#embroidery scissors for scale

[no-name-publishing]

Tiny Book? Tiny Book. Pt3.

Previously we covered everything from typesetting and printing, to rounding and backing. Let's continue on with step 4, endbands!

Tiny books part 1; Tiny books part 2

Just like with regular ficbinding, there are layers, and they are:

1 - Typesetting and Imposing 2 - Printing 3 - Cutting, Folding, and Sewing 4 - Gluing, Rounding/Backing, Endbands 5 - Building the Case and Casing In 6 - BOOK

In this part we will be focusing on the rest of step 4, and we'll see how far we get before I run out of photo space tbqh. Please feel free to skip to the area you're interested in most.

4, pt2 - Endbands

Endbands--there isn't anything overly exciting to say here, except that sewn endbands on tiny books isn't impossible, just ridiculously fiddly. For a core I recommend going with embroidery floss, stiffened with PVA. It's a nice relatable scale to the tiny book and will be perfectly firm-yet-flexible with the PVA coating. Because of the thickness I do not recommend using more than one strand of embroidery floss, if that's what you are using right now for your regular books. For all of the examples I include below, they've been sewn in a double core french style with a single strand of satin-finish sewing cotton sewing thread. Here are some examples of ones I've done:

Doable, but at what cost? My sanity. If you've got some to spare though, it will be very impressive to other bookbinders lol.

Don't be fooled into thinking tiny sewn endbands will be quicker or easier than their regular sized counterparts. And as a treat, here is how the tiny endband looked in my press while I sewed:

It's just 🧍‍♂️

In a sewn endband's stead I can recommend using prefab endbands, which will just be snipped to size and glued to the spine. Might be hard to do on tiny books with fewer signatures but not impossible, and it will look... as fine as a prefab endband can. Otherwise what I've really liked doing are paper endbands. I make these a bit wider than my textblock, so that I can trim them down later after they've been glued.

These are made from taking a strip of paper, applying glue around 15mm down the length, and laying down a piece of the PVA-coated embroidery floss. After a moment, to let the paper soften from the moisture and the core material stick a bit, you just roll it up a few times. Go slowly, as it can be finicky. Set aside to let it dry completely, then glue to your spine, as with the prefab ones. Let that dry, and trim to size carefully with your scissors.

(Imagine the pad of sticky notes is our tiny book lol, it's what I had on hand) Anywho it's that easy! I find these so preferable in part because the rolled up core sits forward and covers the folds of my signatures, where prefab endbands usually don't. A tip--while you're coating your floss in PVA, you can take advantage of any remaining glueyness to roll it between your fingers, to remove any hard edges or unevenness from the thread before it's totally dry, and won't transfer any lumps or bumps to your finished paper endband. Once you've glued and trimmed the paper endband to size, you can reshape it with your fingers to remove the pinched ends from the scissors. @simply-sithel got me onto this process and it changed the game for me. She's been my tiny-book mentor 🙏

Referencing this image again, the book on the right has the paper endband, compared to the left, which has a sewn endband. On a regular book endbands are protective, decorative, and offer some support; on a tiny book they are purely decorative. I like to use the accent paper of my case as the paper for the endband, to bring everything together.

5 - Building the case and casing in

SO! We've made it this far, to what I believe are the easiest steps of this whole thing, building the case and casing in. As with my regular sized books I do these tiny ones in a square back bradel binding method. This construction uses a piece of connecting paper across the spine stiffener and allows you to tailor the case to your textblock's unique shape, rather than fiddling with it's exact measurements.

Instead of making this a square back bradel binding tutorial, I will refer you to DAS's video where I learned it myself. The case construction begins around the 13 minute mark. There are no notable different between using this method between regular sized books and tiny books.

The first things to note in this step are your hinge measurements. Whereas on regular books they may be 9-12mm, depending, on tiny books anything much wider than 8mm is noticeable and not strictly necessary. The full range of motion gained from the hinge measurement isn't as important with tiny books, so I recommend staying within the 6-7-8mm range for the aesthetics.

My other note is that the 2mm overhang measurement surrounding the textblock is still preferable, even on this tiny size. Something in your heart will try to make it nearer to scale, like .5mm or less, but this will result in a tiny book that looks badly made. My recommendation is not to go any narrower than 1mm in your overhang measurement. But also this is purely for appearances' sake and I'm not your mom, and even if I was you're (hopefully) an adult. Go nuts and find out what works best for your tastes!

In my experience you also have a slight bit more freedom selecting your cover materials. I've never gotten full-paper cases to work where regular sized books are concerned, but it's been my preference for tiny books. I have so much decorative scraps of paper that otherwise wouldn't have a home with regular books. This is also a great place to use offcuts of bookcloth as well. No gods so rules!!

Here are some photos of the process of building my tiny case on a tiny textblock following the square back bradel method:

Now comes casing in. This part also couldn't be easier imo. I almost feel like I don't need to even say anything. I've found straight PVA, while having too short a worktime for full sized books, is perfect for casing in tiny books. You're brushing over like 2 square inches of paper?? You're using virtually no glue AND it takes 15 seconds?? I can only get so hard. As standard you should use some kind of moisture barrier between your endpages and your textblock while it dries in whatever your press situation looks like. For me these are sheets of plastic stolen from some plastic envelopes you use for archival work. These stop the moisture from going into your textblock and warping it. Some people have luck with parchment paper, but I am not one of them.

If you're using plain PVA, these babies will totally dry in maybe like, 3 or 4 hours. Take them out after an initial nipping time of like 20 minutes and let them dry open.

6 - BOOK

You've got a tiny book!!!

If you have any questions on something I've covered or didn't cover, please don't hesitate to ask!

[passigentilcoquelicot]

A friend knitted this tiny socks for a new born and it's the cutest ! ! !

(Embroidery scissors for scale)

[firesidetextiles]

Cozy Cabin Wrap Pouch - This is a little something I made for myself, however, despite following the measure twice, cut once adage, it ended up being too small for what I needed to use it for. If you like it, it’s available in my kofi shop.

[ID: Three closeup photos showing a sewn wrap pouch with one large pocket that rolls up into a rectangular clutch. The outside is a bright red and black plaid flannel fabric and the inside lining is a fake fur fabric that is marbled in black, greys, white, and some pops of blue. The first photo highlights the pocket size with a set of gold embroidery scissors for scale. The second picture shows the wrap completely closed and secured with a black cotton twill ribbon while the last features the full expanse of the fur lining when the pouch is completely unwrapped. End.]

[librarycard]

for Mark and Debra: Malleus Maleficarum The ground was never recovered, nor the legions, for their numbers were thought so ill omened that they never again appear in the army lists. —J. M. Roberts

It begins with Diane—the gold shingles of her razored hair

alight in the wind that whips the trees,

the cotton slips pinned to nylon lines: these improbable ghosts.

The first I ever loved can still incite such desperation. Betrayal

lashes the careful stitches, the slight fabric;

its design undone.

She would take her switchblade and cut spiders in half—

a quadrant of scars radiating from her wrists and elbows, she wrote my name in blood,

let matches flare against the cuts

small yellow head, searing. I used to operate on myself, she said.

Separate a triangle of skin and place objects—silver pin

heads, glass beads — close to the bone.

A private surgical kit, embroidery scissors, alcohol, fine needles, and

violet thread; silk, cat whiskers tied in complicated bows. She

remembers this way, where things are

where they are buried. We studied history together, this is how we met. Recovering the Roman

Empire; she draws military disasters in her margins, mail clad horsemen pitching

violently to the ground, the movement of the cavalry

a swarm of locusts. Her silver compact slit open, because there are assassins in the narrow hallway;

her fine pale feet turn to form an arabesque (a delicate design of flowers,

leaves), furrows in the sheets and mattress,

pearls. Ropes of black pearls and a black rubber dress—submerged in the green haze,

the depths of a nightclub, listening. Submission; she hit his thighs with a chain, a hook in his mouth—

her lips were alluring. Red feather quills, bright red flies. I think of him, brought violently

to the surface, his tensile body still below the thin edge of the filleting knife

his slick flesh streaming as he surrenders—a ceremony of scales and gills, useless to him now,

as he breathes in and out. She told me once that she was like a scorpion, and I did not listen.

I let her creep between my fingers, and danger was exotic to me then. I lived somewhere deep

beyond the coastline, in the crevices of rocks and wood planks,

her gold hair spins like loose coins, strange and valuable. The currency of nightmares, where

the sun burns the earth and empties the seas—there are skeletons, gingerly reaching for night—

night will fall in a rustle of wings, the gentle sweep of the legs of scorpions.

— Lynn Crosbie, “Submission,” Pearl: Poems

[somediyprojects]

DIY French Dot Constellation Runner

Project by Jessica Marquez:

Trying to invoke the Spring to finally arrive I made this table runner of stitched spring constellations. Stargazers will find Ursa Major and Minor, Cygnus, Draco, Virgo, Orion, Gemini and lots more. It’s definitely a statement piece that shines and shimmers with the addition of sequins held in place by french knots. One of the things I love about french knots is how three-dimensional they are. The little knots are raised, creating texture and here, stars that you can touch. This project might be large in scale, but the steps are super easy. You can also break up the pattern to make smaller pieces or work on a pre-made runner to keep things simple.

Materials:

Constellation Template (download here) (2) 15 x 72” pieces of linen, washed and ironed (or a pre-made runner) Tape Scissors Sewing pins Saral transfer paper Self-healing mat Pen DMC embroidery thread 3866 4mm Flat Silver Sequins 6mm Flat Silver Sequins Size 7 embroidery needle Large embroidery hoop, 12” hoop shown Sewing thread

Steps:

1. Enlarge template 600% for a 14 x 60 runner, or size to your desired dimensions. Tile print the template. You can do this is in Adobe: Print> Tile All Pages or Poster (depending on which version you have) > enlarge 600%> Overlap .075 with Cut Marks.

2. Trim pages to cut marks and tape template pages together. Trim edges and set aside.

3. Center pattern on fabric and pin the across the top to fabric. Layer a piece of transfer paper face down under the paper pattern and over the fabric. Begin tracing over the pattern with a pen. Apply a fair amount of pressure, but not enough to rip the paper. It helps to have a self-healing mat under your fabric for this step. Transfer section by section moving your transfer paper over as you complete a section. I used one piece of 12 x 15” transfer paper for the entire piece. Check your work as you go, lifting the papers to make sure your marks are coming through.

4. Stitch it! Hoop your fabric loosely and use the french knot for the star points and the backstitch or running stitch for the constellations. As you complete sections move your hoop around. You don’t want to apply too much pressure when hooping the fabric or you could disrupt the previous knots. Jump from stitch to stitch between points, but be careful not to pucker fabric by pulling too much.

The french knot is all about getting the right tension. Come up through the fabric, and hold the thread taut about 1 or 2 inches from the fabric with your non-dominant hand. With your other hand, wrap the thread around the needle once, twice, or three times, for a larger knot. Insert the needle back into the fabric close to, but not in, the original hole. Slide the knot down to meet the fabric and hold the tension as you pull the needle through the knot. Pull slowly trying to keep the tension on the thread all the way as you pull through. (image of French Knot from Stitched Gifts)

I used 3 ply thread for the entire piece varying between french knots with no sequins and small and large sequins to help create dimension. Adding sequins to the french knots it super easy. After coming up through the fabric with the needle slide a sequin over the needle and down to the fabric. Make a french knot as usual the knot will hold the sequin in place.

5. To finish, without a backing: Fold over edges toward the back of the piece with a .25” seam. Press and then fold over again and pin in place. Sew a straight stitch with your sewing machine around the piece through the center of the fold.

To finish, with a backing: Layer the finished embroidered piece face down over another 15 x 72” linen piece. Pin in place and sew a .5” straight stitch with your sewing machine around the piece leaving a 5” opening. Snip away a small portion of the corner tops above the sewing. Pull the piece inside out, so that the embroidery is now showing. Iron the edges flat and hand sew the gap closed with sewing thread using the slip stitch.

[introvertbard]

"Who has the time and patience to do this?"

Clearly it's someone who wants to embroider photorealistic animals. I'm impressed not only by the shading and "line art," but the SMALLNESS of the pieces! The largest "item for scale" is the embroidery scissors and those can already fit in your palm, so nothing is bigger than two/three inches!

THESE LITTLE DUDES ARE SO PRECIOUS!!!

Imagine how many breaks she needs to avoid carpal tunnel!

Art By IG: @chloegiordano_embroidery

Instagram: @artwoonz

[embroidery-pro]

Mastering Computerized Embroidery: Essential

Mastering Computerized Embroidery: Essential Tips and Expert Q&A

Introduction: Computerized embroidery has revolutionized the world of textile embellishment, allowing for intricate designs, consistent results, and increased productivity. Whether you're a hobbyist or a professional, understanding the ins and outs of computerized embroidery can elevate your craft to new heights. In this comprehensive guide, we'll explore the best tips for computerized embroidery and answer common questions to help you achieve stunning results. The Basics of Computerized Embroidery: Before we dive into the tips and Q&A, let's briefly cover what computerized embroidery entails: - Digital Design: Creating or importing designs using specialized software. - Machine Setup: Preparing your computerized embroidery machine with the right thread, needle, and stabilizer. - Hooping: Securing fabric in the embroidery hoop correctly. - Execution: Running the design on the machine, which follows the digital instructions to create the embroidery. Now, let's explore the best tips and answer common questions about computerized embroidery. Q&A: Best Tips for Computerized Embroidery Q1: What are the essential tools for computerized embroidery? A1: Essential tools include: - Computerized embroidery machine - Embroidery software - Quality threads in various colors - Appropriate needles for your fabric and thread - Stabilizers (cut-away, tear-away, water-soluble) - Hoops in various sizes - Small scissors or snips - Tweezers for threading and clean-up Tip: Invest in high-quality tools, especially your machine and software, as they form the foundation of your work. Q2: How do I choose the right embroidery design software? A2: Consider the following when choosing software: - Compatibility with your machine - User-friendliness - Design capabilities (digitizing, editing, etc.) - File format support - Customer support and updates Tip: Many brands offer free trials. Test a few options before making a decision. Q3: What's the best way to prepare fabric for computerized embroidery? A3: To prepare fabric: - Pre-wash to prevent shrinkage after embroidery. - Iron the fabric to ensure a smooth surface. - Apply appropriate stabilizer. - Use spray adhesive if needed for slippery fabrics. Tip: Always test your stabilizer and fabric combination on a scrap piece before starting your project. Q4: How do I ensure my computerized embroidery design is the right size? A4: To ensure correct sizing: - Use your software's sizing tools to adjust the design. - Print a template of the design at 100% scale. - Place the template on your item to visualize the size and placement. - Make adjustments in your software as needed. Tip: Consider the item's purpose and aesthetics when sizing. A design that looks great on a jacket might be too large for a pocket. Q5: What's the secret to achieving perfect stitch quality in computerized embroidery? A5: For optimal stitch quality: - Use the correct needle and thread for your fabric. - Ensure proper tension settings. - Choose appropriate stabilizer. - Maintain correct hooping tension - tight but not stretched. - Clean and oil your machine regularly. Tip: Keep a logbook of successful settings for different fabric types to replicate good results. Q6: How can I prevent thread breaks during computerized embroidery? A6: To minimize thread breaks: - Use high-quality thread appropriate for machine embroidery. - Ensure correct thread tension. - Clean the machine's thread path regularly. - Check for sharp edges on the needle plate or hoop that might catch the thread. - Slow down the machine speed for complex designs or delicate threads. Tip: If breaks persist, try a thread lubricant designed for machine embroidery. Q7: What's the best way to handle multi-color designs in computerized embroidery? A7: For multi-color designs: - Organize your threads in order of use before starting. - Use a thread chart to ensure color accuracy. - Consider using a thread stand for smooth feeding of multiple spools. - Take advantage of your machine's color sorting feature to minimize thread changes. Tip: Create a color sequence sheet to keep track of changes, especially for complex designs. Q8: How do I achieve perfect registration in computerized embroidery? A8: For accurate registration: - Use appropriate stabilizer to prevent fabric shifting. - Ensure your hoop is tight and properly attached to the machine. - Use your machine's basting feature to outline the design area before embroidering. - For multi-hoop designs, use registration marks in your design. Tip: Practice aligning multi-hoop designs on scrap fabric before attempting on your final project. Q9: What should I do if my computerized embroidery design isn't centering correctly? A9: If centering is off: - Double-check your hooping technique. - Verify that your machine's hoop is properly calibrated. - Use your machine's centering features or on-screen grid for alignment. - Create a physical template for consistent placement across multiple items. Tip: Some machines have built-in cameras or laser guides for precise positioning. Utilize these features if available. Q10: How can I optimize my workflow for computerized embroidery production? A10: To improve efficiency: - Organize your workspace with easy access to tools and supplies. - Prepare multiple hoops in advance for quick swapping. - Use design software to create production sheets with all necessary information. - Take advantage of your machine's programmable features for repeated tasks. - Consider investing in multi-needle machines for larger production runs. Tip: Time yourself on different tasks to identify areas for improvement in your workflow. Expert Tips for Computerized Embroidery Success: - Master Your Software: Spend time learning all the features of your embroidery software. Many offer tutorials or online courses. - Digitizing Skills: If you're creating your own designs, invest time in learning proper digitizing techniques. Poor digitizing can lead to poor stitch-outs. - Test, Test, Test: Always do a test stitch-out on scrap fabric similar to your final project. This helps identify potential issues before committing to the final piece. - Understand Fabric Behavior: Different fabrics require different approaches. Learn how various materials respond to embroidery and adjust your techniques accordingly. - Maintain Your Machine: Regular cleaning and maintenance of your embroidery machine is crucial for consistent, high-quality results. - Stay Organized: Keep your threads, bobbins, and supplies well-organized. This saves time and reduces frustration during projects. - Learn from Mistakes: Keep a record of your projects, including any issues encountered and how you resolved them. This creates a valuable personal resource. - Join Online Communities: Participate in forums or social media groups dedicated to computerized embroidery. These can be great sources of tips and troubleshooting advice. - Experiment with Specialty Threads: Once you're comfortable with basic threads, try metallic, variegated, or glow-in-the-dark threads for unique effects. - Understand Design Density: Learn how stitch density affects your embroidery. Too dense can lead to puckering, while too sparse may not provide adequate coverage. Troubleshooting Common Computerized Embroidery Issues: - Puckering: - Cause: Incorrect stabilizer or tension issues. - Solution: Use appropriate stabilizer for your fabric and adjust tension settings. - Gaps in Fill Areas: - Cause: Incorrect underlay or pull compensation settings. - Solution: Adjust these settings in your embroidery software before stitching. - Design Distortion: - Cause: Fabric shifting during embroidery. - Solution: Ensure proper hooping and stabilization techniques. - Thread Nesting on Underside: - Cause: Incorrect upper thread tension or bobbin issues. - Solution: Adjust upper thread tension and check bobbin case tension. - Machine Skipping Stitches: - Cause: Dull or incorrect needle, or tension issues. - Solution: Replace needle, ensure correct needle for fabric, and check tension. Conclusion: Computerized embroidery offers endless possibilities for creativity and precision in textile embellishment. By mastering your machine, software, and techniques, you can produce stunning embroidery projects with consistency and efficiency. Remember that every embroiderer, no matter how experienced, faces challenges from time to time. The key to success lies in continuous learning, experimentation, and practice. As you apply these tips and solutions to your computerized embroidery projects, you'll develop a deeper understanding of the craft and the confidence to tackle more complex designs. Don't be afraid to push the boundaries of what's possible with your machine and software. With patience and persistence, you'll be creating professional-quality embroidery that showcases your unique style and creativity. Whether you're embroidering for personal enjoyment, gifts, or as a business venture, the world of computerized embroidery is full of opportunities for growth and expression. Embrace the learning process, stay curious, and most importantly, enjoy the beautiful art you're creating stitch by stitch. Happy embroidering! Read the full article

[sticksoft95]

Tips For Small Embroidery Fonts To Get The Best Results

Small embroidery fonts add a touch of elegance and sophistication to your embroidered projects. Whether you're monogramming a delicate handkerchief or adding text to a intricate design, achieving the best results with small fonts requires precision and finesse.

1. Choosing the Right Font

When working with small embroidery fonts, opt for fonts that are specifically designed for embroidery. Choose fonts with clean lines, minimal serifs, and adequate spacing between characters. Avoid overly intricate or decorative fonts that may be difficult to reproduce accurately at a small size.

2. Simplifying the Design

Keep your design simple and streamlined to ensure clarity and readability at small sizes. Avoid overly complex or detailed designs that may become muddled when scaled down. Focus on essential elements and prioritize legibility above all else.

3. Adjusting Stitch Density

Optimize stitch density to achieve crisp and defined lettering. Increase stitch density slightly for small fonts to ensure sufficient coverage and avoid gaps or distortion in the stitching. Experiment with different stitch densities to find the optimal balance between clarity and texture.

4. Using High-Quality Threads

Choose high-quality embroidery threads in a suitable weight and color for small embroidery fonts. Opt for threads that are smooth, strong, and colorfast to ensure consistent results. Avoid using cheap or low-quality threads that may break or fray during stitching.

5. Testing and Adjusting

Before embroidering your final design, conduct test runs on scrap fabric to evaluate the appearance and quality of the small embroidery fonts. Make any necessary adjustments to the font size, stitch settings, or thread tension to achieve the desired results. Take note of any issues or imperfections and address them before proceeding with the final embroidery.

6. Optimizing Machine Settings

Fine-tune your embroidery machine settings for optimal performance when stitching small fonts. Adjust the speed, tension, and needle settings to ensure smooth and precise stitching. Pay close attention to detail and monitor the stitching process carefully to catch any errors or inconsistencies.

7. Considering Fabric Type

Choose the right fabric for your embroidery project to ensure compatibility with small fonts. Opt for tightly woven fabrics with a smooth surface, such as cotton or polyester blends. Avoid textured or stretchy fabrics that may distort or obscure the small embroidery fonts. ZDigitizing specializes in providing top-notch services in both Embroidery Digitizing and Vector Art. With a commitment to excellence, our team ensures high-quality results that meet the diverse needs of our clients. Whether you require precise embroidery digitization for intricate designs or professional vector art services for a polished visual appeal, Zdigitizing is dedicated to delivering accurate and aesthetically pleasing outcomes.

8. Practicing Precision and Patience

Embroidering small fonts requires patience and precision. Take your time when positioning the embroidery hoop and aligning the design on the fabric. Use sharp embroidery scissors to trim any stray threads or excess stabilizer for clean and professional results.

Conclusion: Achieving Excellent Results with Small Embroidery Fonts

With the right techniques and attention to detail, you can achieve excellent results when embroidering small fonts. By choosing the right font, simplifying the design, adjusting stitch density, and optimizing machine settings, you can ensure crisp, clear, and legible stitching that enhances your embroidered projects.

FAQs (Frequently Asked Questions)

How small can embroidery fonts be?

What is the best stitch type for small embroidery fonts?

Can small embroidery fonts be used on different types of fabric?

Are there any special considerations for digitizing small embroidery fonts?

How can I improve the readability of small embroidery fonts?

[angrenwen]

"

“Why do you want a dragon? What kind of omen do you think that will be?” I meet her eyes, wanting to hear her answer. “You know it will frighten people. They’ll think it signifies fire and destruction.” 

“I want an omen of strength, Mother.” She comes over to me, drawing a stool over to sit beside me beside the window. I was working on my embroidery there, when she came in, and now she clasps one of my hands in hers. Hers is square and strong and calloused, broader than my soft hand that has never handled anything more dangerous than a pair of scissors. “Trade isn’t going to protect us, not now. Astris and Grezholt are like hungry wolves on either side of us. You know that, you must know that. We’ve kept peace for nearly a century, but if our neighbours are determined to make war then our peaceful intentions won’t stop them.” 

I nod slowly. “I do know. The ship is... capable of being a warship. It isn’t obvious, but... I had it built that way for good reason.” 

She’s surprised by that, I can see it, and she leans over to kiss my cheek lightly. “Then it was better chosen than I thought. But I still think a dragon would be better.” 

I squeeze her hand gently. “My love, you haven’t given me much time. Barely a month. And the great dragons cannot be compelled or captured.” 

“I know that.” She turns her head to look at the tapestry on the wall of the solar. It has hung there since my great-great grandmother completed it, and then it was a copy of an older picture. The valley, spreading out as it does outside the window I sit by, a little town where our thriving city is now, a hint of blue sea at the bottom of the valley at one side, and in the skies above... dragons. “But it’s possible to bargain with them. I could make such a bargain, Mother.” 

“No princess ever has.” 

“Perhaps no princess ever had need... or parents who understood that need.” She meets my eyes - mine are blue, hers a deep green. “Mother, I know this is the right choice. Can’t you trust me?” 

“I do trust you, Irene.” I sigh, and then I smile at her. I have raised her to be strong - I cannot hesitate to arm her now. “I will see what I can do. I can’t promise.” 

“Thank you, Mother.” She kisses me again. “And if you can’t get one.... make it a warship.” 

*

It has been over one hundred years since a king or queen approached the ancient sacred stone. The Burning Stone, it is called, and it has stood there for as long as our kingdom has existed. It is the reason we exist, the reason a thriving kingdom fills the long valley that was once the hunting-ground of dragons.

There is no ceremony, as such, but the tradition is clear. I light the fire on the flat stone, and beside it I set the barrels of fish. Dragons can hunt, but they do not fish, not as men can. When we want to get their attention, to bring a gift to honour our bond, we bring not the creatures of the land, but of the sea.  

I wait. Sometimes it is days before they come. One ancestor waited more than a week. This time, I hear the beating of wings shortly before the sun sets. 

She is beautiful, her scales patterned in long lozenges of bronze and slate-blue. She settles in the circle of lesser stones around the Burning Stone, mantling her wings over her shoulders as gracefully as I might gather my cloak around me. We watch each other, and then she lowers her head slightly, inclining it in a greeting between equals. “It has been a long time since one of your kind came to us, human queen.” 

“Yes. It has been a peaceful time, and we had no need.” I sit, my hands folded. I am not afraid. I have no reason to be. “But we have kept our promise, as you have yours.” 

“Yes. It is rare, that any bargain with humans lasts so long.” She settles down on her belly, long forepaws folded daintily before her, her head closer to my level now. “You have the look of the last one. Hair like the red stones in the mountains, I remember.” I cannot read her face, but I think it softens a little in memory. “I was very young, then.”

The auburn hair that has always run in my family lies over my shoulder in a long braid. I nod. “Then perhaps you are the dragon we called Angharad, long ago.” 

She nods slowly. “Yes. That was what they called me.” 

Angharad was the last dragon paired with a ruler, over a hundred years ago. The last time we were at war. She was very young then, not more than forty years old, not quite full-grown. She stayed until my great-grandfather died, then returned to the mountains - fifty years, no great time to so long-lived a creature. She must be in her prime now.

For over five hundred years we have kept our bargain.  They hunt in the valley, as they have always done. If they take cows, or sheep, or pigs, the crown pays the farmers for their loss. Our foresters make certain that the deer are fat and healthy, that there are plenty of plump partridges in our woods. 

We do not hunt them, nor they us. For centuries, they have lived and bred in the great mountain range that is one end of the kingdom. We fill the valley with food for them, and they come when we have need. 

They never tell us their true names. We never ask. 

“My daughter is almost sixteen,” I tell her, for dragons do not like to waste time in idle talk. “She seeks the old bargain. One of our young, bound to one of yours, in the old alliance.”

Angharad looks mildly surprised. “A daughter? You have never bound one of your daughters to us, your line, only sons.” 

“I have no sons. My daughter will rule, as I have, as Queen Regnant.” 

“I see.” She considers this for a time, while I wait patiently. “I suppose that Astris or Grezholt is restless again.” 

“Both, this time.” 

“I see.” She bends her head closer still, and her eyes meet mine, blazing yellow to cool blue. “Then yes,” she says seriously. “We will keep the bargain. When is the day?” 

* 

When she is confirmed as my heir, Irene wears the gift I have given her, her omen gift. The finest smiths and leather-workers worked day and night to finish it in time - the armour of the dragon-rider. It has been generations since it was worn by anyone, but everyone knows what it is. What it means. 

After the ceremony in the ancient church, we walk out into the great square, the Dragon Square. Angharad is there, wings furled and feet neatly together like a cat’s. Beside her, another dragon sits. Smaller, not yet in full growth, just like Angharad when she first came to us. Female, as they all are - the males are smaller, and don’t fly. Her colouring is different, a deep cinnabar red marked in broad streaks of silvery grey - they all have the colours of stone and metal. When Irene walks over to her, she lowers her head and they murmur gravely to one another for some time. 

Then Irene turns to me, smiling. “Mother,” she says clearly, so that all the gathered crowd can hear, “this is Vasilisa. Please welcome her.” 

“Welcome, Vasilisa.” I curtsey, to her and to Angharad. Usually, the name given to the dragon is one of the Queen’s names - that’s why we always have so many. But, being a girl, Irene can give one of her own. Irena Caroline - I must make sure the official paperwork transferring ownership of the name is done. “We are honoured by your presence, lady dragons, and invite you to feast with us in celebration of this momentous day.” 

“We, too, are honoured by your gracious invitation,” Vasilisa says, her voice lighter and higher than Angharad’s. “And we accept, with thanks.” 

And so tradition is broken, and a princess is made a dragon knight. Astris and Grezholt believed, perhaps, that two generations of queens, who ‘could not’ fight on dragonback, would make us weak. They might have been right, if I had not rebelled at last against my training, by making sure my daughter was taught different lessons. 

My parents sought to make me a perfect queen. 

I chose to make my daughter a strong one. 

Let our enemies beware."

You are the ruler of a kingdom. Your daughter is turning 16 very soon. Most princesses coming of this momentous age usually want something elegant and just as extravagant, like a pony or her own carriage or something. Your little princess wants a dragon for her birthday.

[whennnow]

Embroidered Regency Reticule

June 24, 2019

[Image ID: a photo of a blue satin bag with white embroidery, two white tassels, and a white cord drawstring]

A year or so ago, on a trip to JoAnn Fabrics, I stumbled upon some nice fabric in the softest classic-Disney-Cinerella blue. The fabric was 100% polyester, unfortunately, but I had already fallen deeply in love with the color, and it was a decent price, so I caved and bought some. I knew immediately that I was going to make pieces for my Regency wardrobe with it, since it was already shaping up to be a very blue wardrobe.

I knew I wanted to make a reticule with it, for sure. Using my Pinterest boards as a starting point, I looked at common shapes and decorations. I eventually settled on this late 1790s-early 1800s bag from the Museum of Fine Arts Boston as a guide (I can't download a decent image of it, so I'm afraid the link will have to do). I wasn’t looking to replicate it, just use it as inspiration. I decided over the winter that this would be one of my semester sewing projects, to work on during my desk shifts or during other down time.

Materials-wise, I used less that a quarter yard of the polyester fabric for the outside, roughly the same amount of white broadcloth from my stash, some white cotton thread, most of a yard of white spiral cording, and two white tassels (though i picked up six total, and may have lost one somewhere). For tools, I had scissors and needles, of course, and a small embroidery hoop and my awl.

I drafted a simple shape on graph paper to use as a “pattern,” based in part off the example bag, and scaled to make sure I could fit my hand through the opening. Once I had everything cut out (two in the blue and two in white for a lining), I sewed the lining up and used colored chalk to rough out the basic shapes of the embroidery on one of the blue panels.

Now, looking back, this was an ambitious bit of embroidery for someone who has never really embroidered before, but it would have been a boring project if I didn’t learn something! I used a chain stitch for the vines and stems, and everything else is bullion stitches, satin stitches, and some knots of some sort. I really love the texture the knots gave the bit in the middle!

The embroidery took me most of the semester, so it wasn’t until after I returned home (and unpacked) that I finished it. I ironed everything, sewed up the sides of the blue panels, added the cord and tassels into the seam, put in the lining (easier said than done - it took me awhile to figure out and now I’ve forgotten how I did it), and added the drawstring and casing.

Then I took lots of pretty pictures of it because it’s very pretty, and because I was terribly pleased with myself. It even matches with my copy of Sense & Sensibility, which I haven’t finished reading yet.

I’m hoping I have enough of the fabric left to make a spencer, but we’ll have to wait and see. In other Regency news, I’ll have a short post up soon about what I’ve affectionately dubbed my “portrait shawl,” and I’ll soon (hopefully) be re-remaking my chemise. I’d also like to draft (or pick out a pattern for) and mock up my quintessential white regency dress, so I may do a post on the research I’ve done, the patterns I’ve found, and what my plan for it is.

Stay warm, stay safe, stay dry.

[Image ID: the same blue and white bag as above pictured with white leather gloves and a copy of "Persuasion" with a blue patterned cover]

[taylor-rene]

50 Shades of Grey and Silver  (The Anchovy Archives)

Making 50 versions of something is no small feat. As a person with ADHD, I’ve always had an all or nothing mindset. Ideas and projects either consume my interest or every step is a struggle. To pull this project off, I knew that I needed to land on the first side of that coin.

Why Anchovies?

This decision was made largely because anchovies were already on my mind. I had become engrossed by this idea of naming my next dog anchovy and calling them Chovy as a nickname. 

Here’s why that’s a great idea:

I already have a dog named Chaga.  Chaga and anchovies are both foods. If you say “Chaga and Chovy” it sounds like you’re saying “Chaga Anchovy” Chaga and Chovy are both two syllable names that start with “ch”. Dogs that look like they’d be named Anchovy are a delight. 

Don’t believe me? Check out this dog! 

He’s a nine year old up for adoption at Animal Haven. His legal name is Dyson, but he looks more like an Anchovy to me.  At the risk of derailing this post, I’ll restrict myself to one adoptable animal that could be named anchovy. 

Why Anchovies cont.

Growing up in San Diego, I spent a lot of time in the water, where anchovies often kept me company. Anchovies also play an important role in my diet. I’ve faced food insecurity a few times in my life, which makes my relationship with food complicated. When grocery store shelves started to empty at the start of the pandemic, the first thing I grabbed were anchovies. Anchovies are an affordable source of flavor and nutrients.

I opted to number my renditions in order of completion. 

I also decided to count cost based on items purchased for this project, excluding the cost of items I already owned. 

This was my first time using watercolor since childhood. I impulse purchased this tiny palette, travel brush, and paper pad back in April. It had been tumbling in my purse ever since. It took a few tries to get the feel for the new medium. I used my lunch container to hold water and mix colors.

Rendition: 1

Medium: Watercolor

Pros: Forced me to be fluid and focus on general shapes. I finally put my impulse purchase to use.

Cons: Little room for error. I have no experience with watercolor. 

Cost: $0.00

Rendition: 2

Medium: Charcoal

Pros: More comfortable medium to work with. I’ve used Charcoal a few times. Somehow I got the proportions way wrong on this so it ended up looking more like a generic fish than an anchovy. 

Cons: Messy. *Note to self: buy fixative.

Cost: $0.00

This was my second embroidery project ever, and possibly my favorite rendition. 

Rendition: 3

Medium: Embroidery

Pros: Something I will keep. I feel like I got to take time to get the know the anchovy because it was so dang slow. 

Cons: It was so dang slow. 

Cost: $15 (I bought a fancy new hoop since my dog chewed my last one.)

Update: My dog chewed the fancy new hoop. 

Rendition: 4-8

Medium: Colored Pencil

Pros: Quick. Easy opportunity to explore the question “What characteristics make an Anchovy look like an Anchovy?” (I’d say small, pointy, skinny, and looks like it’s having a crisis.)

Cons: I wasn’t super happy with the result. I’m using cheap kids colored pencils and am not really excited about them.

Cost: $0

Rendition: 9

Medium: Black Marker I found at work.

Pros: Quick. Chance to use my takeaways from the last few renditions.

Cons: No edits. Probably should have been more pointy, but the mark had been drawn. 

Cost: $0

Rendition: 10

Medium: Collage

Pros: Exploring a new medium! Reducing waste (free magazines from my buy nothing group) Exploring the Anchovies environment and playing with scale.

Cons: Once it was glued it was hard to edit. 

Cost: $15 (x-acto knife and cutting mat)

Rendition: 11

Medium: Metal Filter

Pros: Reducing waste (piece included with microwave for different kind of vent). Shiny like an anchovy. This felt very creative. Begs the question “Are the eyes necessary to evoke the idea of an anchovy?”

Cons: Probably not the safest. I used regular scissors and don’t own safety glasses. I closed my eyes and looked away, but would need to invest in PPE if I was going to continue to use metal.

Cost: $0

Rendition: 12

Medium: Fabric

Pros: Fairly quick very rough mock up of an idea I had for an anchovy with a slit in its belly for filets (playing with my most frequent interaction with anchovies.) Great way to think through a few mechanics of how exactly this would work.

Cons: Super rough design, doesn’t resemble an anchovy that much.

Cost: $0 Thanks to scrap fabric I picked up during my safety training at Makerspace! 

Rendition: 13-17

Medium: Markers

Pros: Really quickly got more insight into shapes & characteristics. Second row anchovy pushed the eyes outside of the body, which works surprisingly well.  The anchovy made of dots reminds me more of a squid, but I think it had merit. I Definitely enjoyed markers more that colored pencils, but not by a ton. I would use markers again for dot work style. It really worked well there.

Cons: All straight line anchovy didn’t sell me this time, but I still think there’s something to the idea. Similar to colored pencils, I’m not super excited about the result. 

Cost: $0 

Rendition: 18

Medium: Black Marker - Single Line

Pros: Similar to watercolor, it forced fluidity. This style can be really cool, and this rendition definitely has potential.  

Cons: Hated the process, but I can’t tell if that’s just because I’m bad at it.

Cost: $0

Rendition: 19

Medium: Markers

Pros: Exploration of using multiple colored markers (I had largely been working with single markers per fish.)

Cons: I still don’t love markers.

Cost: $0

Rendition: 20

Medium: Charcoal and White Charcoal

Pros:  Serendipity. I brought a sketchbook to a museum. I stumbled upon a fish display I was happy to find the European Anchovy included.

Cons: I see anchovies everywhere (possible pro?)

Cost: $0

Rendition: 21-22

Medium: Aluminum Foil

Pros: Free and surprisingly easy to work with. Shiny like an anchovy. Mailability made it easy to make an anchovy with its mouth open. Great way to use foil that would be thrown away.

Cons: Any fold or wrinkly is hard to undo and makes detail difficult. 

Cost: $0 

Rendition: 23

Medium: █ ▓ ▒ ░ (Text)

Pros: Free

Cons: Time Consuming. Edits are monotonous. Characters being taller than they are wide was limiting.

Cost: $0

Rendition: 24-25

Medium: Colored Pencil

Pros: Got insight into the mouth and fins by pausing and focusing on anatomy a bit more.

Cons: None.

Cost: $0

Rendition: 26

Medium: Fabric scraps

Pros: I felt like I was moving outside of “art rules” for this one, which I think was a necessary step. I also wouldn’t have come up with the puppet idea without this one. 

Cons: Not permanent, so hard to move or save as a reference. I also didn’t really feel inspired while making this one, and felt like it was a stepping stone to another project. 

Cost: $0 (free fabric from buy nothing group.)

Rendition: 27 & 28

Medium: Pencil

Pros: I wanted to make some rough mock ups of some ideas I had that we’re more playful. I really like sketching for that. Maybe I’m just most experienced with it, so it’s easy to lean on. It kind of reminds me of how people tend to use their native language when doing math in their head. I liked being able to visualize how things would look. I think I probably saved time by doing this. I also am not sure I would have thought about using a fish hook at the end if it weren’t in 2D. I didn’t end up doing it, but it’s a fun idea!

Cons: I didn’t learn anything from the medium itself. I think that’s okay though!

Cost: $0

Rendition: 29

Medium: Styrofoam and Fabric Puppet

Pros: I had so much fun with this one. I feel like I really started playing here. I ended up just wrapping the fabric around my arm. I didn’t have hot glue yet so I used superglue. Hot glue probably would have made this easier.

Cons: Not super sturdy. I would need to find a better way to take it on/off to use it again. Also my dog is convinced I made it for her. 

Cost: $3 (glue)

Rendition: 30

Medium: Fabric and foam scraps

Pros: I felt like I learned a lot from the last rendition and wanted to revisit this one again. I definitely enjoyed it more. I liked being able to squish and fold the fabric to adjust proportions. Since I didn’t cut or glue the fabric I also didn’t consume any products here. I experimented a bit with knots here, which I feel like I was missing before. Even though it looks less like a fish than the first one, I like it more. I tend to struggle with wanting things to be exact replicas, so that’s a big step for me!

Cons: Still hard to preserve in this exact format. I’d have to glue it or press it between something. 

Cost: $0

Rendition: 31

Medium: Paper and String

Pros: A cool way to work in 3D with supplies I almost always have on hand. Could be scaled up easily. I originally drew an eye on the last cone (I hated it) and the modular format made it easy to swap it for a new one. 

Cons: A little more time consuming. 

Cost: $0 (used the same glue from before)

Rendition: 32

Medium: Knitting/Yarn

Pros: Something worth keeping. I also had never knit before, so I learned a lot about different kinds of stitches.  I think this is a good tool to have in the tool kit. I could see it being useful for joining things together. In theory you could knit other materials... gonna have to write that one down. 

I stuffed the anchovy with artisan fluff that had been carefully harvested from the prized toy collection of a local specialist. If you don’t have a dog that can provide you with artisan fluff, store bought is fine. 

My biggest win here was not finishing it. The original plan was to add fins and an eye, but I’m going to leave it as it. I feel like I got everything I could get out of it. It’s served it’s purpose and I’m letting it go. 

Cons: Takes forever and is expensive, especially if you want to avoid synthetics. I found some websites selling secondhand yarn. I’ve also heard about people undoing sweaters, either their own that are stained/damaged or from the thrift store. If I do anymore projects I’d probably go that route. Also my dog thinks that both the project and the yarn ball are for her.

Cost: $ 20 (lots of leftover yarn though, and now I have knitting needles)

Rendition: 33

Medium: Rice Crispy Treat

Pros: Edible! Easier to spend money when I can eat the result. Wet hands were key to avoid stickyness.

Cons: Not as sturdy as i thought. I think I would need to adjust the recipe for sculpting. This one couldn’t really leave the cutting board. 

Cost: $10 

Rendition: 34

Medium: Marshmallow

Pros: Quick idea I tried out while making the above rendition. I know you can melt marshmallows and reshape them. I wanted to make an anchovy shaped marshmallow. I though this one was a flop at first. I think the butter made it too soft for my initial vision. After chilling I was able to cut it though and it’s not half bad! 

Cons: Messy (cornstarch) and dangerous (you have to work with the melted marshmallow while it’s still hot)

Cost: $ 0 

Rendition: 35 

Medium: Paper and Brass

Pros: This is definitely a contender for favorite rendition. I love the movement and was surprised at how much emotion it added!

Cons: The size limits the movement here since the brass fasteners open behind. 

Cost: $ 0 (thanks to my free kit!)

Rendition: 36-37

Medium: Coffee ground clay

Pros: I got to use old coffee grounds and the leftover starch from the marshmallow rendition.

Cons: I can’t not stress how much this looked like poop.

Cost: $ 0 

Rendition: 38

Medium: felt

Pros: easy and cheap. I’d love to build a plushy version of this with the filets inside

Cons: none!

Cost: $2

Rendition:39-42

Medium: Paint and stamping

Pros: I was able to capture the scales momentarily using the fish as a stamp but they disappeared. I sprinkled in with salt, like I’ve done with watercolor, and it gave a similar vibe though. When it dried I flaked off the salt and drew a rough outline.

Cons: Fishy smell and my dog is incredibly interested. 

Cost: $0

Rendition: 43-48

Medium: Paint

Pros: Had to get loose. Top: I wanted to do an anchovy with an open mouth but the only thing I could prop it open with was another anchovy. It created this silly (and morbid) scene. Under that I used a lot of water. It was too much water. Next I took a more traditional blocking approach. The bottom two might be hard to recognize, but it’s the front and top of an anchovy and are pretty unrecognizable. The top I might be able to ID as an anchovy... eventually. The front... probably not in a million years. I was really surprised at the way the anchovy looked from the front!

Cons: fish are starting to smell and I’m running out of time

Cost: $0

Rendition: 49

Medium: Pen

Pros: I really liked this scene and wanted to do it again.

Cons: pen isn’t my favorite but I couldn’t find a pencil.

Cost: $0

Rendition: 50 !

Medium: Pen

Pros: I like the word play moment and really am surprised I didn’t do it earlier!

Cons: I could have planned this better. I wanted it to say anchovy but after v I had way to much room. If I did it again I’d do the outline in pencil.

Cost: $0

[ellynneversweet]

Someone in the complaints department, presumably: I just got an email from a customer who ripped their package open and recreated the conception of Perseus in their kitchen. Now they’re complaining because ‘gold’s heavy it shouldn’t have done that.’

[carduelisc]

Making Dinosaur Plushies!

Hi, I am Ria and I revived my tumblr. You might have stumbled over the cute dinosaur plushie picture and want to sew one of your own? You can do that! I‘ll tell you how I did mine :)

I found the sewing pattern for our dinosaurs during one of my late night, sleep avoiding pinterest scrolls. It was kindly provided by VirginieLaTeste under the following link:

Now, some of you may know that I work as a media technician at a university makerspace. This means I usually work with machines like laser cutters, 3D printers and embroidery machines. I wanted to find out if I could make a plushie, using the gadgets that I have and share my experience with my students.

So the first thing I did was open the sewing pattern in a vector program. I used Inkscape for this, as its free and open source. I used the path tool to trace the sewing pattern. I also designed some extra spines for the back. Having the images vectorized is necessary for the next step, putting the fabric into a laser cutter. I discovered that laser cutting minky fabric instead of using scissors gives me the advantage of not having to deal with loose hair everywhere, since I only nick the fabric from the back. Plus, since minky is made from polyester, due to the heat the fabric doesn‘t fray. Since my image is now also in vector format, I can scale and resize the sewing pattern to my needs. So what I naturally had to try next was pursuing how big or small can I actually make my dinosaurs? My only limitation in this case was the size of my laser cutter, which is 430x720mm in dimension, for the smallest dino it would only depend on my sewing skills :D

After I cut the fabric, I used an embroidery machine for the litle dinosaur scales. I designed my embroidery file with a program called hatch embroidery designer. This program is not free, but theoretically you could do such an easy design also with an inkscape plugin called inkstitch. For embroidery I used a sandwich technique - embroidery felt on the back of the fabric and wash away embroidery foil on top of the fabric. this makes for cleaner embroidery since the minky hair is pressed flat under the foil and doesn‘t show in the stitches. For the biggest dinosaur I also tried appliqué technique for the scales and eyes, which makes the dino very soft to the touch.

Sewing the dinosaurs wasn‘t easy. I think felt or other fabrics might be favourable for first time projects because minky fabric is really a nightmare to sew with a sewing machine. I needed lots of pin needles because the fabric kept sliding over itself and didn‘t stay in place and sometimes the machine ate my fabric, which is frustrating. But I gained experience and after some getting used to, my dinosaurs were ready. The smallest dinosaur fits just the palm of my hand, I was sewing him by hand, which took about an evening.

I hope you guys have fun making your own!

[thehermitscosmos]

diy skeleton pants !

Hello everyone !

Here are some skeleton pants I made. Inspired by an image off Pinterest (I will link the source if I can find it) I thought this idea was absolutely amazing. I have gradually fallen in love with customised pants as there is so much space for experimentation and creativity. These pants were my first attempt at at a real DIY fashion project.

On an old white t-shirt I sketched out the shapes for the bones, making sure they were wide enough to fill but not dominate the front of each pant leg. I then just cut them out with some scissors and hand-stitched them onto the pants with some white thread. This part of the process took me a little as it was my first time hand-stitching at this scale. But, I have had some previous experience with hand-embroidery so it was definitely manageable. The denim on these pants is also really soft so pushing the needle back and forth was rather smooth.

Overall, I think they turned out quite great! I am extremely happy with how they turned out and have found myself wearing them relatively often. They are a nice statement piece for my wardrobe.

Here is a picture of me wearing the pants. :)

[tj-crochets]

I am out of practice and it shows, but a tiny little moth is done! Embroidery scissors for scale

[embroidery-pro]

How use Mylar with your embroidery machine

Shining Bright: Embellishing Your Dreams with Mylar and Your Embroidery Machine

Embroidery machines bring creativity to life, transforming fabrics into vibrant masterpieces. But what if you want to add a touch of sparkle and shine? Enter Mylar, a versatile material that opens doors to dazzling embroidery possibilities. In this comprehensive guide, we'll embark on a journey, unlocking the secrets of how to use Mylar with your embroidery machine, from choosing the right materials to troubleshooting tips. So, get ready to add some pizzazz to your embroidery projects! Mylar: More Than Just Craft Foil Often known as "craft foil," Mylar is a thin, polyester film available in various colors, textures, and finishes. When incorporated into embroidery, it adds a stunning metallic sheen, dimension, and a unique iridescent effect. From simulating shimmering scales on a mermaid tail to adding dazzling stars to a nighttime scene, Mylar's versatility knows no bounds. Before You Begin: Gathering Your Toolkit While using Mylar with your embroidery machine is exciting, ensuring success requires the right tools: Embroidery machine compatible with Mylar: Check your machine's manual or consult the manufacturer to ensure it can handle Mylar's thickness and texture. Mylar sheets or rolls: Choose the desired color, texture, and finish based on your project. Stabilizer: A special stabilizer like tear-away or water-soluble is crucial for preventing puckering and tearing. Embroidery needles: Depending on the Mylar thickness, consider using metallic or specialty needles designed for delicate materials. Scissors or rotary cutter: Sharp tools ensure clean cuts and prevent fraying. Adhesive spray (optional): For certain techniques, a light adhesive spray can help secure Mylar in place. Embracing the Shine: Techniques for Using Mylar With your toolkit ready, let's explore different ways to incorporate Mylar into your embroidery: 1. Appliqué: Cut Mylar shapes using templates or freehand designs. Apply a light, even spray of adhesive to the back of the Mylar (if using). Secure the Mylar to your fabric with heat-resistant tape or pins. Use a satin stitch or decorative stitch to sew around the Mylar edges, attaching it firmly to the fabric. 2. Inlay: Cut out shapes from both Mylar and fabric, ensuring they match perfectly. Place the Mylar shape underneath the fabric cutout, aligning edges carefully. Use a satin stitch or decorative stitch to sew around the edges, securing both layers together. 3. Outlining: Cut thin strips of Mylar and lay them along your design outlines. Use a straight stitch or satin stitch to sew over the Mylar strips, incorporating them into the design. 4. Free-motion Embroidery: Experiment with free-motion embroidery techniques, incorporating small pieces of Mylar for accents or highlights. Use a slower stitching speed and adjust tension settings as needed. Beyond the Basics: Tips and Tricks Test on scrap fabric: Before diving into your project, experiment with different techniques and settings on scrap fabric to find the perfect combination for your chosen Mylar and machine. Adjust thread tension: Slightly loosen the thread tension to prevent pulling or puckering on the Mylar. Use the right needle: Fine-tipped needles like metallic or denim needles are ideal for Mylar's delicate nature. Minimize embroidery density: Mylar can be challenging to stitch through multiple layers. Opt for less dense designs or consider using it as an accent rather than covering large areas. Embrace imperfection: Mylar can sometimes shift slightly during embroidery. Embrace these minor variations as part of the unique handmade charm. Shining Examples: Project Inspiration Mylar opens doors to countless creative possibilities. Here are some project ideas to spark your imagination: Dazzling dress accents: Add shimmering details to dresses, jackets, or bags. Sparkling home décor: Embellish pillows, curtains, or tablecloths with a touch of shine. Personalized gifts: Create custom phone cases, wallets, or keychains with your signature Mylar touch. Magical costumes: Bring fairy tales and fantasy characters to life with shimmering scales, wings, or crowns. The Final Stitch: A World of Endless Shine With the right guidance and a touch of creativity, Mylar can transform your embroidery projects into dazzling masterpieces. So, embrace the shine, experiment with different techniques, and don't be afraid to push the boundaries! Remember, the most important ingredient is your own artistic vision. Now go forth and stitch your dreams into reality, one sparkly thread at a time! Read the full article