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Wild Animals Charted Designs

Wild Animals Charted Designs

by Celeste Plowden

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A full-maned lion, a seated giraffe, and many more — plus 12 animal border designs perfect for the needlework arts. Complete instructions for 50 delightful charted designs.

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Product Details

ISBN-13: 9780486148427
Publisher: Dover Publications
Publication date: 04/02/2012
Series: Dover Embroidery, Needlepoint
Sold by: Barnes & Noble
Format: NOOK Book
Pages: 48
File size: 21 MB
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Read an Excerpt

Wild Animals Charted Designs

By Celeste Plowden

Dover Publications, Inc.

Copyright © 1989 Celeste Plowden
All rights reserved.
ISBN: 978-0-486-14842-7


Very few of us are fortunate enough to witness the beauty and behavior of animals in the wild. As civilization continues to expand, the habitats of wild animals diminish, and they are forced into more and more remote areas, becoming even less visible to man and often decreasing in number due to lack of space and food. Although wild animals are becoming more distant from our world, let them not be forgotten.

Each species of animal has specialties and traits setting it apart from others and giving it its own particular ability to survive and cope with its environment. A young fawn or zebra can stand and run with its mother only one hour after birth; mountain sheep and goats have hooves that are well adapted to the rocky peaks of their habitat; the beaver's oily coat keeps him warm in his cold, watery home; and the elephant's enormous size and tough hide deter predators. Not only do general specialties set each species apart, but differences in individual personalties within each group further set apart each creature, just as humans are set apart from each other. Animals appear to have emotions not purely instinctual. Fear, anger, love and loneliness are feelings that man has observed in animal behavior in the wild as well as in our own household pets.

These simple, stylized designs are for all needleworkers who want their work to remind us of the very special beauty of wild animals and how wonderful they are in our world. They can be used for a variety of needlework techniques. You can decorate a sofa with tiger and leopard pillows in cross-stitch or needlepoint, make deer and elk chair cushions to complete a country kitchen or wear a sweater embellished with a panda. Keep in mind that the finished piece will not be the same size as the charted design unless you are working on fabric or canvas with the same number of threads per inch as the chart has squares per inch (the designs are drawn on 10-squares-to-the-inch graph paper). With knitting and crocheting, the size will vary according to the number of stitches per inch.

The animals can be combined for larger projects by photocopying the charts, cutting them out and arranging them in various ways to form unique designs. A filet crochet bedspread or tablecloth or a latch-hook rug using wild animals as a theme would be an unusual and spectacular accent to any decor.

The borders in the book can be used to add the finishing touch to your animal "portrait," or used alone on smaller projects such as placemats or picture frames. The borders can be adjusted to fit any space. To do this, it is best to plan the entire border on graph paper before beginning to stitch. First, mark the desired dimensions (in number of stitches) of your piece on the graph paper. Draw in the first corner. If the border has a geometric band at the edge (for example, the Jaguar border on page 43), continue this band to the adjacent corner, ending the band exactly as it began (you may have to adjust your dimensions slightly at this point). Repeat in the other direction. Mark the center of each side. The border design should be reversed at the center of each side. All of the borders except the Elk border on page 45 are symmetrical and can be reversed merely by turning the chart 90°. The elk's head must be carefully counted out to reverse it. Once the four corners have been charted, you can add additional motifs on the sides, being careful to reverse them at the center lines. Planning the border can be simplified by making four photocopies of the chart, cutting them out and taping them to a larger sheet of graph paper.

I have not indicated any colors for the borders, for they can be as fantastic as you like. For the animals, I have indicated natural colors, but these are a suggestion only. I hope that you will choose colors to suit your own individual personality and decor, making each animal your very own.



1. Needles. A small blunt tapestry needle, No. 24 or No. 26.

2. Fabric. Evenweave linen, cotton, wool or synthetic fabrics all work well. The most popular fabrics are aida cloth, linen and hardanger cloth. Cotton aida is most commonly available in 18 threads-per-inch, 14 threads-per-inch and 11 threads-per-inch (14-count is the most popular size). Evenweave linen comes in a variety of threads-per-inch. To work cross-stitch on linen involves a slightly different technique (see page 5). Thirty thread-per-inch linen will result in a stitch about the same size as 14-count aida. Hardanger cloth has 22 threads to the inch and is available in cotton or linen. The amount of fabric needed depends on the size of the cross-stitch design. To determine yardage, divide the number of stitches in the design by the thread-count of the fabric. For example: If a design 112 squares wide by 140 squares deep is worked on a 14-count fabric, divide 112 by 14 (= 8), and 140 by 14 (=10). The design will measure 8" × 10". The same design worked on 22-count fabric measures about 5" × 6½". When cutting the fabric, be sure to allow at least 2" of blank fabric all around the design for finishing.

3. Threads and Yarns. Six-strand embroidery floss, crewel wool, Danish Flower Thread, pearl cotton or metallic threads all work well for cross-stitch. Crewel wool works well on evenweave wool fabric. Danish Flower Thread is a thicker thread with a matte finish, one strand equaling two of embroidery floss.

4. Embroidery Hoop. A wooden or plastic 4", 5" or 6" round or oval hoop with a screw-type tension adjuster works best for cross-stitch.

5. Scissors. A pair of sharp embroidery scissors is essential to all embroidery.


To prevent raveling, either whip stitch or machine-stitch the outer edges of the fabric.

Locate the exact center of the chart. Establish the center of the fabric by folding it in half first vertically, then horizontally. The center stitch of the chart falls where the creases of the fabric meet. Mark the fabric center with a basting thread.

It is best to begin cross-stitch at the top of the design. To establish the top, count the squares up from the center of the chart, and the corresponding number of holes up from the center of the fabric.

Place the fabric tautly in the embroidery hoop, for tension makes it easier to push the needle through the holes without piercing the fibers. While working continue to retighten the fabric as necessary.

When working with multiple strands (such as embroidery floss) always separate (strand) the thread before beginning to stitch. This one small step allows for better coverage of the fabric. When you need more than one thread in the needle, use separate strands and do not double the thread. (For example: If you need four strands, use four separated strands.) Thread has a nap (just as fabrics do) and can be felt to be smoother in one direction than the other. Always work with the nap (the smooth side) pointing down.

For 14-count aida and 30-count linen, work with two strands of six-strand floss. For more texture, use more thread; for a flatter look, use less thread.


To begin, fasten the thread with a waste knot and hold a short length of thread on the underside of the work, anchoring it with the first few stitches (Diagram 1). When the thread end is securely in place, clip the knot.

To stitch, push the needle up through a hole in the fabric, cross the thread intersection (or square) on a left-to-right diagonal (Diagram 2). Half the stitch is now completed.

Next, cross back, right to left, forming an X (Diagram 3).

Work all the same color stitches on one row, then cross back, completing the X's (Diagram 4).

Some needleworkers prefer to cross each stitch as they come to it. This method also works, but be sure all of the top stitches are slanted in the same direction. Isolated stitches must be crossed as they are worked. Vertical stitches are crossed as shown in Diagram 5.

At the top, work horizontal rows of a single color, left to right. This method allows you to go from an unoccupied space to an occupied space (working from an empty hole to a filled one), making ruffling of the floss less likely. Holes are used more than once, and all stitches "hold hands" unless a space is indicated on the chart. Hold the work upright throughout (do not turn as with many needlepoint stitches).

When carrying the thread from one area to another, run the needle under a few stitches on the wrong side. Do not carry thread across an open expanse of fabric as it will be visible from the front when the project is completed.

To end a color, weave in and out of the underside of the stitches, making a scallop stitch or two for extra security (Diagram 6). When possible, end in the same direction in which you were working, jumping up a row if necessary (Diagram 7). This prevents holes caused by stitches being pulled in two directions. Trim the thread ends closely and do not leave any tails or knots as they will show through the fabric when the work is completed.

Embroidery on Linen. Working on linen requires a slightly different technique. While even weave linen is remarkably regular, there are always a few thick or thin threads. To keep the stitches even, cross-stitch is worked over two threads in each direction (Diagram 8).

As you are working over more threads, linen affords a greater variation in stitches. A half-stitch can slant in either direction and is uncrossed. A three-quarters stitch is shown in Diagram 9.

Embroidery on Gingham. Gingham and other checked fabrics can be used for cross-stitch. Using the fabric as a guide, work the stitches from corner to corner of each check.

Embroidery on Uneven-Weave Fabrics. If you wish to work cross-stitch on an uneven-weave fabric, baste a lightweight Penelope needlepoint canvas to the material. The design can then be stitched by working the cross-stitch over the double mesh of the canvas. When working in this manner, take care not to catch the threads of the canvas in the embroidery. After the cross-stitch is completed, remove the basting threads. With tweezers remove first the vertical threads, one strand at a time, of the needlepoint canvas, then the horizontal threads.


One of the most common methods for working needlepoint is from a charted design. By simply viewing each square of a chart as a stitch on the canvas, the patterns quickly and easily translate from one technique to another.


1. Needles. A blunt tapestry needle with a rounded tip and an elongated eye. The needle must clear the hole of the canvas without spreading the threads. For No. 10 canvas, a No. 18 needle works best.

2. Canvas. There are two distinct types of needlepoint canvas: single-mesh (mono canvas) and double-mesh (Penelope canvas). Single-mesh canvas, the more common of the two, is easier on the eyes as the spaces are slightly larger. Double-mesh canvas has two horizontal and two vertical threads forming each mesh. The latter is a very stable canvas on which the threads stay securely in place as the work progresses. Canvas is available in many sizes, from 5 mesh-per-inch to 18 mesh-per-inch, and even smaller. The number of mesh-per-inch will, of course, determine the dimensions of the finished needlepoint project. A 60 square × 120 square chart will measure 12" × 24" on 5 mesh-to-the-inch canvas, 5" × 10" on 12 mesh-to-the-inch canvas. The most common canvas size is 10 to the inch.

3. Yarns. Persian, crewel and tapestry yarns all work well on needlepoint canvas.


Allow 1" to 1½" blank canvas all around. Bind the raw edges of the canvas with masking tape or machine-stitched double-fold bias tape.

There are few hard-and-fast rules on where to begin the design. It is best to complete the main motif, then fill the background as the last step.

For any guidelines you wish to draw on the canvas, take care that your marking medium is waterproof. Nonsoluble inks, acrylic paints thinned with water so as not to clog the mesh, and waterproof felt-tip pens all work well. If unsure, experiment on a scrap of canvas.

When working with multiple strands (such as Persian yarn) always separate (strand) the yarn before beginning to stitch. This one small step allows for better coverage of the canvas. When you need more than one piece of yarn in the needle, use separate strands and do not double the yarn. For example: If you need two strands of 3-ply Persian yarn, use two separated strands. Yarn has a nap (just as fabrics do) and can be felt to be smoother in one direction than the other. Always work with the nap (the smooth side) pointing down.

For 5 mesh-to-the-inch canvas, use six strands of 3-ply yarn; for 10 mesh-to-the-inch canvas, use three strands of 3-ply yarn.


Cut yarn lengths 18" long. Begin needlepoint by holding about 1" of loose yarn on the wrong side of the work and working the first several stitches over the loose end to secure it. To end a piece of yarn, run it under several completed stitches on the wrong side of the work.

There are hundreds of needlepoint stitch variations, but tent stitch is universally considered to be the needlepoint stitch. The most familiar versions of tent stitch are half-cross stitch, continental stitch and basket-weave stitch.

Half-cross stitch (Diagram 10) is worked from left to right. The canvas is then turned around and the return row is again stitched from left to right. Holding the needle verti-cally, bring it to the front of the canvas through the hole that will be the bottom of the first stitch. Keep the stitches loose for minimum distortion and good coverage. Half-cross stitch is best worked on a double-mesh canvas.

Continental stitch (Diagram 11) begins in the upper right-hand corner and is worked from right to left. The needle is slanted and always brought out a mesh ahead. The resulting stitch appears as a half-cross stitch on the front and as a slanting stitch on the back. When the row is complete, turn the canvas around to work the return row, continuing to stitch from right to left.

Basket-weave stitch (Diagram 12) begins in the upper right-hand corner with four continental stitches (two stitches worked horizontally across the top and two placed directly below the first stitch). Work diagonal rows, the first slanting up and across the canvas from right to left, and the next down and across from left to right. Moving down the canvas from left to right, the needle is in a vertical position; working in the opposite direction, the needle is horizontal. The rows interlock, creating a basket-weave pattern on the wrong side. If the stitch is not done properly, a faint ridge will show where the pattern was interrupted. On basket-weave stitch, always stop working in the middle of a row, rather than at the end, so that you will know in which direction you were working.


Charted designs can be worked into stockinette stitch as you are knitting, or they can be embroidered with duplicate stitch when the knitting is complete. For the former, wind the different colors of yarn on bobbins and work in the same manner as in Fair Isle knitting. A few quick Fair Isle tips: (1) Always bring up the new color yarn from under the dropped color to prevent holes. (2) Carry the color not in use loosely across the wrong side of the work, but not more than three or four stitches without twisting the yarns. If a color is not in use for more than seven or eight stitches, it is usually best to drop that color yarn and rejoin a new bobbin when the color is again needed.


There are a number of ways in which charts can be used for crochet. Among them are:


Single crochet is often seen worked in multiple colors. When changing colors, always pick up the new color for the last yarn-over of the old color. The color not in use can be carried loosely across the back of the work for a few stitches, or you can work the single crochet over the unused color. The latter method makes for a neater appearance on the wrong side, but sometimes the old color peeks through the stitches. This method can also be applied to half-double crochet and double crochet, but keep in mind that the longer stitches will distort the design.


This technique is nearly always worked from charts and uses only one color thread. The result is a solid-color piece with the design filled in and the background left as an open mesh. Care must be taken in selecting the design, as the longer stitch causes distortion.


The most common method here is cross-stitch worked over the afghan stitch. Complete the afghan crochet project. Then, following the chart for color placement, work cross-stitch over the squares of crochet.


Latch hook, Assisi embroidery, beading, cross-stitch on needlepoint canvas (a European favorite) and lace net embroidery are among the other needlework methods worked from charts.


Excerpted from Wild Animals Charted Designs by Celeste Plowden. Copyright © 1989 Celeste Plowden. Excerpted by permission of Dover Publications, Inc..
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.

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