Edgy Embroidery: Transform Conventional Stitches into 25 Unconventional Designs
160
Edgy Embroidery: Transform Conventional Stitches into 25 Unconventional Designs
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Overview
Embroidery isn’t just florals anymore, it’s a moth with pinned wings, an old haunted house on a hill or a cow skull with a flower crown. You won’t find “home sweet home” here, but you will find “Can U Not” or “Don’t Be A Prick.” Renee Rominger, founder of Moonrise Whims, designs projects for a new generation. And whether you just started and need a solid foundation, or you’re an expert looking to enhance your art, Edgy Embroidery will teach you something new, fun and easy.
Renee not only shows you how to conquer basic techniques, but also how to create more complex stitches like her unique Moonrise Roses. With pattern templates, detailed stitch tutorials and instructions on how to complete each design, every one of these 25 projects will be wall-worthy.
This is definitely not your grandmother’s embroidery.
Product Details
| ISBN-13: | 9781624144417 |
|---|---|
| Publisher: | Page Street Publishing |
| Publication date: | 09/19/2017 |
| Pages: | 160 |
| Sales rank: | 1,056,927 |
| Product dimensions: | 7.90(w) x 8.90(h) x 0.50(d) |
About the Author
Read an Excerpt
CHAPTER 1
GETTING STARTED
HOW TO HOOP FABRIC
Actually getting your fabric in the hoop can be a little bit frustrating, but it's important to take your time. For information on selecting fabric, see here. If it's too loose or taut, all the time you spent stitching carefully may be for nothing as the end result could be warped by the fabric tension.
1. To begin, separate your hoop by unscrewing it at the top. You'll now have two pieces — the inner ring and the outer ring with the screw at the top.
2. For your fabric, cut a square length large enough to fit the hoop with at least an inch of space left. For instance, a 5-inch (13-cm) round hoop would need at least a 7-inch (18-cm) square of fabric.
3. Take your inner ring and lay it flat against a clean, hard surface, then place your fabric square over it. This next part may seem small but it's very important when it comes to your finished piece looking as clean and neat as possible.
Take a close look at your fabric. You'll notice a horizontal and vertical weave pattern to it. When you place it over your inner hoop circle, imagine where the screw top will be when you lay the top ring. That is your "north" now.
Align the fabric evenly in the center, with the weave oriented vertically to that spot. Place the adjustable outer ring on top. Tighten it slightly so that it isn't slipping around.
4. If your fabric is aligned properly, this next step should be easy. The trick to an even stretch is to start gently pulling the fabric from the back, beginning with the right side, then the left. At this point, you're not pulling very tight, just enough to get rid of any looseness. Next, gently pull the bottom, then the top. Be gentle and patient once you get to the top section, since the adjustable screw can tug on the fabric.
5. Next, repeat this process, pulling a little bit more now until the fabric is nice and taut. If you've done it correctly, the weave pattern in the fabric should not be too distorted. Inevitably, some parts may be a little wonky, but that's okay. The goal is not to have any loose areas or have it be so tight that it could double as a drum.
6. Lastly, remove any excess fabric so it doesn't get in your way. I always cut around the edge so the excess fabric follows the line of the hoop, with at least 1 inch (2.5 cm) left.
As you work you may find that you like a tighter surface or a looser one. If it's comfortable for you and doesn't mess up your stitches, feel free to modify as you see fit.
If you're using a fabric that has any stretch to it, you may have difficulty hooping it. It's not impossible to work with, but depending on how much stretch there is to it, it may be a pain. You also run the risk of overstretching, which would result in it springing back once you remove the hoop, which spells disaster for your stitches.
PATTERN TRANSFER
My preferred method of transferring a pattern, and what I'll be teaching, involves some creative processes but I swear by it both for the simplicity and ease of it. It involves hooping your fabric "backward" and then tracing your pattern onto it.
First, we have to hoop our fabric "backward." We achieve this by simply turning the fabric over when we hoop it regularly. Now, the face of your fabric is technically in the back and will lay wonderfully flat against your pattern. Select a pattern (here). After you trace your pattern, you can stitch it this way or remove the fabric and rehoop it the right way out.
Tracing the pattern onto your fabric is as simple as it sounds. Using whichever pen, pencil or marker you've chosen to mark your fabric with (here), trace the design directly onto your fabric.
Depending on your fabric, sometimes you won't need any source of backlight to see your pattern. However, having a light source to illuminate from the back makes this task easier and less frustrating as you can clearly see your pattern. If you're using dark fabric, you will absolutely need backlight.
There are tools made specifically for tracing called light boxes or light boards. While they're handy and made specifically for this task, they're not necessary.
If you've got a window and some sun in your home, you're good to go. I recommend gently taping the pattern onto the window (washi tape is great for this — it's very gentle and won't leave residue on your windows), then laying your "backward hoop" flat against it to trace it. Make sure you place it in a comfortable position so you're not straining yourself.
Alternatively, if you don't have access to a light box or sunny window, you can get creative with a computer, laptop, tablet or TV. Chances are you've got some electronic devices that emanate light from a hard, flat surface. I used an old tablet as a "light box" for years.
Try not to overthink this too much. Maybe it looks or feels a little silly tracing from a window or even a laptop, but it's a quick and easy task.
HOW TO THREAD A NEEDLE
1. After you've learned how to pick the proper tools for embroidery (here), it's time to get more familiar with them. The first step is to thread your needle in preparation for your first stitch. First, cut a length of floss. It should be shorter than the length of your arm, or about 20 inches (50 cm). Use sharp scissors to get a clean, even and unfrayed cut to make threading it through easy as pie.
2. Hold the floss between the thumb and pointer finger of your dominant hand and hold the needle in the other. If you're using the proper embroidery needle, you should have no problem bringing the floss end through the eye. Pull the floss through the needle about 5 inches (13 cm). This length will keep the floss secured in the needle as you work. On the opposite end, tie a simple knot. This will be what stops your thread from coming through the fabric with your first stitch.
HOW TO BEGIN A STITCH
Beginning any stitch starts with bringing the needle up from the back of your fabric. Pull gently until the knot at the end of the fabric stops the motion. Make sure your first stitches don't pull too tightly so you don't pucker the fabric.
HOW TO END A STITCH
For most projects, you'll have to end a stitch in the middle of a project several times to rethread a new piece of floss and resume work.
To make an end knot easy, make sure you leave at least 5 inches (13 cm) of thread. Working until it's nearly gone is tempting but can make the end knot difficult, if not impossible, and too loose.
On your last stitch with this length of floss, unthread your needle and set it aside. Lay your hoop flat, with the back of it facing you. Your goal is to have the knot lie flat against the fabric so your last stitch doesn't loosen. The trick to this is to start your knot as a large loop. Slide the knot down and gently pull, holding it to the fabric until it's tight. Cut the excess thread off, leaving only about a ¾-inch (0.6-cm) length.
BEGINNING YOUR NEXT STITCH WITH A NEW LENGTH OF FLOSS
When you've completed a length of floss and are beginning again with a new one, simply continue on as though it's the original length of thread. For the first stitch or two, be careful not to accidentally pierce through either your beginning or ending knots.
STRANDS OF FLOSS
Embroidery floss is made from six individual cotton strands gently twisted together. Most of the time, all six strands are used, but you can easily separate the strands and use anywhere from one to five for smaller details.
CHAPTER 2
BACK STITCH
The back stitch is by far the most useful stitch you will ever learn. Because of its simplicity and diversity, it can feasibly be used for nearly everything. However, it's important to take your time to learn to do it properly for happy, clean stitches. As you learn and stitch, pay attention to your stitch lengths so that they are even and meet together as seamlessly as possible.
One single wonky stitch can throw off the look of your final project, so if it looks off, take a second to set your needle aside, gently take out the last stitch or two and redo them.
For the back stitch, we'll be using the stab technique, meaning that you pull your needle and thread all the way through with each step. Follow the lines of the pattern as if you were tracing them. When you come to a curve or turn in your pattern, begin to shorten your stitches so the curve doesn't look boxy.
1. Bring your threaded needle up and through point A. Bring your needle down and through point B. This is your first completed stitch. Except for shortening your stitches when you navigate curves, all of your stitches should be approximately the same length as this one.
2. Your second stitch here is where we start working "back." Bring your needle up and through point C.
3. Bring your needle down and through point B. This is where you want to pay close attention. Make sure that your needle is coming down through the same hole as point B. If you accidentally create a new hole slightly to the side, your stitches will look off.
4. Repeat this motion again, bringing your needle up and through point D, then back down through point C.
POISON BOTTLE
Our first project is inspired by the various lovely glass bottles that you'd find in a dusty old apothecary. It has a beautiful crystal stopper and swirly decorative label in a dreamy color palette. Drink at your own risk, however. This medicine is a little harsh.
PATTERN USED: here
STITCH USED: Back stitch
HOOP SIZE: 6" (15-cm) round
FABRIC COLOR SHOWN: Purple
COLOR PALETTE
BOTTLE AND STOPPER: Dusty purple
STOPPER BASE: Gray
LIQUID: Light purple
LABEL: Light blue
LINES: Metallic gold
Transfer the pattern to the fabric.
Begin first with the bottle. Using all six strands of floss, start at the top and work your way down. When you get to the crystal bottle stopper, I suggest using long, clean lines rather than a series of shorter stitches. Finish with the text and designs on the inside of the label; split your thread in half and use only three strands.
ANATOMICAL HEART
This design is inspired by the anatomy sketches that you'd likely find in a 100-year-old medical textbook. What I love about the heart, and what I think draws people to it, is how it is both so human as well as emotional. It's amazing to see the intricacy of this vital organ that beats in all of us, which we associate so strongly with love.
PATTERN USED: here
STITCH USED: Back stitch
HOOP SIZE: 7" (18-cm) round
FABRIC COLOR SHOWN: Cream
COLOR PALETTE: Deep red
Transfer the pattern to the fabric.
The anatomical heart pattern has a lot of curves and turns, so make sure to shorten your stitches as you go so your lines don't look boxy or sharp. The example photo is on a cream-colored fabric, but this would also look great on a beautiful patterned fabric. We'll be using all six strands of thread for this piece.
I suggest working from the outside in, first outlining your heart, then coming back to fill in the details, leaving the veins for last. When you begin on the veins, you'll notice that the main one down the middle is thicker than the others. To get this effect, first back stitch the vein as you would normally, then back stitch right next to it to thicken the line.
RIB CAGE
This rib cage pattern is a play on one of my favorite things that inspires me the most — juxtaposition. I love mixing macabre items with soft florals. In this case I've paired a beautiful rib cage outline in stark black with a lovely vintage floral fabric.
PATTERN USED: here
STITCH USED: Back stitch
HOOP SIZE: 6" (15-cm) round
FABRIC COLOR SHOWN: Floral print
COLOR PALETTE: Black
Transfer the pattern to the fabric.
This is a very straightforward pattern. Because there are some smaller details, we'll be using only three strands of floss so the lines are clean. I suggest stitching the sternum first so you have a center to work from. Starting from either the left or right side, work your way down, stitching the outside of each rib, then the inside. Regarding fabric, any light pattern works great here, but you could use a solid-color fabric as well.
HAUNTED HOUSE ON THE HILL
This haunted house on the hill is reminiscent of old ghost stories. The mysterious centuries-old home sits up high on a hill among the moon and stars, far from town. The only movement anyone ever sees is a new headstone in the yard. Is it really haunted? Or is it all in our heads?
PATTERN USED: here
STITCH USED: Back stitch
HOOP SIZE: 6" (15-cm) round
FABRIC COLOR SHOWN: Cream
COLOR PALETTE
HOUSE AND MOON: Black
STARS: Gold
Transfer the pattern to the fabric.
For the haunted house outline and roof, instead of using a series of short back stitches to create the lines, we'll stitch them as one long line. This will make the lines clean and sharp. Make sure you have good tension in your fabric and hoop so the stitches don't loosen.
The pattern will be using only three strands of floss to keep the lines thin and fine. I suggest beginning first on the outline of the house, then working your way in to fill in the details. To add the stars, use three strands of gold floss and back stitch to overlap three stitches.
MOTH
This delicate moth with his large, dusty wings is inspired by what you'd find in an old museum. It's beautiful but also, when you notice the pins holding his wings down, a little grotesque. Either way, he's an impressive specimen.
PATTERN USED: here
STITCH USED: Back stitch
HOOP SIZE: 8" (20-cm) round
FABRIC COLOR SHOWN: Cream
COLOR PALETTE: Black
Transfer the pattern to the fabric.
This moth project is a great exercise in stitching curves and details. Remember to shorten your stitches as you come around curves and turns so the design doesn't look boxy or sharp. I suggest starting on the body of your moth beginning on the outside and working your way in. For the center body, head, wings and lines in the wings, use all six strands of floss.
When you're finished with those, split your floss in half, using only three strands to stitch up the antennae, pins and text. Using fewer strands will give you a thinner and more detailed look as well as add dimension to your design.
CHAPTER 3
SATIN STITCH
Now that you've learned the back stitch, satin stitch should be a breeze. Think of it as a series of long back stitches. I love how "satin stitch" evokes a smooth and silky image. Similarly, so should your stitches when done correctly. Using this technique creates beautiful work with a filled-in look. It makes designs pop and adds texture.
The trick here is even stitches. The way I achieve that, and will be teaching you as well, is by using what I call guidelines and starting in the middle of a design rather than the top or bottom. This method gives you greater control and your end product will be much nicer.
Satin stitch is also very versatile. You'll see how it's similar to the leaves stitch and how it can be used for small details in later patterns.
We'll be using the stab technique for the satin stitch, moving the needle and thread all the way through with each step. In this example and in the patterns, we'll be using the outer lines as our start and end points and the guidelines to keep our stitches straight and even.
1. Bring your threaded needle up through point A and down through point B. Make sure your first stitch here is even and straight as it will be the base and guide for the rest.
2. Come back around to the right side and bring your needle up and through point C. This should be very close to point A so that when you continue this stitch, no fabric shows through. Take your time when working near your first stitch so you don't accidentally snag your beginning knot on the underside of your fabric.
3. Bring your needle down through point D, also very close to point B and parallel to point A to B.
4. Continue working right to left as you work your way down. Make sure you start and end your stitches as close to the lines of your pattern as you can.
5. Once this half is complete, start working your way upward, beginning with point E to F.
SHARP TEETH
My, what sharp teeth you have! This design is inspired by classic tales of the undead and is another juxtaposition as we pair the lovely deep red lips with some very sharp fangs.
PATTERN USED: here
STITCHES USED: Satin stitch, Back stitch
HOOP SIZE: 6" (15-cm) round
FABRIC COLOR SHOWN: Cream
COLOR PALETTE
LIPS: Dark red
TEETH: Black
Transfer the pattern to the fabric.
The lips in this pattern use a lot of floss. Before you begin, make sure you have at least two skeins of your lipstick color so you don't run out.
For this pattern, I suggest first starting with the lips, using satin stitch and all six strands of floss. Make sure you have a nice tension in your hoop so the longer stitches don't become loose as you work.
Finish up with the teeth by using only three strands of the black floss and using a back stitch. When you come to the fangs, I suggest using one single long back stitch for each side so you get a nice point to them.
Want your design to have a little extra bite? Not only can you play around with the lipstick colors, but you can add your own text on the inside of the mouth.
(Continues…)
Excerpted from "Edgy Embroidery"
by .
Copyright © 2017 Renee Rominger.
Excerpted by permission of Page Street Publishing Co..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Introduction 6
Getting Started 8
How to Hoop Fabric 8
Pattern Transfer 10
How to Thread a Needle 12
How to Begin a Stitch 12
How to End a Stitch 12
Beginning Your Next Stitch with a New Length of Floss 12
Strands of Floss 12
$ $
Poison Bottle 17
Anatomical Heart 18
Rib Cage 21
Haunted House on the Hill 22
Moth 25
$ $
Sharp Teeth 29
Outer Space 30
Don't Be a Prick 33
Geometric Succulent Terrarium 34
$ $
Candy Hearts 39
Crystal Ball 40
Can U Not Banner Heart 43
Ghouls Night Out 44
Nope, Ugh, As If 47
$ 48
Fern Stitch 48
Fern Skull 51
Leaves 52
Falling Leaves 54
Knots 56
French Knot 56
Confetti Ampersand 59
Colonial Knot 60
Handful of Hyacinths 62
Flowers 64
Straight Stitch Flower 64
Don't Care Floral Border 67
Floral Bird Skull 68
Lazy Daisy 70
Hell Yes Daisy Chain 73
Satin Stitch Flower 74
Floral Shark Attack 76
Moonrise Roses 78
Fingers Crossed 83
Good Luck 84
Floral Crown Cow Skull 87
$ 89
Needles 89
Floss 89
Scissors 90
Pattern Transfer Tools 92
$ $
Hoops 93
Fabric 94
$ $
Bobbins 97
Floss Box 98
Bobbin Ring 98
$ $
Washing Your Stitched Fabric 99
Setting Your Hoop 99
Hoop Treatments 100
$ 102
Templates 105
About the Author 155
Acknowledgments 155
Index 156