As promised in an earlier post, here's how I load-up my tiny masterpieces into those clever Dandelyne mini-hoops. Although your mini-hoop comes with mounting instructions, I did not find them very useful for heavily embroidered pieces. You see, Dandelyne advises you to just push your masterpiece in from the back using the wooden centre piece. Then you glue your excess fabric onto the back of this wooden centre piece. I am sure this works just fine when you use a printed fabric or something quite sturdy like an aida with some cross-stitch embroidery. However, it does not work so brilliantly with heavily embroidered slippery fabric. Fear not! Here's the solution. And it is pretty simple too!
Once you've cut out your mini-masterpiece (including the seam allowance!), stitch a running stitch along the edge using sewing thread. Use a knot to anchor your thread and don't place your stitches too close to the fabric edge (fraying!). Place the wooden centre piece on the back of your embroidery.
Pull your thread taut so the fabric folds around the wooden centre piece. Check the front, adjust if necessary, then start lacing. I am sure there is a pretty looking orderly way to do this, but that's just not me I am afraid. When sufficiently laced, secure your thread well.
Now you can carefully push your mounted embroidery into the Dandelyne hoop from the front. This gives you maximum control over where it is going. And the whole lacing prevents it puckering, especially near the screw at the top. Once your embroidery is in, follow the Dandelyne instructions for adding the screw. Masterpiece finished!
Where to find the original Dandelyne mini-hoops? There is a special section on the Dandelyne website stating stockists in your country. Accidentally, my first three miniature Elegant Schwalm Butterfly necklaces are up for sale in my webshop!
A couple of days ago, I received my July #broderibox from Nordic Needle. It contained grey and silver metallic threads, silver beads, beading thread and a bead nabber (more on the tool, further down). Flicking through my Millie Marotta colouring books, I came across Euchoreutes naso or long-eared Jerboa. A kind of mouse with large ears, a tuff on its tail and the ability to jump high living in China and Mongolia. Although the creature is light reddish-brown with a white underside, I decided to make mine grey. As usual, I worked my embroidery doodle on 18 TPI Antique canvas. The pattern was transferred using a fine black permanent marker.
First thread to play with: Nordic Gold by Rainbow Gallery. The bobbin it comes on advertises it as 'Very fine, easy-to-use metallic stronger than blending filament'. It is a blend of metallized polyester and nylon. The thread is not stranded, but knitted. Using long cross-stitches and normal cross-stitches, I filled the Jerboa's tail, right foot and paw. To create the illusion of the left foot being further to the back, I used the smaller tent stitch. The Jerboa's nose was also stitched in tent stitch. This metallic thread works well indeed and stitches went in quickly. Just take care not to pull too much as the knitted structure might unravel.
Next up were the ears and the tuff on the tail. My #broderibox contained another Rainbow Gallery thread: Alpaca 18. This is a 100% fluffy Alpaca thread; perfect for recreating the illusion of hair. After all, it IS hair :). To let the thread express its fluffiness, I decided to use simple straight stitches to fill the fluffy bit on the tail and the rims of the ears. I LOVE this thread. It is so soft and has such a perfect structure. Certainly a thread to remember for future projects! By the way, the pink inside of the Jerboa's ears was stitched with a three-ply rayon thread from my stash. I think it might have been an Oliver Twist thread. This thread unravelled itself faster than I could stitch. So glad the Jerboa comes with tiny ears... Again, I used a slightly larger stitch (condensed cashmere stitch) for the ear closest to the viewer and the smaller tent stitch on the ear further to the back. This approach creates the illusion of depth.
Next up was one of my favourite threads: Vineyard Silk. A two-ply non-strandable spun silk. Before the whole #broderibox adventure, I had never heard of this brand of silk thread. What a shame! It is a really good thread for Silk Virgins as it is so well behaved. It doesn't snatch; just a dream to stitch with! I started by stitching the curved thigh with circular eyelet stitch. I don't think I ever used this particular stitch before. It is quite a textured stitch and it screams 'floral'. However, I think it works well for this particular area. Following the thigh, I filled the main body with condensed scotch stitch. This diagonal stitch fits the elongated curved back of my mouse perfectly. Last, I filled the head with Parisian stitch. This straight stitch contrasts very nicely with the diagonal stitch of the main body.
I could have left it at that. The different areas of the body of my Jerboa are distinct enough through the use of different stitches (diagonal, straight and composite). However, my #broderibox contained one more embroidery thread: Kreinik Metallics very fine (#4) braid. A great test to see how a particular metallic thread holds up, is to use it on top of already embroidered areas. I decided to stitch a chain stitch edge between the different areas of my mouse's body. The thread holds up well and didn't snatch on the previous stitches. However, compared to the Nordic Gold thread, this one unravels far quicker.
The Jerboa's eye is made up of a base layer of tent stitches using the Kreinik braid. Then I used the YLI Silamide beading thread to stitch down the silver Mill Hill glass sees beads; both part of the #broderibox. I planned to try the bead nabber tool on this part of the project, but I forgot... I will keep the tool in mind for my next beading job. Since it looks like a thimble with a sticky tip, I am particularly interested to find out if the stickiness affects the beads.
For the background of my Jerboa doodle, I used two shades of green Anchor perle #5 thread from my stash. The stitch used is Jaquard stitch and in real life, it creates such depth and movement! That's another #broderibox doodle finished. I hope to have inspired you to try your own doodles. Using colouring book graphics as a base, you can easily create fun embroideries. Look at your subject carefully to decide which stitch fits best where. Remember to use smaller stitches towards the back and more bold stitches towards the front. It is easier than you think! And great fun too :).
They're done! After 174,5 hours of stitching, my traditional Bavarian braces/suspenders were picked up by a very happy costumer yesterday. I used 82 skeins of DMC and Anchor stranded cotton and 18 TPI brown canvas. Here are some pictures for you to enjoy:
This is the total length of them: 115 cm. It's a tall lad :).
And a close-up of the re-drawn antique pattern used.
And the breast piece with the coat of arms of the village of residence. Now my embroidered 'raw material' goes to the saddler to get its leather backing and matching corded trims. Time to get one of my other embroidery projects out!
Last week, I received my copy of Inspirations Magazine #95. And wow what a beautiful issue it is! Packed with great embroidery projects exploring a wide range of embroidery techniques. Clear favourite for me: Strawberry Fayre, a heart-shaped sewing necessaire designed by Carolyn Pearce. Carolyn is one of my favourite embroidery designers. A couple of years ago, I stitched her famous Home Sweet Home needlework box.
The sewing necessaire is packed full of lovely stitched details in green, pink and blue. This projects uses 40 embroidery stitches ranging from the well-known French knot to the more exotic cable plait stitch. Equally, it uses a whole array of yummy embroidery threads in cotton, silk, rayon and metallic. And the design uses beads as well! A perfect project to learn new embroidery skills. Not unlike a sampler, but then way more useful.
Inside the sewing necessaire there is ample room for your scissors, stiletto, tape measure, needle pages, pincushion and thread rings. The heart-shaped necessaire closes with a pretty Dorset button. Another pretty technique you will learn from this project!
Dangling from the necessaire are exquisite little needlework essentials: a pinwheel, an emery strawberry and a thimble holder.
I so love this new Carolyn Pearce design, that I ordered the kit as my birthday present (I'll turn 39 on Friday!) from Stitchology. As an Inspirations subscriber, I paid €146 + €26 shipping. Yup, that isn't cheap. However, Carolyn Pearce is known for using many different components in her designs. Trying to gather them yourself from suppliers all over the world isn't necessary any cheaper. That said, if you have a large stash and you don't mind swapping things out, you will be perfectly fine stitching this necessaire with your own supplies!
As the kit is on pre-order at the moment (it will probably ship at the end of July) and will take 3-4 weeks to arrive in Germany, enough time to see if there are others who plan on stitching this project. Wouldn't it be great to hook up online and stitch this project together? Like a Stitch Along (SAL)! Please leave your comment below if you are up for the game. Looking forward to start...
Last week, I was finally able to pick up my copy of 'Raised Embroidery: Techniques, projects and pure inspiration' from the bookstore! It is the latest addition to the highly successful Search Press series of embroidery books from the Royal School of Needlework. And this one was written by Kelley Aldridge: my first tutor at the Royal School of Needlework. My embroidery life evolving thereafter is in a way all her fault :). Let's have an in depth look at this latest addition to my ever expanding embroidery book collection!
What I really like about this book, even before opening it, it has the new larger format. The first eight books in the series were rather small (c. A5). At around 100 pages they were perfect for beginners, but had little to offer for more experienced embroiderers. This book has 144 pages and is about A4 in size. And Kelley makes excellent use of this larger canvas!
As with all books in this series, the book starts with a short promotional story on the RSN. Then it carries on with an explanation of what raised embroidery is. It immediately clarifies that it is not only about 17th century stumpwork techniques modified for the 21st century stitcher. The book also looks at textured embroidery stitches known from for instance Brazilian embroidery. Having clarified the scope of the book, Kelley carries on with a short historical overview. As the aim of the book is to have you stitching, the part on choosing the right materials, from needles, to fabric, threads, frames and other tools, is much more elaborate. And explores some fun stuff you might not have thought to incorporate into your next masterpiece.
What I find absoluteley fantastic about this particular book: it has a whole section devoted to 'Inspiration and Design'. Here you can look Kelley over her shoulder to see how she comes up with her raised embroidery designs. It starts very basic with choosing the size and shape of your future piece, its function and selecting the materials you want to incorporate. However, Kelley also reveals that she is a great fan of using mood boards to come up with embroidery design ideas. This section is absolutely perfect for those stitchers who find it hard to find the confidence to create their own pieces. Kelley clearly demonstrates a quite structured way of creating and subsequently stitching your own design. This can, of course, be applied to all forms of needlework!
And, true to her training at the Royal School of Needlework, she strongly advocates that you think the piece over carefully before you start. Think about the order of work before you start. It greatly increases your stitching pleasure as you probably do not have to deal with 'road blocks' which often lead to another AMP (abandoned masterpiece). However, thinking it over does not mean that the process is now set in stone! Oh no, you can still tinker and tweak. It just reduces the risk of producing a roof without supporting walls :).
As already seen in the other books in this series, this one also contains a whole section on how to dress your hoop or slate frame, transfer your design onto fabric and starting and ending threads. Followed by sections on commonly used padding techniques, attaching stitches (think couching and Sisha), raised stitches, needle lace and creating wired shapes. This section provides a beginner to intermediate stitcher with enough tools to start stitching.
The 'second part' of the book is devoted to easy to follow step-by-step embroidery projects and pure inspiration from contemporary embroiderers. It kicks off with wearable raised embroidery and a project to make a lovely colourful brooch. I really love this piece as it shows you different ways of using common materials and stitches. It provided me with a real 'oh, I never thought of that (but from now on I will!)'. The following pages are filled with brooches, cuffs, necklaces and fascinators made by such talented people like: Lisa Bilby, Helen Richman & Jennifer Goodwin.
Next up are the 'useable raised embroideries' with a project to make a sleeve for your phone. You are walked through this project from the start of the design stage right up to finished product. This is what makes this book so good! And the project pages are again followed by pages full of pure eye-candy featuring outstanding embroidered boxes to store needlework supplies, an embroidered book cover and a stunning fully three-dimensional embroidered bird etui by Jenny Adin-Christie. So proud that my, simple in comparison, RSN-Diploma box 'Hansel & Gretel' is on the mirroring page!
And last but not least, are the 'collectible raised embroideries' with a funny biscornu as the step-by-step project. The last pages of the book are filled with stunning embroidered objects by such talented people as Angela Bishop, Kate Barlow, Victoria Laine, Holly Coleman, Hattie McGill, Elena Thornton, Laura Baverstock, Stella Davies and Kelley Aldridge herself.
This book is a real treat! And equally so for beginners right up to very experienced stitchers. The large number of embroidered pieces by artists trained to a very high standard at the Royal School of Needlework make this book to a must-have addition for your embroidery library. As always, please support your local bookstore if you can. Mine here in Germany was able to order the book for me within days for as little as €18,99. I consider this a bargain and am sure that I will treasure this gem for years to come. Thank you Kelley for writing such an inspiring embroidery book!
P.S. I wasn't able to find personal websites for all the above mentioned artists. If you know of one, please leave a comment below and I will update this post accordingly!
Today I am going to share some lovely embroidery pieces with you. We'll start off with the work of one of my students, then we'll have a look at some new pieces I made and we'll finish with a new initiative to bring Mastercrafts People together. Let's start with a stunning blackwork piece:
This piece has been embroidered by Anja from the Netherlands. She started it last year during one of my week-long embroidery retreats. Anja worked from a picture and translated the different textures and shades beautifully into blackwork's geometric patterns. Anja will add some white highlights to the eyes to make the birds even more life-like. I so enjoy seeing a finished piece which started under my tuition!
Next up is another piece by Anja. She started it last week during another one of my embroidery retreats. We had great fun designing this piece by using a piece by Hazel Blomkamp as the base. Then we added two flowers from a colouring book by Millie Marotta and a pomegranate from an older embroidery book. Just to illustrate that you don't need to be able to draw your own design from scratch. Mix and match often produces a stunning new design. I have a feeling this piece will turn out great as well!
As most of you know by now, I have a subscription to the Broderibox by Nordic Needle. Although I used all threads present in the May box, I wasn't sure what to do with the purse clasp. I am an embroideress and I can mount a finished piece satisfactorily. However, I am not good at finishing. Mainly because I do it so rarely. Time to change that! There are so many lovely products out there to turn your embroidery into something other than a framed picture. Time to become acquainted with the clasp.
Luckily for me, there was a website listed on the back of the clasp's packaging: Zakka Workshop. Do visit their website as they have some adorable stuff on there. And best of all, they have a really good Youtube video on how to install the clasp. As I wasn't confident that I could come up with the right size embroidered purse, I ordered their instructions for the simple patchwork pouch. It provided me with a template for the purse and then it was just a matter of adding a cute bird, do some Schwalm embroidery, add some beads and best of all: use a House of Embroidery hand-dyed perle #12 in a colour combination that's totally out of your comfort zone :).
Worked a treat so far. Installing the clasp wasn't as easy as the video makes you believe. Especially not as I've probably used the wrong interfacing between the embroidery and the lining of the purse. Mine is probably too thick/stiff. That's the challenge when using instructions from another country. However, I am quite pleased with the result! I will tinker with the purse design and write up instructions at a later date. Just keep an eye out for them on this blog :)!
Another great way to finish your embroidery (and really hot on Instagram!) is to use a tiny wooden hoop by Dandelyne. Since I really like my Schwalm butterfly, I wondered if I could shrink the piece enough to go into a 4cm hoop. Guess what? I could! I used a combination of House of Embroidery hand-dyed fine silk and raw silk as well as paper covered wire to stiffen the upper-wings. I've now worn the piece around my neck for two days straight (I did put it down for sleeping...) and it holds up beautifully. As I had some trouble adding my finished embroidery to the hoop using the instructions provided, I will write a blog on this alternative method soon. It will help others mount embroidery on thin fabrics into a Dandelyne hoop. By the way, you can get your Dandelyne hoops here in Germany from the lovely Nadine from Zur lila Pampelmuse. That's where I got mine :).
Still reading? Good reader! There is one last thing I want you to go and check out: the Mad' in Europe initiative. It is a website where you can find European Mastercrafts People. Please do visit my page and leave a review! It will not only earn you my eternal gratitude, but it will also help to make my work more visible. And don't forget to check this initiative for local crafts people near you or your next holiday destination! (and do apply for membership if you are a fellow European artisan; it's free!).
THE END :)
Remember the mystery flea market find from the Netherlands I showed you two weeks ago? Elaine Cochrane wrote me an email to tell me that she had a similar piece from England. Hand-painted details with silk embroidery on a silk background. This is Elaine's piece:
By now, Google was finally producing some useful results too! Auction websites list several pieces called 'silk embroidery sampler or tapestry' which look very similar to Elaine's piece. The very fine seeding stitches covering the background are called stipple work by the antique dealers. Pieces are either listed as of French or English origin. Some pieces are rather large and others are of the oval type seen above. The quality of the stitching differs widely, as do the materials used. Some use only silk threads, others add gold threads and chenille.
If you would like to explore these auction listings for yourself, follow these links: Lady with Tomb, Woman at the Well, Two Girls sheltering, Woman with Baby and Angel or ask Google for 'Georgian silk embroidery'. There are some excellent detailed pictures on these sites. You are even able to see the individual stitches!
Now what are these pieces and who made them? Well, thanks to the fabulous blog Austenonly I learned that they were made by women in the late 18th and early 19th centuries. It was a time when women did mostly not receive a sound academic education and were instead send to a ladies' academy. Here, the young daughters of the upper-class were taught ladies accomplishments such as etiquette, music and needlework. A famous woman who hated this type of education was Dr. Aletta Jacobs, the first Dutch woman to be enrolled at a university.
I am wondering if these fine ladies painted the background of these silks themselves. Or were they supplied with painted silks and then embellished them with stitches? In that case: who were the painters? It seems to me that it is quite a niche market and thus more likely that these painted silks were a side-kick of another industry. Your thoughts on that are greatly appreciated!
With regard to the scene depicted on my flea market piece, Rachel from VirtuoSew Adventures had an interesting thought: what if it depicts gentry playing countryside? It was a fashionable past-time at the end of the 18th century. Most famous for the Hameau de la Reine; a peasant village built near Versailles for Queen Marie-Antoinette. She and her court could live the simple life there. Quite a possibility.
Comparing Elaine's piece and the pieces on the auction sites on the one hand and my piece on the other, does show that the style is quite different. The general idea is the same: silk embroidery on a painted silk background. An explanation for the difference in style could be its Dutch origin or my piece could be of a different (probably younger) date. Unfortunately, I am not able to find any Dutch finds on the internet. So if there is anybody out there with a suggestion where I could go and ask for information, please leave a comment!
My love for embroidery stems from the fact that I like to work creatively with my hands. But equally important, I love the fact that I am part of a very old tradition. And last but not least, I have a love for beautiful and elegant things. When I teach embroidery, I foremost want to transmit a technique. It is important to me that my students learn to execute the technical part of an embroidery technique well. That's the way I was trained at the Royal School of Needlework and it suits my personality.
With my embroidery kits I try to think of an innovative way to use an ancient embroidery technique. I want you to be able to create a stunning piece of embroidery to go up on your wall. My beetle wing goldwork and stumpwork beetles are a good example of this concept (although shelved as a kit, you can still purchase the instructions). The latest addition to my series of embroidery kits is the 'Elegant Butterfly'. This kit has a modern take on Schwalm embroidery. Originally, Schwalm embroidery is a form of whitework from the Hessian region of Germany. You can read all about it on Luzine Happel's blog. She is a master craftswoman regarding this lovely technique.
Don't be put off by the term whitework. It is nothing like the very fine embroidery seen on handkerchiefs or the like. Think more Hardanger embroidery. But then less geometrical in its shapes. Schwalm is usually floral, uses chain stitch, buttonhole stitch and coral stitch extensively. And, best off all in my opinion, comes with hundreds of different geometrical filling stitches! You won't be easily bored and it is relatively easy on your eyes.
My elegant butterfly uses the traditional cotton a broder #25 used in Schwalm embroidery. You'll stitch on beautiful 40ct Zweigart Newcastle linen. That's the traditional part of my design. I've also added in DMC Diamant metallic thread and hand-dyed silken chenille by the Thread Gatherer. A perfect opportunity for you to play a little with these speciality threads. Furthermore, I've discovered that traditional Schwalm embroidery and the wired-shapes technique used in stumpwork embroidery are a match made in heaven. Pair your finished and mounted elegant butterfly embroidery with a Ribba frame from IKEA and you have stunning unique and hand-made home-decoration!
You can stitch your own elegant butterfly purchasing either a full kit or, if you want to start immediately and you have a rather large stash, the instructions for direct download. Both are available in either German or English. Not ready to start stitching on your own? I am offering the elegant butterfly as a workshop on 18th of November 2017. Happy Stitching!
P.S.: I love to receive pictures of your finished pieces made with my kits or instructions!
When my parents visited, they brought with them this charming embroidered flea market find. I've never seen anything quite like it. As we were all a bit puzzled as to what it was, we decided to take it apart. As it had already some damage, we didn't feel too guilty about it :).
Here are the front and the back of it. The glass is very dirty and you can probably just make out that the image has a horizontal line of damage just below the gentlemen's right knee. From the different layers of tape on the back, we could see that the frame had been opened before. Possibly because they say that some lucky people find treasure in them :).
We were in for a surprise when we opened the frame. Underneath the embroidery was a picture from composer Franz Liszt (1811-1886)! As to the embroidery: it is glued to cardboard and sits in a simple frame with roughly cut glass. The embroidery has been glued to the cardboard first and then both were roughly cut out as testified by the rough edges.
A closer look at the embroidery reveals that it has been stitched on what looks like a printed silk fabric with a pile. Not a heavy velvet, but more a chiffon velvet. It is very, very thin. The stitching has been done with a fine shiny silk thread with a soft twist. Very fine details, like the men's necktie, have been stitched with a finer and more firmly twisted thread. Likely silk too. Details are added with a fine gilt twist and the buttons on the men's jacket are made of tiny gilt spangles stitched down with a tiny facetted gold metal bead. The flowers on the hats are some sort of embossed metal (high lead content) pieces that once were painted or glazed.
There are a number of different stitches used in this charming piece. The men's jacket, waistcoat and breeches, as well as his hat (a bicorne), both pairs of shoes, the lady's bodice and the bow on her hat are stitched in a form of satin filling stitch. His cuffs and her sleeves are stitched with buttonhole stitch. Additional details on her upper skirt consist of French knots. It is all quite detailed! However, it seems that the stitch quality is a bit better and far more elaborate on the male.
I think that the clothing of the pair places them in the 18th century, but I am by no means an expert on this topic. The gentlemen wears healed buckled shoes, a bicorne head (apparently folded the Dutch way), a jacket, waistcoat and breeches that fit snugly around the knee. He also wears a short powdered wig typical of the time. It all marks him out as a true nobleman. The woman puzzles me a bit. What kind of robe is that? It has a corset with a stomacher, full short sleeves, a voluminous upper skirt and a narrow under skirt. Or could it be that there is a hidden meaning to it all? Does she show him her skirts to let us know what they have been up to? The grapes could point into this direction as well.
Questions, questions, questions! Would love to hear your thoughts on the fashion of the pair.
But that's not all. The materials used are not every day embroidery supplies. My guess is that the background silken fabric was originally a piece of 'wallpaper'. Did it come out of a stately home during remodeling of a room? Did the lady of the house confiscate a well-preserved bit and stitch on it? And when was this done? Likely 19th or more 20th century?
More questions! Please do leave your thoughts in a comment below! Looking forward to solve this little flea market mystery :).
Happy start of the week dear reader! I am back from a week full of wonderful sight-seeing with my family. And one of the sites we visited was the Bauernhofmuseum in Illerbeuren. A pretty open air museum showcasing farm life from the Swabia area of Germany. And of course, there was some lovely embroidery on display as well. Mostly on household linens and mainly involving monogramming and whitework embroidery. How about these gorgeous Richelieu embroidered curtains featured in an inn?
If you would like to explore more of the 19th and 20th century embroidery on display at the museum in Illerbeuren, do have a look at my Flickr account: fairytale771978. I have also bought a brilliant book on buttons and will review that in an upcoming blogpost. Keep your eyes peeled!
In between family commitments, I sneaked in enough embroidery moments to complete my next #broderibox project. The broderibox is a monthly embroidery threads subscription put together by the lovely people of Nordic Needle. This month's box contained: five embroidery threads, beads and a purse clasp. Since the threads had a lot of browns in them; an ant sprang to my mind. Lucky for me, the amazing Millie Marotta has drawings of ants included in her colouring-in book 'Wild Savannah'.
As many of you probably know, canvaswork or needlepoint embroidery is stitched front to back. Or: object first, background later. Now be good and do not ever do that with your silk shading ;)! So, in this case, I started with my ant. She is called Truus de Mier, by the way. A favourite ant from a children's tv-show in the Netherlands. For Truus' body, I used a variegated perle #8 by Valdani. I really wanted to try this brand of embroidery threads. It worked a treat! No 'typical-low-grade-Eastern-European-Quality' here. As I wanted Truus to have a little 'body' to her body, I used the raised spot to fill it. As this stitch required me to pass 8-times through the same hole, I expected the thread to wear beyond pretty. But it didn't. They surely do know how to produce a fine perle in Romania!
Next up were Truus' legs. I stitched them in tent stitch and used both directions for different legs. This made the whole thing a little less tangled-up when legs crossed. The legs were stitched using Vineyard Silk shimmer. It is a silk thread with a shimmering filament added. It does not have a nice feel and it unfortunately stitched accordingly. A bit disappointing as I really liked the previous 100% silk threads by Vineyard Silk!
Apparently, ants have segmented legs that start with a bit of a bulky part. And ants have a mouth piece with which they cut leaves in handy transportable portions. Since this month's #broderibox had a violet Londonderry linen thread in it, I decided to use it to stitch these parts in cross-stitch. Lovely thread! I do stitch some whitework embroidery with linen threads and really love it.
That's Ms Truus de Mier sorted. On to the background. I decided to stitch the earth on witch Truus walks with Silk Lame Braid by Rainbow Gallery. Despite it being a silk thread mixed with metalized polyester and some rayon, it felt and stitched fantastically. Very well suited for the vertical Parisian stitch.
As the variegated cotton thread Watercolours by Caron had some blue in it, that was going to be turned into the sky. I separated the three plies and stitched the diagonal Cashmere stitch with one ply. I really love these cotton threads by Caron! They are so soft and hold up so well whilst stitching on canvas.
To finish my Truus de Mier, I decided that she needed a bright green stumpwork leaf. I wired a piece of dupion silk backed with calico. The buttonhole edging was stitched using a #12 House of Embroidery perle from my stash. I added the Mill Hill magnifica beads provided in the #broderibox to my leaf. Subsequently, I stitched a few beads onto Truus for an eye. And that's another #broderibox project finished satisfactorily!
P.S.: us dummies did take the camera with us to the Bunter Markt craft fair in Wessobrunn on Sunday, however, we forgot to take a picture of our stand... On the up-side, we did manage to sell two pendants and shed a few flyers and business cards!
Jessica M. Grimm
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