#to finish up the backstitch on this embroidery

[laurelindebear]

Oh I'm not really ok today I guess

[vinceaddams]

Any tips on learning to make buttonholes? I've been putting it off for.... *checks notes* like three years.... but better late than never and all that. I don't have any fancy machines so I gotta do it by hand but that seems right up your alley.

Thanks!

It IS up my alley, yes, I do most of my buttonholes by hand!

I'm actually part way through filming an 18th century buttonhole tutorial, but I expect it'll be a few more weeks before I finish that and put it on the youtubes, so in the meantime here's the very very short version. (The long version is looking like it'll probably be about 40 minutes maybe, judging by how much script I've written compared to my last video?)

Mark your line, a bit longer than your button is wide. I usually use a graphite mechanical pencil on light fabrics, and a light coloured pencil crayon on dark ones. (I have fabric pencils too, but they're much softer and leave a thicker line.) You may want to baste the layers together around all the marked buttonholes if you're working on something big and the layers are shifty and slippery. I'm not basting here because this is just a pants placket.

Do a little running stitch (or perhaps a running backstitch) in fine thread around the line at the width you want the finished buttonhole to be. This holds the layers of fabric together and acts as a nice little guide for when you do the buttonhole stitches.

Cut along the marked line using a buttonhole cutter, or a woodworking chisel. Glossy magazines are the best surface to put underneath your work as you push down, and you can give it a little tap with a rubber mallet if it's not going through all the way.

I'm aware that there are some people who cut their buttonholes open using seam rippers, and if any of them are reading this please know that that is abhorrent behaviour and I need you to stop it immediately. Stop it.

Go get a buttonhole cutter for 10 bucks and your life will be better for it. Or go to the nearest hardware store and get a little woodworking chisel. This includes machine buttonholes, use the buttonhole cutter on them too. If you continue to cut open buttonholes with a seam ripper after reading this you are personally responsible for at least 3 of the grey hairs on my head.

Do a whipstitch around the cut edges, to help prevent fraying while you work and to keep all those threads out of the way. (For my everyday shirts I usually do a machine buttonhole instead of this step, and then just hand stitch over it, because it's a bit faster and a lot sturdier on the thin fabrics.)

I like to mark out my button locations at this point, because I can mark them through the holes without the buttonhole stitches getting in the way.

For the actual buttonhole stitches it's really nice if you have silk buttonhole twist, but I usually use those little balls of DMC cotton pearl/perle because it's cheap and a good weight. NOT stranded embroidery floss, no separate strands! It's got to be one smooth twisted thing!

Here's a comparison pic between silk buttonhole twist (left) and cotton pearl (right). Both can make nice looking buttonholes, but the silk is a bit nicer to work with and the knots line up more smoothly.

I've actually only used the silk for one garment ever, but am going to try to do it more often on my nicer things. I find the cotton holds up well enough to daily wear though, despite being not ideal. The buttonholes are never the first part of my garments to wear out.

I cut a piece of about one arm's length more or less, depending on the size of buttonhole. For any hole longer than about 4cm I use 2 threads, one to do each side, because the end gets very frayed and scruffy by the time you've put it through the fabric that many times.

I wax about 2cm of the tip (Not the entire thread. I wax the outlining/overcasting thread but not the buttonhole thread itself.) to make it stick in the fabric better when I start off the thread. I don't tend to tie it, I just do a couple of stabstitches or backstitches and it holds well. (I'm generally very thorough with tying off my threads when it comes to hand sewing, but a buttonhole is basically a long row of knots, so it's pretty sturdy.)

Put the needle through underneath, with the tip coming up right along that little outline you sewed earlier. And I personally like to take the ends that are already in my hand and wrap them around the tip of the needle like so, but a lot of people loop the other end up around the other way, so here's a link to a buttonhole video with that method. Try both and see which one you prefer, the resulting knot is the same either way.

Sometimes I can pull the thread from the end near the needle and have the stitch look nice, but often I grab it closer to the base and give it a little wiggle to nestle it into place. This is more necessary with the cotton than it is with the silk.

The knot should be on top of the cut edge of the fabric, not in front of it.

You can put your stitches further apart than I do if you want, they'll still work if they've got little gaps in between them.

Keep going up that edge and when you get to the end you can either flip immediately to the other side and start back down again, or you can do a bar tack. (You can also fan out the stitches around the end if you want, but I don't like to anymore because I think the rectangular ends look nicer.)

Here's a bar tack vs. no bar tack sample. They just make it look more sharp, and they reinforce the ends.

For a bar tack do a few long stitches across the entire end.

And then do buttonhole stitches on top of those long stitches. I also like to snag a tiny bit of the fabric underneath.

Then stick the needle down into the fabric right where you ended that last stitch on the corner of the bar tack, so you don't pull that corner out of shape, and then just go back to making buttonhole stitches down the other side.

Then do the second bar tack once you get back to the end.

To finish off my thread I make it sticky with a bit more beeswax, waxing it as close to the fabric as I can get, and then bring it through to the back and pull it underneath the stitches down one side and trim it off.

In my experience it stays put perfectly well this way without tying it off.

Voila! An beautiful buttonholes!

If you want keyhole ones you can clip or punch a little rounded bit at one end of the cut and fan your stitches out around that and only do the bar tack at one end, like I did on my 1830's dressing gown.

(I won't do that style in my video though, because they're not 18th century.)

Do samples before doing them on a garment! Do as many practice ones as you need to, it takes a while for them to get good! Mine did not look this nice 10 years ago.

Your first one will probably look pretty bad, but your hundredth will be much better!

Edit: Video finished!

And here's the blog post, which is mostly a slightly longer version of this post.

[thequeenofmyownscreen]

Embroidery updates : a Calcifer cushion cover

I love Calcifer, and so does my little sister, so I thought I would make her a cushion cover with the lil’ fire demon on it.

Details under the cut

I used a simple backstitch for the outline. For the filling, I started with the 2 little flames (“flames ! flames on the side of my face !” (sorry wrong movie)) with only 1 strand, and quickly realized it was very-time consuming ! So for the log, I used 2 strands – mostly, except for doing the finishing touches.

In theory, it was quicker this way. In reality, this project took so long because my schedule was not very consistent at all (I paused for, like, one month, and 2 days later ended up doing embroidery during 5 hours straight).

Colors (DMC) : 3031 & 801 for the log, and 738 for the left side of the log where it’s cut, to figure out the lighter wood ; White for the eyes and Black for the outline ; 740 & 742 for the little flames ; 766 & 721 for the mouth ; 666, 740 and 973 for the body.

My thread started to act weird once I finished the yellow and orange for the body… maybe I didn’t tighten my orange thread enough when pulling through the fabric ? It did make some stitches stand out, a little wavy and flowy. You can see it on the pictures. But once I noticed, there was nothing I could do but to try and secure them as much as I could by passing over them a little. In the end, I think it works, thematically : the fact that some stitches are more wavy than straight give a dynamic representation of a flame, wavering by its nature. Or at least that’s what I told myself lol

I used for the 1st time a plastic hoop I bought for myself at Christmas, and… look, I’m all for the natural stuff and think we use way more plastic that we should on the planet and in our everyday lives… but the plastic hoop does a better job at keeping the fabric stretched.

[darkandstormydolls]

Finally, I can post about a costuming project literally years in the making: my worldbuilding costumes!

I started this project a while ago, to combine two of my interests; costuming and worldbuilding/writing. I honestly have to say that I prefer worldbuilding to actually writing the story, and in one of my stories especially I’ve worked really hard on creating a complex high fantasy world with details and pieces of information that no one would ever really need. Of course, a part of this was figuring out clothes for all the different cultures of the world, and planning out how they were made, what textiles were available, how their clothes were made to work with the environment around them, how they reflect cultural norms, ect. And I decided that, if I’d done all this work to design the clothes, I might as well sew them to make sure that they worked and made sense the way they did in my head, right?

So, I did just that! I’ve been working on this intermittently, between other sewing projects and dependent on when I was feeling it, what I had planned and designed, and when I could get the things I needed or knew what I needed to know. I’ve learned so much over the course of this project, and my skill level and confidence in my costuming abilities has changed tremendously from my first costume of this project (fae) to my last (vampire). Additionally, while I may not yet have an actual plot that uses this world (I’ve done a couple little one-off things, plus it serves as the distant past for my more modern fantasy story Fires of Gor’thall and I’ve pulled a lot from it for other worlds for other stories, but no one big major story), this project has been endlessly helpful for figuring out how things work and how to describe them, as well as the fact that just having these costumes has been great. Sometimes, when I’m struggling with inspiration, I’ll just dress up in clothes from my world, and sometimes it helps

The guidelines I set for myself for this project were essentially “as accurate as reasonably practical”. I’ve used my sewing machine, but limited it to either cases where a straight running or backstitch would be used (ie construction seams) and hems (I did handsew a few hems on my vampire clothes, but not all of them), with the one exception of the sleeve embroidery on the blouse for my elven clothes, since my own embroidery ability is rather lacking and since it was white on white there was no need for the color mixes done in other embroidery. Seams were all finished in a historical method (binding or felling, mostly), and eyelets were sewn by hand. I did my best to keep the fabrics used as accurate as possible, although I did used polyfelt rather than wool felt in my demon clothes (wool is expensive. I was lucky enough to get the material for the vampire clothes at craft supplies exchanges and yard sales, but not so much with the felt) and some of the “linen” I used in my daemon clothes was actually a mock-linen cotton-Lycra blend that acts much like actual linen. I also sewed just about everything with polyester thread and most of the trims are either polyester ribbon, or, in the case of the ones that I wove, made with mostly acrylic and cotton yarn rather than linen and wool

A note on terminology: I know this is a fantasy world, and as such, there is no such thing as “historical accuracy”, but I will be sometimes using words like “historical” or “period” to refer to things, meant in the context of “accurate to this world”, because these are the terms I am used to using from dress history and historical costuming

The outfits will all have their own posts, talking about the making of them, the styles, the reasoning behind why I made the clothes the way I did, and other information about the clothes themselves and my worldbuilding about them

Linked below, in order of when I made them:

Fae

Elven (I have no idea why this got marked as mature, I’m working on it, please trust me it really isn’t)

Demon

Daemon

Vampire (this one’s going to take a while to get pictures of I won’t be able to wear it until like October)

[gradientdescent-does-it-all]

Embroidery 101: Basic Tutorial, Part 2

Welcome back to part 2 of our easy introduction to embroidery! In Part 1, we learned the basics of transferring a design and setting up our hoop. Now it’s time to get down to business with the actual stitchwork. Pick up your hooped fabric, your needle, and your thread, and let’s roll.

Step 1: Thread Your Needle

One special thing about most embroidery thread is that it actually consists of multiple strands of thread - six-strand cotton embroidery thread is by far the most common you will find. The reason it comes with six intertwined strands is that embroidering with different numbers of strands produces a line of different weight - like drawing with a larger or smaller pen. 

I often work with just one or two strands for my designs based on ink-drawn line art. On the other end of the spectrum, embroidering with all six threads is a bit too chunky for small projects and I only use that for work that needs to read clearly from a distance, like my Ketheric Thorm-inspired ribcage dress. 

For this project, using four threads will be best. Cut a length of embroidery thread about two feet long and separate out four threads (but save the extra two for later use - waste not, want not). Thread your needle and put a big ol’ messy knot at the end.

Step 2: The Backstitch

We will embroider this design using one of the most common stitches: the backstitch. This is the go-to stitch for any kind of outline, and it is the stitch I use a good 75% of the time. You will still go far even if this is the only stitch you ever learn.

Begin the backstitch by bringing the needle up from the back of the work (Point A)

Insert the needle behind Point A, forming your first stitch (Point B)

Bring the needle up again in front of Point A (Point C)

Insert the needle back into Point A, forming your second stitch

Repeat thus, always coming up in front of your last stitch and going down into the same hole as your previous stitch.

Step 3: Go Forth And Conquer

Take that needle in hand and stitch, stitch, stitch until you’ve sewn over the entire design. Congratulations! You are now officially an embroiderer.

Next time on our 3rd and final segment of this tutorial, we’ll learn how to finish and frame our project.

[tundrakatiebean]

Hi! I’m here from your quilt post. It was such a heartwarming story, and I wanted to thank you for sharing it.

I’m looking to get into hand sewing, and I wanted to dip my toe in by learning embroidery. When I was a kid, I embroidered a handkerchief for my dad, but I don’t really know anything about techniques or specific stitches or anything. I’ve looked online and there’s a lot out there, and I find it to be overwhelming.

How did you get into your craft, and could you perhaps share some resources you’d recommend?

I realize this is a strange ask; if it’s too weird, feel free to ignore it and thank you for your time.

That’s not a strange ask at all that’s a delightful one!

I’m actually pretty much entirely self taught. I had a special interest in the Oregon Trail growing up (I lived in Oregon so maybe a little less weird than it could have been) which meant I did a lot of pioneer things. My mom and gramma on that side also did a lot of sewing so if I didn’t get something I could ask them which was lucky for me because I was learning before the internet was an ‘at home’ thing for most people.

The fastest way to just dive into embroidery and play around a bit while learning stitches is to make a sampler. If you just google “embroidery sampler” you’ll find a lot of different options! There are some that have video tutorials included, there are kits you can buy that include everything you need, there are examples so you can just make your own that interests you! It’s a nice way to learn a lot of the basic stitches and have an item to reference when you’re planning other projects in the future. Me, being the big ol’ nerd I am found a vintage one that was similar to what Laura Ingles Wilder would have done in a very old library book that I no longer remember the name of. I think I ended up giving that to someone after I finished it 🤔 but you can really make a sampler into anything you want! Only want to embroider bees or flowers or strawberries? There will be options out there!

I’m currently doing an embroidery project where I make a lot of different Pokémon and I’m mainly using satin stitch for that, which is one of my favorites. Some basic stitches I’d point out as The Important Ones in no particular order: satin, running stitch, backstitch, split backstitch, chain stitch, cross stitch, French knot, and long and short stitch.

Here’s a website with a bunch of different pictures of stitches and how to make them. It also links to a pdf book you can buy, which I haven’t, but the site has plenty of options for playing around with. Just in case you wanted to see what you liked and just dive in! You could pick ten you think are neat and just try them out on some scrap fabric!

And here’s a link to an Instagram account I like and has posted examples of stitches before as well as selling embroidery kits, just in case you needed things narrowed down more :)

https://instagram.com/dkmoonfeather

[embroidery-pro]

learn to digitizing your embroidey designs

From Sketch to Stitch: A Comprehensive Guide to Digitizing Your Embroidery Designs

The world of embroidery has embraced the digital age, allowing you to transform your own unique designs into stunning stitched masterpieces. But how do you bridge the gap between a simple vector graphic and a complex stitching pattern? This comprehensive guide, crafted with 2500 words, will teach you the art of digitizing your embroidery designs, from software choices to stitch considerations and finishing touches. Before We Embark: Understanding SVGs and Embroidery Files Scalable Vector Graphics (SVGs): These text-based descriptions of images offer infinite scalability, making them perfect for digital design. Embroidery files: These contain specific instructions for your machine, including stitch types, colors, and placement (DST, EXP, JEF, PES formats are common). Step 1: Choosing the Right Software Consider these factors when selecting your digitizing software: Skill Level: Are you a beginner or an experienced digitizer? Some programs cater to novice users, while others offer advanced features. Budget: Free and paid options exist, each with varying capabilities and functionalities. Compatibility: Ensure the software outputs files compatible with your embroidery machine. Here are some popular choices: Free: Inkscape: A free vector graphics editor with the Ink/Stitch plugin for basic digitizing. Sewing & Embroidery Software (SERF): Free software with limited but beginner-friendly digitizing features. Paid: Wilcom Embroidery Studio: Offers powerful tools for advanced digitizing and editing. Embrilliance Enthusiast: User-friendly software with various features at a good price point. Brother PE Design: Ideal for beginners with Brother embroidery machines. Step 2: Preparing Your SVG Simplify the design: Remove unnecessary details or intricate lines that might not translate well to embroidery. Optimize colors: Limit your color palette to what your machine can handle (usually 6-12 colors). Convert to paths: Ensure all elements in your SVG are outlines (paths) for proper stitching. Step 3: Importing and Converting Import your cleaned-up SVG into your chosen software. Follow the software's specific instructions for converting to an embroidery file. This typically involves: Choosing stitch types: Select appropriate stitches for different parts of your design (satin stitch for filling, backstitch for outlines, etc.). Setting stitch parameters: Adjust stitch density, length, and direction for desired effects. Color mapping: Assign thread colors to different parts of your design. Step 4: Digitizing Tweaks and Adjustments Preview and test: Most software allows you to preview your design on a virtual embroidery machine. Check for stitching issues and adjust paths or settings if needed. Refine stitch types and parameters: Experiment with different stitch combinations to achieve the desired look and texture. Consider thread types and colors: Choose thread that complements your fabric and design aesthetic. Step 5: Export and Embroider! Once you're happy with your design, export it in a file format compatible with your embroidery machine. Transfer the file to your machine and prepare your fabric and thread. It's finally time to see your creation come to life! Embroider your design, following your machine's instructions. Bonus Tips for Success: Start simple: Begin with basic shapes and designs to get comfortable with the conversion process. Practice digitizing: The more you experiment, the better you'll understand how different stitches and settings affect your final outcome. Join online communities: Connect with other embroidery enthusiasts for tips, advice, and inspiration. Don't be afraid to ask for help: If you get stuck, consult software manuals, online tutorials, or seek assistance from experienced digitizers. Remember, with a little practice and this guide as your compass, you'll be well on your way to transforming your SVG dreams into beautiful embroidered realities! Further Resources: Websites: Needlework Tips and Techniques: https://www.needlework-tips-and-techniques.com/ Books: "The Complete Book of Digitizing" by Jeannette Douglas, "Digitizing Designs" by Laura Ashley YouTube Tutorials: CreativeBug Cutwork Embroidery Masterclass, Bluestone Creations Cutwork Basics Online Forums: Embroidery Forum With these additional resources and the knowledge you've gained, you Read the full article

[andmaybegayer]

Last Monday of the Week 2023-04-03

Quilt's done, let's watch some movies.

Listening: Finished catching up to 99 percent invisible, which only took me like five years of cooking, cleaning, commuting, sewing, video gaming and soldering. Admittedly it's only about half of all of those things, but hey.

There's a lot of good 99pi episodes although a lot of them are actually guest episodes, for example Finding Julia Morgan is actually from New Angle: Voice, about an early and prolific skyscraper designer.

For originals, there's the story of the Nikolai Vavilov and the Seed Potatoes of Leningrad although frankly The Anthropocene Reviewed did it better, and there's Miss Manhattan, which is the story of a prolific model who is as a result featured in a ton of architectural work, Audrey Munson.

Reading: Started qntm's Ra, spec fic hard science fantasy where magic is a precise scientific process which is primarily best understood through careful measurement and differential equations. Appealing to me as an electrical engineer, where most things are also best understood through careful measurement and differential equations.

I read the first couple chapters ages ago but didn't stick with it, it's hard to read on a computer, I ended up buying the ebook and I'm devouring it. qntm has a way with words and worlds, and an appreciation for the power of institutional knowledge and formal theory that makes his stories feel very real and grounded. Even if they open with a drunk mage blasting some muggers with a microwave thermal lance.

Watching: Triple feature, big show today. First, episode two of Dynamo Dreams is out, only a year after the first one, not bad for what is mostly a solo VFX project. Beautiful, grungy, greebled sci-fi.

My brother called me up at six in the evening like hey do you want to go see a movie, and I almost never turn that offer down despite his incredibly terrible taste in movies and TV. We saw Shazam 2, which was mediocre in uninteresting ways. If you want to enjoy it, walk out about 15 minutes before it ends and it'll at least do something bold and thoughtful. The most I can say is that it keeps track of all it's plot points and ties them all off neatly.

Finally The Edge of Tomorrow, the time loop movie from like 2014. I like time loops, they give you a lot of room to play with. Manages to handle its stakes really well and convey the exhaustion and investment of a time loop without actually playing out every loop, which is hard. Makes me want to play Elsinore.

Playing: Nothing much, I got a couple games of Valorant in with The Buds. Now that I don't have sewing to podcast through I might go back to Forza a few hours a week. It's a reliable option. That or Warframe maybe. Needs to be a game with minimal text and little strategy.

Making: The Penrose quilt is finally done, took a few months there huh.

I'm really glad it's done, I'm looking forward to actually using it once I move out. Soon hopefully.

My sewing skill has really gone up over the course of this project, sometimes I'd read or watch someone's dressmaking project and I'd think there's no way you can do consistently tight backstitch by hand for that long of a seam but no, you totally can, it's not even that hard.

Tools and Equipment: If you're going to be working with Perle cotton you really want embroidery specific needles, they've got longer eyes that are better suited to the thicker floss than conventional needles.

[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.

[goldenoyster]

Third time using my speedweve, and I love it! This was a pretty big hole I had to cover up and I know if I’d had to free hand it then I’d have made a huge mess. As it is, I forgot to anchor the top when finishing the patch, so I had to do it after the loom came off, haha. Hence the top being a little wonky.

I used three strands of the orange embroidery floss and six of the teal to get this effect. I also avoid putting any knots in the fabric by backstitching the thread twice before starting and after finishing to anchor it in place. Hence all the little thread offshoots.

Here’s the sock pre-mend:

Now it’s all good and this sock will live to see another wear.

[swashbucklery]

Chroma Conclave Biscornu Substitution Guide

Look look don’t judge me but I did this work and so I’m sharing it with you in case you too want to do some extremely specific nerdy cross stitch this month, with or without a certain 5th-edition-with-the-serial-numbers-filed-off cartoon.

How This Document Works:

1. This is not a cross-stitch pattern. This is instructions on how to adapt an existing cross stitch pattern from Tiny Modernist, an artist who is not me, using colour substitution. The pattern is for a biscornu, which is a funky shaped kinda dumpling looking decorative pillow/pincushion/whatever.

2. Below you will find five images, each containing six colours and numbers. The colours correspond to DMC embroidery floss shades. If you do not have DMC floss in your area I am not doing this again; if you google “DMC to [local brand] floss conversion tables” you can probably find some pretty close matches.

3. I know the pattern has four dragons and there are not four dragons in the Conclave, please don’t @ me. You will have to come to terms with choosing your four favourite dragons.

What You Will Need:

1. A copy of the original cross stitch pattern. Which you will purchase yourself, and pay real money for. It is available online at Tiny Modernist. I cannot stress this enough do not pirate this person’s pattern, do not email it to your friends, do not “share” it. The original pattern is the work of an independent artist who makes income from selling PDF cross stitch patterns that she’s designed herself. This is not Big Cross Stitch you’re sticking it to. If you steal her art, you’re being a rude jerk who hates fun. Don’t be that guy.

2. Supplies to make the biscornu. This is included in the pattern, but basically: cross-stitch fabric (14-ct Aida or 28-ct Linen/Cashel/whatever), a cross-stitch needle, a frame or hoop to stitch with. And then a sewing needle, stuffing, and two buttons to assemble the biscornu. If you are choosing to stitch a white dragon I would recommend not using a white fabric. There are some nice beige cloths (often called “tea” or something similar) available at your local big-box craft store that would work instead, these will make the colours pop more.

2a. You also don’t have to make the biscornu! Maybe you just use the chart for the top and make a cute little dragon wall hanging, live your truth!

3. A bit of stitching experience or some beginner cross stitch confidence. If you don’t know how to assemble the finished piece, Tiny Modernist has some great tutorials on her Youtube channel. Give her hits, don’t come to me with your questions. I think you could make this pattern as a fairly novice stitcher, since the stitching itself is two square charts and they’re not super complex. However, you will need to know how to read a chart well enough to substitute colours, and to understand the guidance below on colour substitution. 

4. Gumption and a can-do attitude. These colour substitutions are me sharing my plans only, I have not stitched them or tested them. I feel pretty confident that they’ll look good but I don’t guarantee it, and you may have to make some substitutions from my substitutions to end up with a final project that pleases you.

OK so the original pattern Biscornu looks like this:

When we break down the chart, each dragon has: 3 body colours (green in this case), two belly colours, and a belly side colour. There is also a seventh thread used for the claws and for backstitching the details like the arms and wings.

Each of the images below contain 6 colours. Note: in the original pattern, the designer lists how many stitches you need to make with each colour. Depending on how you substitute, these may or may not be accurate. If you do four of the same colour dragon, these will apply. If you do four different-coloured dragons, obviously you will use less stitches.

When you substitute colours, I would recommend still having the original 9 shades she calls for, including the original dragon colours. These shades are used in other elements in the pattern (the scrollwork and castles) and I have not included directions for how to colour-swap those.

How To Read These Substitution Guides:

Top Row: Leftmost is the Body MC, this is the lightest of the 3 and should be substituted for the dragon shade with the most stitches. Top center is the Body CC1, this is the darkest and should be substituted for the darkest contrast body shade. This shade has the least number of stitches in the original pattern. Top right is the Body CC2, this is a medium shade fairly close to the Body MC. This shade uses 4 more stitches than the CC1 in pattern.

Bottom Row: The two shades to the left of the bottom row are Belly CC1 and Belly CC2. There is a light one and a dark one which correspond to the light and dark dragon belly stripes. There is also a shade to the far right, that is Belly Edging. You substitute this colour for the shade in the original pattern that goes along the edge of the dragon belly.

Backstitching: This pattern contains backstitching to highlight details. If I don’t think the original shade will work with my suggested substitutions, I’ve included a substitute backstitching shade to try.

Ok Show Me Some Colours 

A Green Dragon You May Know:

A White Dragon You May Know:

A Black Dragon You May Know:

A Red Dragon You May Know:

A Blue Dragon You May Know:

That’s it. Go bananas, have fun kids.

[cschwab]

Mom’s Art Day: August 2023

Today I worked on 3781 3371. First I sanded the gesso until I was more or less satisfied, and then I started stitching the outlines of the shapes! Usually when I make a stitched painting, I do needlepoint on the unstretched canvas—counting x threads over and y threads up or down to keep my stitches even, this requires wearing a magnifier—and then stretch it carefully to keep the lines straight, but this time I’m working on pre-stretched canvas so I needed to find a tool to help me keep my stitches even.

I settled on one of the plastic DMC thread organizers I bought about a decade and a half ago as a spacing tool for my backstitch. (Side note: I think these are an awful way to organize embroidery floss. Bobbin cards are way better, and you can even make them yourself!)

Here are photos of a single stitch being made:

[Image Description: A series of close-up photos of a white canvas with shapes outlined in pencil, laid flat. The pencil marks are partially stitched over with brown embroidery floss. (1) The flat plastic spacing tool is laid perpendicular to the line of stitches, up against the previous stitch. (2) On the opposite side of the spacing tool, the needle is brought through the canvas from the back. (3) The spacing tool is put aside and the thread is pulled all the way through. (4) The needle is inserted down into the same hole the previous stitch came up through. (5) The thread is pulled through until (6) it is pulled taut, and the stitch is complete.]

It really wasn’t as difficult to stitch through the pre-primed, pre-stretched canvas as I had feared. I think using a fine tapestry needle (size 26, if I recall correctly) helped a lot, and I’m glad I had some on hand. Working around the support bar across the back of the canvas was annoying, and I had to use a second needle to make a guide hole from the front in those spots.

Here’s how it looked when it was time to finish up:

[Image Description: The same rectangular canvas, twice as tall as it is wide, now leaning against a desk. The canvas has a streaky white surface, except for a lens (pointy oval) inside a rhombus (diamond). The shapes are outlined in pencil, and the outline of the lens has been partially stitched in brown thread, at the top and bottom points, and the parts farthest to the left and right. At the bottom of the stitches on the right side of the lens, the needle and thread hang down.]

I love a good stitching day 😌

[vinceaddams]

Top 5 hand-stitches

(I'm answering for construction stitches, my top 5 embroidery stitches would be different.)

1. Whipstitch. What can't it do? SO versatile! Felling seam allowances, doing narrow hems, putting linings in, etc. And there's other really cool stuff like the rolled whip gather, which is also basically just a whipstitch! (I considered putting le point a rabattre sous la main on this list, but I think I can just include it in the whipstitch category, especially since I often don't end up with the little pricks of stitching that go through all the layers and show a bit on the front, unless my buckram is really thin.)

2. Backstitch. Strong! Useful! If I'm completely hand sewing a garment then the main construction seams will be backstitched. I also use it to do stuff like set coat & jackets sleeves, because some things are just annoying to do by machine. (image source)

3. Buttonhole stitch. I like the look of hand sewn buttonholes so much more than machine sewn ones. And it is useful for other things too, like bar tacks to reinforce the corners of openings. It's also used around the ring portion of Dorset wheel buttons, and you can do detached buttonhole stitch to do stuff like those Dorset knob buttons I've put on some of my shirts. (And yeah, detached buttonhole is arguably a different stitch, but whatever.)

4. Running stitch. I gotta be honest, I don't like running stitch for construction seams at all, it just feels too flimsy. (I can understand how it would be good for long seams that don't take a lot of strain, but still, the closest I'd be comfortable doing is a running backstitch.) But it's useful for lots of other things! I use it mostly for basting, and I do a lot of basting. I like to baste my seam allowances down before I flat fell them (wether I'm felling them by hand or machine), and it makes it so much easier, and I end up with a more even result. Same goes for narrow hems. It's especially great for felling the seams on shirt & nightgown sleeves, because having a tube of fabric wadded up around the presser foot while full of pins is awful.

It's also great for gathers, and I like it for topstitching edges if I want it to be more subtle than machine topstitching.

5. Herringbone stitch. I don't use this one super often, but it's great for when you need something to still have a bit of movement. I used it to finish the seam allowances on my Nelson undershirt back in 2017, because they were done that way on the original, and it's held up surprisingly well. I've also heard that unlined summer linen coats can be finished that way, which would be neat to try. It's nice for pants hems if you have access to a serger, because it lies nice and flat and isn't very visible from the front.

It can also be decorative, like on these mitts I made back in 2013 holy shit that's 9 entire years ago oh my god. (Please ignore all the construction techniques in the linked blog post, they're awful.)

Thanks for asking!

[unit3-fmp]

Hand Embroidery

Embroidery Stitches

Woven Wheel

Woven wheel stitch is made from a wheel like shape consisting of ano odd number of spokes with thread woven around them. It produces a raised circle of thread which in which looks like a rose.

Instructions:

with your thread create a star like shape consisting of an odd number of lines

bringing the needle back up thread the centre, doing an up and down movement between the strands weaving them to create the design above

I really like woven wheels and the flower like silhouette they create forming this unique and detailed texture as well as the fact they can be made as big or as small as you want.

Backstitch Wheel

The backstitch wheel is similar to a woven wheel however slightly more complicated as instead of weaving the thread through the stitch you create these loops adding this extra texture and raised aspect.

Instructions:

Work eight stitches into the centre

Bring the thread out near the centre

Go under the first stitch then back around creating a loop

Repeat this on the next stitch and then again until the whole wheel is full

I really like the effect of the backstitch wheel and found it easy to do allowing for a more sophisticated yet simple stitch to add more depth to embroidery which I really like.

Chain Stitch

Chain stitch is a hand stitching technique in which each stitch forms a loop through the forward end of the next forming this 3 dimensional illusion.

Instructions:

thread your needle through the fabric all the way

go back through the same hole however do not pull all the way through

come back up through the fabric about a cm away making sure to go through the loop previously created

pull tight and repeat this to create a chain

I feel chain stitch is a really effective stitch used to create a looser feel to a design and this illusion looking as if its not attached to the fabric which I really like.

Satin Stitch

The satin stitch consists of a range of straight stitches placed next to each other used as an embroidery fill stitch for small shapes to create a silky, satin look to the piece.

Instructions:

create a singular running stitch

looping back to the opposite side repeat this as many times as needed

satin stitch is a very simple stitch to do and although it is very time consuming the result shows this buy its machine like finish which can not be achieved with other embroidery stitches.

Fly Stitch

Fly stitches are filling stitches that can be used for leaves, flowers, or as decorative effects.

Instructions:

starting at the back of the fabric pull your needle through

go back into the fabric about 1cm away from the original stitch

go back into the fabric in line with the initial stitch but slightly lower down

in doing so thread the needle under the original stitch and go back round and into the hole you just came out of to create a fly stitch as shown above.

Fly stitches are fairly simple to do and are highly effective to create more unique stitches providing a similar effect to fern stitch but a bit more intricate which I really like the look of.

Fern Stitch

Fern stitch combines three small stitches worked in a group along a vertical or curved line to create an open lacy pattern emulating the silhouette of tree fern.

Instructions:

bring the needle through the fabric from the back

pull the needle back through about 0.5cm away

at a 45 degree angle at the same distance come out the fabric and go back into the point the initial stitch came out of

repeat this on the other side

I like the look of fern stitch and found it very easy to do as it is similar to backstitch. As well as this, its a nice and detailed way to create the shape of leaves and branches whilst also looking really neat.

Lazy Daisy

The lazy daisy stitch is very similar to a chain stitch however all the stitched are independent and are used to create petals for flowers

Instructions:

thread your needle through the fabric all the way

go back through the same hole however do not pull all the way through

come back up through the fabric about a cm away making sure to go through the loop previously created

go back in the same hole and pull.

I really like the lazy daisy stitch and although it is quite hard it is really effective and is a lovely stitch for more loose and textured designs

French Knots

French knot's are a decorative stitch used to create one or more small knots or dots forming a textured and 3D element within a design

Instructions

starting at the back of the fabric pull the needle and thread all the way through

with the needle wrap the thread around the point as many times you want depending on the size of the knot desired

once wrapped around the needle and holding the loose thread tightly put the needle back into the fabric in the same part you came out of and pull.

I really like French knots and although they are very time consuming when doing a large number of them I really like the more tactile and textured feel they create. I further think they would work really well when adding more detail a to a design.

Seeding

Seeding is a very simple yet effective method consisting of a variety of running stitch in all directions fairly closely together.

Instructions:

starting at the back of the fabric pull the thread through

going back in the fabric roughly close together create a running stitch

repeat this in a variety of different direction and in a variety of different sizes

I found seeding very easy and enjoyable to do and love the simplistic and detailed design formed adding a range of dimension and depth to the piece.

Couching

Couching is when thicker thread id sewn down with a finer thread in a matching colour however this is not always the case, contrasting colours can be used as well as the same thickness of thread to add more depth to the design.

Instructions:

thread main colour thread through fabric

then using the finer thread come up through the fabric and wrap around main thread.

with the finer thread go back into the hole you cane out of and repeat this all the way down the main thread

I think couching is a highly effective and pleasing stitch creating this delicate yet textured design that works really well as a decorative stitch.

Bullion

The bullion stitch is quite similar to a French know however rather than being focusing in one area, is a bit more spread out creating a much more detail running stitch kind of look.

Instructions:

create a singular running stitch but do not pull it all the way through creating a loop

come back up through the first stitch

Using the loop of thread wrap this around your needle as many times needed to fill the gap of your stitch

whilst holding the spiralled thread tightly pull the needle and thread through all the way

complete the stitch by putting the needle through the second whole.

I found bullion stitches the hardest stitch to do as it can very easily go wrong and is difficult to pull the needle through due to the amount of tension however I think the result looks really good and very effective.

Mesh Flowers

Here I have created these hand embroidery flowers using embroidery thread,shear fabric and beading. I love the outcome of this design as well as the colour palette and 3D texture.

To begin with I drew a simple template of the flowers to get an idea on the composition and shape of the flowers, I then went in with purple watercolour to add some shading and shadows to the base. Next I went in with purple embroidery thread to highlight areas of the flower to get the desired shape in which I then layered pink thread on to. To create the curved shape of the petals I cut out a few circles of the fabric in which I burnt the edges causing it to curl up and not look so flat. To hold these into place I used a cream thread as well as to add some highlights. Furthermore, to finish off I embroidered these purple beads and pearls in which I think really pulled the entire design together.

In conclusion this is my favourite embroidery I did as I think it would look really nice possibly on the bodice of my dress creating this really unique texture. In addition when the light hits it I really like how the mesh and beads sparkle adding this extra depth and 3 dimensional element.

[mattressdreamer]

Embroidered Elegance: DIY Pillow Personalization

Introduction:

Pillows are not just accessories for comfort; they are also an opportunity to express your personal style and creativity. If you're looking to add a touch of elegance to your living space, consider the art of DIY pillow personalization through embroidery. Embroidered pillows not only provide a unique and customized look but also serve as a reflection of your personality. In this article, we will explore the world of embroidered elegance and guide you through the steps of creating your personalized masterpiece.

Choosing the Right Pillow:

Before diving into the creative process, it's essential to select the right pillow for your project. Consider the fabric, size, and shape of the pillow. Cotton and linen are popular choices due to their smooth surfaces, which are perfect for embroidery. Square pillows are the most common, but you can experiment with different shapes to add variety to your collection.

Selecting Embroidery Supplies:

Once you have your pillow, gather the necessary embroidery supplies. You will need an embroidery hoop, embroidery floss in various colors, embroidery needles, and a pair of sharp scissors. Choose a high-quality embroidery floss that complements the color of your pillow fabric. Don't forget to pick up an embroidery hoop that matches the size of your pillow, ensuring a smooth and even stitching process.

Designing Your Pattern:

Now comes the fun part – designing your embroidery pattern. Whether you're a novice or an experienced crafter, there are numerous design options to choose from. Consider your overall home decor theme and personal preferences. Floral patterns, geometric shapes, or personalized quotes are popular choices. Sketch your design on paper before transferring it onto the pillow fabric to ensure you're satisfied with the layout.

Click here to know more : -

Transferring the Design:

To transfer your design onto the pillow fabric, you can use various methods. One common technique is to trace the design onto the fabric using a water-soluble fabric pen or tailor's chalk. Another option is to use an iron-on transfer pattern. Simply place the pattern on the fabric and use a hot iron to transfer the design. Ensure that the design is centered and aligned properly before moving on to the next step.

Embroidering Your Pillow:

With your design transferred, it's time to start embroidering. Secure the fabric in the embroidery hoop to create tension, making it easier to stitch. Begin with the outline of your design using a simple backstitch. As you gain confidence, experiment with different embroidery stitches such as satin stitch, French knot, and chain stitch to add texture and dimension to your pattern. Take your time and enjoy the process – embroidery is as much about the journey as it is about the final product.

Adding Personal Touches:

To truly make your embroidered pillow unique, consider adding personal touches. This could be your initials, a significant date, or a special message. Monogramming is a classic and timeless way to personalize your pillows. Choose a font that complements your design and carefully stitch the letters onto the fabric. These personal touches will elevate your DIY project and make it a cherished part of your home decor.

Finishing Touches:

Once you've completed the embroidery, it's time to finish the pillow. Trim any excess fabric around the design, leaving a border for a clean and polished look. If you've used a water-soluble pen, follow the instructions to remove any remaining marks. Finally, assemble the pillow by sewing the front and back pieces together, leaving an opening to insert the pillow form. Carefully turn the pillow right side out, insert the pillow form, and hand-stitch the opening closed.

Conclusion:

Embroidered elegance is a delightful way to personalize your living space and showcase your creativity. DIY pillow personalization allows you to infuse your home with unique, handmade pieces that tell a story. From selecting the perfect pillow to designing and stitching your pattern, each step of the process contributes to the overall charm of your creation. So, grab your embroidery supplies, unleash your imagination, and let the art of embroidery transform your pillows into personalized works of art.

Read more : - Mattress Makeover: Transforming Your Sleep Space with Our Store

[cuteplushiesofficial]

Introduction Creating adorable plushies is an art form cherished by many, but when it comes to sewing tiny, intricate pieces, even experienced plush makers can face challenges. In this comprehensive guide, we will explore two techniques for sewing small plush objects. We'll focus on creating a perfect nose, a little over one and a quarter inches long, but keep in mind that these techniques can be applied to various small plush elements like claws, teeth, and more. Sewing small pieces demands precision and skill. Whether you're a seasoned plush artist looking to refine your craft or a beginner eager to learn, these methods will empower you to add intricate details to your creations with confidence. Method 1: Using Regular Sewing Machine Starting with a Template Before we dive into sewing, it's essential to begin with a template of the object you want to create. In this case, we're using a small nose as an example. The template should match the exact size and shape you desire for your plush element. For intricate shapes like this, it's often better to omit seam allowance on the template. Tracing the Template Place your template on two layers of fabric, leaving a generous margin around it. This extra fabric will make sewing easier. Use a silver sharpie or fabric marker to trace around the template. Additionally, mark a point where you won't sew to allow for turning the piece right side out. Sewing with Precision To ensure a clean and symmetrical result, sew along the silver line you've drawn. Start with a backstitch at the beginning and end at the marked point where you left space for turning. When dealing with small and complex shapes, slow and steady wins the race. Take your time, reorient yourself as needed, and follow the line meticulously. Turning and Finishing After sewing, carefully cut around the stitched shape, leaving some space between the stitches and the fabric's edge. This step prevents unraveling. When you reach the marked point, leave more fabric to facilitate turning. Use a ladder stitch to close the opening neatly. Trim excess fabric, and your hand-sewn plush element is ready. Method 2: Using an Embroidery Machine Preparing the Fabric Similar to the first method, begin with a template of your plush element. In this technique, we'll leverage an embroidery machine for precision. Cut two pieces of fabric larger than your hoop's size, allowing for some extra space. Hoop and Design Hoop the two pieces of fabric, ensuring the nap of the fabric aligns with your desired direction. Create an embroidery design using software like Embird, matching it to the size of your hoop. Trace the shape's outline with a one-millimeter stitch, making it smaller for precision. Save the design in your machine's format. Machine Stitching Load the design into your embroidery machine. You can now let the machine do the intricate work. Use plain thread in both the bobbin and the top thread. This method is particularly advantageous when sewing numerous small, complex pieces, such as claws or teeth. Finishing Touches Once the machine has finished stitching, cut out your plush element, leaving some fabric around the edges. Snip close to the point if needed. Use forceps or hemostats to turn the piece right side out, paying attention to all corners. Finish the opening with a ladder stitch, tucking in excess fabric. Clean-Up Finally, run a pin along the seams to pick out any fur caught in the stitching, leaving your plush element looking pristine. Conclusion Both methods have their merits. Sewing by hand provides speed and material efficiency, while the embroidery machine ensures unmatched precision for complex shapes and larger quantities. As you practice and gain experience, you'll find the technique that suits your plush-making needs best. Happy crafting!