Want to learn how to embroider animal fur so that it actually looks realistic? This post go over some tips to help you learn how...
Before we start, an important announcement! I'm having a SALE in my Etsy shop: everything is down 15% until the end of March. Hurry up to make your purchase, especially if you already have my designs in the cart! Now, let's get back to the topic :) When you work long and short stitch, one of your main goals should be the correct direction of your stitches. As long as you achieve that, the surface of your stitching will be smooth, and the blending will be easier. Here are two examples. On the left is what my long and short stitch looks like nowadays, and where I'm paying attention to the direction of stitches. On the right is the result of me channeling my former confused beginner self, where I would easily put stitches in the wrong direction. To get my point across better, here are both of the examples with “guiding lines” drawn over the stitching. Take a closer look yourself, first, and try to see the difference in stitching. {ay attention to the direction of my stitches in both examples. Now, a large part of the improvement is due to practicing, of course. But even when you are a beginner and don't have big baggage of worked long and short stitching, there are still some tips for you! Tips for correct direction of stitches 1. Drawing guiding lines First of all, you can draw the guiding lines right on the ground fabric. Often times, authors of embroidery designs already provide you with directions of stitches in their diagrams. But you can also draw it yourself. I usually draw them myself with a standard pencil because it leaves me with more freedom – I can draw as many guiding lines as I need. And sometimes, the way I “feel” the shape, would be slightly different than how the author sees it so I may draw them differently. And I think that's valid too. If in your mind the “strokes” of stitches lie differently, I would recommend following your guts. It would be easier for you to work because otherwise, you would have a slight dissonance between what you see on the diagram and in your mind. 2. Guiding stitches When you gain a bit more experience, you will probably start choosing only one: either drawing guiding lines, or working guiding stitches. However, in the beginning, you might make use of both, actually. The more detailed is your “planning” of stitching, the less confused you will be about the direction of stitches. Then you start filling the space between the guiding stitches. You can make the guiding stitches for each of the rows of long and short stitching. Another way of working guiding stitches is to use running stitching as your guiding lines. It works just as well. Except, that it would be more convenient to work in 1 color, of course. And if you plan to use several colors to create a blending effect, that might be a problem. Otherwise, if you're using long and short stitch as a filler in 1 color, or if your blending is more “vertical” and you don't mind throwing some colors here and there, then there is no harm at all. 3 Pulling the working thread to find the right direction When you are confused about where you should insert the needle for your stitch to lie perfectly in line with the one from the previous row, you can pull the working end of thread and then insert the needle at the suitable point. I constantly use this method, it's like a norm. And because of that I don't always draw guiding lines on the fabric. This way of pulling thread is quite enough. However, there can be different situations. This method largely suits the situation when you need to lay your stitches along straight lines. But the shape could have some curves, it can be round or oval, and then this method would be less helpful. Nevertheless, it is still a great habit to develop and make use of! So here is the finished result of the heart with “correct” direction of stitches. How about seeing the process of working the other one? Here is me, not using any guiding lines, but just working some stitches over the outline. At first glance, it might not seem too bad. But if you look closer and try to continue the lines of the stitches in your mind, you would notice how some of them are bound to cross. Which is not very good. When you start working the second row, the problem becomes more evident. You see how the direction of stitches is changing all the time? Well, I put myself a goal to complete the shape no matter what, while still imagining myself a confused beginner stitcher, and here is the result. Take a closer look at the stitches' direction to understand the difference with another heart. I mean, it actually isn't that bad. The shape is complete and the colors are there. If you look at it from a distance you might not even notice any problem. But there is still room for improvement too. So, I hope today's tips will be helpful in your next project! Check all the previous posts under the tag “needlepainting tips” for more advice!
Hello everyone Hope your week is going well. For several months I have been working with the idea of providing tutorials on my website – am still tinkering with the idea of uploading some vi…
Explore this photo album by Andrea Farina on Flickr!
This artist’s embroidery is sculptural!
This embroidery pattern uses the technique of thread painting and stumpwork to create a realistic-looking, 3-dimensional ficus house plant. Thread painting is an embroidery style that is a bit more time-consuming but an extremely fun way to stitch. This design will fit in a 7 inch or 5 x 7 inch embroidery hoop. You don't need any experience with thread painting or stumpwork to complete this pattern. However, some general embroidery experience and knowledge are recommended due to the size and complexity of the design. ***You will need craft wire and some heavy duty scissors or wire cutters to complete the stumpwork part of the pattern! WHAT YOU'LL RECEIVE ------------------------------------------------------------------ You will receive 3 PDF files upon purchase. This list is for a DIGITAL FILE only. ♡ 10 page PDF file for getting started ♡ 10 page PDF with instructions for how to complete the stumpwork leaves ♡ 18 page PDF with step by step instructions to complete the rest of the embroidery INCLUDED IN THE FILES ------------------------------------------------------------------ ♡ Supply list with a couple of product recommendations and DMC colors used ♡ 3 pages of thread painting basics/techniques + helpful tips ♡ Instructions + photos for each embroidery stitch used in the pattern. ♡ Some recommended ways to transfer the embroidery pattern to fabric ♡ Step by step photos for completing the stumpwork / embroidery DOWNLOADING ------------------------------------------------------------------ Upon purchase, you will receive 3 PDF files. If you are unfamiliar with how to download the file once you have purchased it, here are some instructions: https://www.etsy.com/help/article/3949 PRINTING ------------------------------------------------------------------ Prints best in portrait mode on print size "Letter" with standard size printer paper. USAGE RIGHTS ------------------------------------------------------------------ This pattern is for personal use ONLY. Please do not replicate, copy, or sell the contents of this file or the resulting embroidery from the pattern. Have fun stitching! :)
Very Cool–how do we do it? Where do we start? Wonderful! stitch info PRINT YOUR IMAGE ON CARDSTOCK–do it on home printer if putting through cardstock not allowed at school You could a…
Stitch Trish Burr's Pansies in this stitch along. We tackle all the hurdles of needle painting together!
The painting-like embroidery of Katerina Marchenko
Meredith Woolnough: Two Ginko Leaves (2012) embroidery thread, pins, glass rods on fabriano paper
Hello all, Those of you who follow me on Instagram and Facebook will know that I’ve been working on two blankets over the past few months, and they seem to have struck a chord with a lot of you, so much so that I promised I would try to produce a pattern for them to… Continue reading Autumn Gold and May Blossom Blankets
A scrap of fabric that I was practicing a new transfer technique on. I think it's gonna work.
Sunday morning I played around with new stones thinking they were going to be grey but perhaps because it is the bleak mid-winter the stones turned a warmer colour. This piece is inspired by Mark's paintings of stones disappearing under water. He is brilliant at that. For both of us scenes like this bring up whisperings of summers spent on beautiful Georgean Bay. For those of you in Toronto don't forget The Artist Project at the Better Living Centre February 21-14, 2019 Mark Berens will be at Booth 506. Strips of plant dyed fabrics soon to become rocks. By Sunday evening I was happily couching away. I have based the background onto an old blanket and it is like stitching butter. The one thing about this kind of stitching is it allows for mind wandering and as I stitched these delicious rusts and browns my mind whispered memories of my beautiful Rusty Pups They are dearly missed As are their antics and adventures. And then as I prepared this post A photo demanded to be noticed So much like my new stones. I have a teacher who always says the piece you start next should always be informed by the last piece you did. Perhaps this means my next piece will have to be seaweed in the colours of my Georgean Bay stones. But I already have soooo many new beginnings just started! But my mind is flowing with ideas on how to go about a seaweed piece. It is so easy to have many ideas isn't it The days just aren't long enough for their execution! I hope you have a day rich in creative ideas.
Katerina Marchenko on Etsy
Thank you for all who read their way down to the end of my last post - it was much longer than first anticipated! I hope you've enjoyed visiting the blogs I nominated (apologies in advance for the Google-suggested translation for a certain sentence in Ingrid's post - I have suggested an alternative to Mr Google, but he's ignored me so far!). Right, where were we...free machining, I think! In class we have been continuing to practice our free machining skills, now using free motion stitching to "colour in" - in small areas (and demonstrated far better than I could, by people like Linda Miller and Gina Ferrari, here and here) but we've also used free machining to fill in, shade or add interest to larger areas: (again, demonstrated far batter than I could, by people like Dionne Swift). For stitching the small things, it is important to try and keep the stitches flowing, not too tiny, and with not too much overlapping - otherwise the background fabric gets tougher and tougher to stitch! Larger stitches also catch the light and glisten (particularly if you use machine embroidery rayon thread) and the glistening can help to disguise any missed bits! For stitching larger areas, it is also important to keep the stitches flowing - the key is to move the fabric (or hoop) smoothly and confidently, keep everything relaxed and smooooth.... Here's how we've got on with the small pieces (there are a lot of owls as I found some lovely ones just the right size to stitch on the Girl's violin music folder!) Di (going off-piste with her redwork owl!) Morag Lyndsay Owl in progress, but I can't remember who he belongs to! Sorry! Libby (owl in progress) Carole B (a robin in progress) Carole H Christine and last but not least, Judith...I'm a bit concerned about this Russian doll, she seems to have got herself into a bit of fistycuffs... Not everyone enjoyed working so small (and I must admit, I've not really done much of this intense, dense stitching - must be a reason!) Then again, the option to work bigger was a challenge as well! The idea I presented was to work in an abstract way, not worry about creating a picture, but just practice the stitching - keeping things flowing and smooth. I know not everyone is pleased with their results, but the point was not to create a pleasing composition but to practice the stitch! So I think all those who attempted this were very brave, to work in such an unstructured way: Jill Sorry - my brain has gone blank again and I can't remember whose this is! Maggie Lyndsay Morag (the bottom sample was over-painted after stitching) Kathy So we are going to continue our free machining, but not the abstract work! Next time we will be using free machining to applique again (but in a slightly different way) and to construct backgrounds. Until then!
Andrea Cryer is a Textile Fine Artist who draws with thread to create unique portraits and landscapes.
Recently I've done a little free motion machine embroidery, or thread sketching. From some of the comments I received it's clear that this...
It’s amazing how contemporary artists use embroidery as a medium to create so much beauty in so many diverse ways. Inspired by plants, coral and cells, Meredith Woolnough uses thread to create elegant shapes and patterns that are an absolute delight for the eye. After sketching out a pattern on fabric, Meredith carefully applies the thread with […]
Moscow-based fabric artist and designer Katerina Marchenko stitches brightly colored threads into tulle to form elaborate embroidered images of animals, portraits, and anatomical studies. In their hoops, Marchenko’s pieces work as framed thread paintings. Bird and angel wings appear to have dimension and human eyes pop thanks to the artist’s attention to color harmony and shading. Marchenko skips the sketching phase and starts each new piece with contours before allowing improvisation and the process itself to dictate what the final design will look like. More
Sashiko pot holders
Have been meaning to blog these for a while. I made them for the Flower festival/Open Studios weekend a couple of weeks ago. They are about a metre in length and free hanging. I have already sold one of them. This is the colour scheme I am most comfortable with and with these pieces I have returned to machine embroidery.
Winter in Aston Cantlow. It’s taken me more decades than I care to admit to recognise beauty in a bleak landscape🎈#bleaklandscape #landscapeart...
Australian artist Meredith Woolnough creates elaborate embroideries that mimic delicate forms of nature like leaves and coral. “I have been collecting skeletonized leaves for as long as I can remember,” says the artist, whose “traceries” capture the beauty and fragility of nature. Woolnough uses a special embroidery technique that involves a domestic sewing machine and a base cloth that dissolves in water after the piece is complete leaving just the skeleton. In a way, her process also mimics the natural process of leaves dying and drying up which, in turn, become the subject of her work. More
Meet embroidery artist Victoria Matthewson, who paints exquisite pieces of art with needle and thread – each one embroidered meticulously in luminous silk thread and each taking weeks or even months to stitch.
Hungarian artist Agnes Herczeg creates figural lace works of female forms, capturing figures in moments of contemplation or work. In one piece the subject stands at a loom, appearing to weave herself from the included fibers. In each of her works Herczeg uses all natural materials, incorporating small pieces of wood or other found materials to serve as a sculpture’s bed frame, hair accessory, floating vessel, or small shelf. Herczeg studied textile conservation at the Hungarian University of Fine Arts, and over the years has gathered several methods of embroidery and lace-making to use in her work such as needle lace, pillow lace, macramé, and more. More
I think it's because Autumn is on my mind, but all I want to do is stitch away the day. I'm really enjoying making these little wall hangings at the moment. Here's the second one I've made that has a lady on it, not sure if its finished yet. She looks a bit wistful, maybe she's saying good bye to the glorious summer time that we've just had. This bird is a little odd looking but I can't alter him, I think he has a little twinkle in his eye. Posted with Blogsy
I'm still thinking about how patterns emerge. And how our brains look for unifying elements to make sense of chaos. Quilts use repeat modules to create a whole from fragments. So, if I brought disparate elements together could I create a whole? Here's a few base thoughts: Regularity unifies. Grid
