sometimes quilted, the corset or bodice, the petticoat, and the skirt. Obviously these are more commonly worn in winter, but the skirt especially is sometimes worn even in warm weather for special occasions, such as weddings. There are two types of 'corset' or bodice worn in Provençe, with a lace up front, or an overlapping front which is pinned shut. The peasant class, the Paisanne, often wears a laced bodice as the sole outer garment, made of a double layer of colored or striped cloth. The Artisanne and the Bastidanne most commonly wear the bodice or corset which is pinned shut across the front. The back has a fold with lacing to adjust the corset to the body and provide support for the torso. This type of bodice/corset is worn over the chemise and under the dress or jacket 'caraco'. The corset is usually white or off-white, made of a double layer of cloth, and often finely quilted. Here is a photo of such a corset. Another similar garment is the petticoat, which in cooler weather is quilted the same way. These garments are made with minimal wadding or none at all, and often show very elaborate geometric and/or floral designs quilted into them. Here are some examples. More surprisingly, perhaps is a skirt worn by the upper class, the 'Bastidanne', which is sewn and quilted just like a comforter, and is considered to be a very formal garment. The normal skirt averages about 4.5 m around, but the quilted skirt runs about 2.6 m. The regular skirt is called 'jupe', but the quilted skirt goes by the special name of 'Cotillon'. Here is a drawing by Lucille Armstrong showing this version of the Provençal Costume. This is more or less the upper class, Bastidanne Costume, except that the sleeves on the jacket are usually longer, and the fichu is normally of whitework. Here is another photograph of a Provençal wedding, with both the bride and groom in the Bastidanne Costume. It is very refreshing to see people maintain their own traditions instead of submitting to the cookie cutter white elephant wedding gown of standard western culture. The woman standing at the left and the man kneeling at the right are both in Paisanne Costume, while the two women standing and kneeling behind the groom are both in Artisanne Costume. If you look closely, you can see that the bride is wearing a quilted 'cotillon'. If the cotillon is made of a printed material, then usually the quilting is made up of a grid of diamonds over the body of the garment, with parallel lines of quilting on the bottom edge. Here are some examples. These skirts are made in a wide variety of colors and print designs. These skirts are made by putting the lining cloth on a stretcher, then placing the wadding on top, and the outer cloth is then quilted by hand on top. The bulk of the texture of the quilting shows on the outside, and the inside is relatively flat. There is a second type of cotillon which is made, in which the surface cloth is of a solid color, often a rich silk. A band of design is inserted between the diamond grid of the body of the cotillon and the parallel pipes of the hem. Here is a photo of the Bastidanne costume including such a cotillon. The solid color of the top cloth enables the quilted design to be seen and appreciated. Those who wish to make more ambitious quilted designs choose to do this. The inserted design varies significantly in width. Here are a couple more examples. Here are some examples of the types of designs which are inserted. Each horizontal band is a separate design. There is yet one more type of cotillon which is sometimes found. Occasionally a girl makes one specifically for her wedding. While the dress for the wedding may be of any color, this particular type is often white. The added design makes a very wide band, but instead of being arranged in bands, the design consists of various images symbolic of a wedding, fruit, flowers, arches, baskets, hearts etc. scattered around the band. Usually this includes the bride-to-be's initials, and can also include inscriptions such as short prayers or 'this skirt belongs to demoiselle X'. These are obviously a lot of work and are often handed down as heirlooms within the family. Here are a couple of examples. I found this tradition of handiwork surprising, and I hope that you find it interesting and inspiring. Let us make and wear things that are not the same as everyone elses. Let us look to the traditions of the past when everyone contributed to the development of traditions. Thank you for reading. Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. :[email protected]. Source Material: Mary Gostelow, 'The Complete International Book of Embroidery', New York, 1977 Rode de Basso Prouvenço, 'Le Costume Populaire Provençal', Aix-en Provençe, 1990 Andre Sainsard, 'Costumes Folkloriques Provinces Françaises', Paris, 1972 Royere, Gardilanne, Moffat et al, 'Les Costumes Regionaux de la France', New York, 1929 Charles-Brun, 'Costumes des Provinces Françaises', Paris, 1937 P. Leroux, 'Costumes Regionaux', Paris, 1940 Nicolette Tennevin & Marie Texier, 'Dances of France II. Provence and Alsace' from the series 'Handbooks of European National Dances', London, 1951

For the wool challenge, I wanted to share some embroidery designs for wool applique. Since there is a lot of embroidery work on the wool rug pattern I thought it might be helpful to have some resources to help you figure it out.

The trees have eyes...

embroidery artwork approx 9 x 8.5cm

Commission - 5x7" embroidery on linen

Good morning! Before we get any further in the series of Embroidery Archeology articles that cover salvaging ecclesiastical embroidery for re-use, I thought I’d set up an organizational structure for the series to make it easy to reference. If you’re relatively new to Needle ‘n Thread, under the main menu on the website, you’ll find ...

Michala Gyetvai

Instant Digital Download If you have any interest in Creating Stitch Patterns for Embroidery or Needlework then this is a great book to have in your collection. ****====================================================**** My Personal 100% Guarantee To You If you Buy this Book and after reading it, You feel that You did not get Your Money's worth from it, Message me and I will cancel your purchase and Refund Your Money. And You Can Keep The Book as My Personal Gift To You. ****====================================================**** PREFACE In the preface to the first edition of " Simple Stitch Patterns for Embroidery," I explained that my object was not to compete with the books on embroidery and fine needlework already written by experts, but to devise a simple and direct method of decorative stitchery for workers with little leisure for fine work, and to help teachers, dressmakers, and others to be independent of the printed transfers and designs. The success of " Simple Stitch Patterns " has encouraged me to carry further the method of building up orderly and balanced designs on stitches and groups of stitches, and adding to the number and variety of suggestive patterns, thereby, I hope, giving practical help while fostering the love of pattern-making which is inherent in almost all of us. Some of the patterns shown here require more skill than do those in the above book, and though this book may be considered a development of it, neither is in any way dependent on the other. The method and use of the two simple gauges explained here have in practice been much appreciated as a means of introduction to original elementary design for craftwork generally. My grateful appreciation is here recorded to Miss Grace Brandon for valuable help with diagrams and proof corrections. A. B.-J. CONTENTS PREFACE . . . . . . . vii LIST OF ILLUSTRATIONS: (a) Plates ; (b) Text Illustrations and Diagrams . ix I. INTRODUCTION i II. THE METHOD AND THE GAUGES ... 2 III. STITCHES, COLOUR, AND MATERIALS : . 9 IV. PLATES WITH DESCRIPTIVE DETAILS . . 16 LIST OF ILLUSTRATIONS (a) Plates I. Two Mesh Borders (Nos. i and 3) and a Circular Gauge Design (No. 2) in Wool on Flannel . . 17 II. Five Mesh Borders (Nos. 4, 6, 8, 10, 12) and Four Whipped Edgings (Nos. 5, 7, 9, 11) in Wool on Flannel 19 III. Three Mesh " All-over " Patterns (Nos. 13, 14, 15) in Wool on Flannel . . . . . .21 IV. Three Mesh Borders (Nos. 16, 18, 19) and Three Mesh " All-over " Patterns (Nos. 17, 20, 21) in Wool on Blue Linen ....... 23 V. Four Mesh Borders (Nos. 22, 23, 24, 25) in Wool on Cream Linen . ... . . .25 VI. Two Ring Designs (Nos. 26, 27) in Wool on Flannel . 27 VII. Two Mesh Borders (Nos. 28, 29), a Three Circle and Small Point Design (Nos. 30, 31) in Wool on Flannel 29 VIII. A Mesh Border (No. 32) and a Three Circle Design (No. 33) in Wool on Flannel . . . .31 IX. A Mesh Border (No. 34) and an Eight Circle Design (No. 35) in Wool on Flannel • • • • 33 X. A Mesh Border (No. 36), a Mesh Unit (No. 37), a Ring Design (No. 38), and a Three Circle Design (No. 39) in Wool on Flannel . . . . . -35 XI. Four Point Designs (Nos. 40, 41, 42, 43) in Wool on Flannel ....... 37 XII. A Point Design (No. 44) and a Border (No. 45) based on Cable in Wool on Flannel .... 39 XIII. Thirty Floral Motifs (Nos. 46-75) in Wool on Cream Linen....... Frontispiece (b) Text Illustrations and Diagrams 1. Mesh Canvas Gauge and Plans 1-14 .... 3 2. Circular Gauge and Plans 1-7..... 4 3. Circular Gauge, actual size ..... 5 4. Circular Gauge, folded section .... 5 5. Variations of Chain-stitch (1) ; Uses of Fly-stitch (2) . 10 6. Uses of Buttonhole-stitch (3) ; Uses of Open Cretan-stitch (4) Cable, Twisted Chain, Cone, Roumanian (5) . . 11 7. Whipped Stitches (6) ; Coral, Laid, Twisted Chain and Spiral Couched-running, French-knots (7) . . . .13 8. Rosette, Thorn, Chain-Feather (8) ; Detached-cable, Berry (9) ; Roumanian-Fern and Fern (10) ; Petal, Paired-Buttonhole and Wave (11). . . . . . 14 ====================================== ©HowToBooks owns the copyright to this revised PDF. This book cannot be reproduced or resold without permission from HowToBooks ====================================== This scarce antiquarian book is included in our special Rare Books Digitized Series. In the interest of creating a more extensive selection of rare historical books, we have chosen to Digitize this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other Digitizing issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's rare works of literature that would not normally be available. ====================================== This Book is intended for education and informational purposes only. Our modification and restoration process of this book, has resulted in our creating a new work (restored or annotated or improved work), that gives us a clear and novated copyright to this modified version. ====================================== Shipping is FREE via Instant Digital Delivery: This is a digital item. It is an electronic document (e-Book) in a PDF Format and is viewable on any computer with Adobe Reader, which can be downloaded for Free from Adobe.

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