Inspirations114 2022

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ISSUE 114 CONTENTS 69 15 50 60 68 18 30 40 82 projects 60 Rainbow Bee-eater features 18 Jarrah & Grass Blue Butterfly Wendy Innes | Stumpwork panel 6 In Profile with colourful bee-eater and sun Denise Mackey | Beautiful stumpwork orchids Embroidery artist Susie Vickery study of the life-cycle of a butterfly on eucalypt stems 68 Dream a Little Dream 9 Inspired by the Needle 0 Bush Beauties Taetia McEwen | Enchanting The story of Citizen Botanist lampshade with characters dancing Melissa Horton | Two Australian birds to the music of a frog band 15 World of Embroidery artfully depicted using a range of embroidery stitches 82 Victorian Hearts Stephanie Neville uses textiles and stitch in her conceptual art 40 Little Brown Hen Kim Beamish | Charming needlework accessories with pulled in every issue Anna Scott | Sweet hen and chicks and counted thread techniques in two projects utilising raised From the Editor embroidery techniques 14 Cutting Edge 92 General Information 0 Dresden Lace 9 Kits 94 Loose Threads Mike Parr | Graceful, whitework heart filled with flowers and leaves in Dresden embroidery 2 • INSPIRATIONS

FROM THE EDITOR sense of place As I write this, we are enjoying all the delights of warmer of the incredible varieties of indigenous flora in Australia and weather and an abundance of rain over the past months at this time of the year, each stunning flower is visited by means everything is wonderfully green while plants are native insect and bird species that depend on them for food. bursting into glorious bloom and insects and birds are busy Raucous cockatoos and dazzlingly bright parrots flock to collecting pollen and nectar. When walking around my flowering trees, cheeky wattle birds defy gravity to take the neighbourhood I get to enjoy the delights of others’ gardening nectar from tubular flowers, racing to arrive before the dainty endeavours but have noticed that many gardens don’t look honeyeaters while tiny, blue fairy wrens feast on the hovering the same as they used to. Gone are the ordered lines of rose insects. bushes and borders of pretty petunias with their bright, blowsy flowers and heady scent, all visitors from the other Living on the driest inhabited continent on Earth, it makes side of the world. In their place are plants that are just as sense to surround ourselves with those plants so well beautiful but display flower and leaf forms that are totally suited to the environment and while the desire of previous different and would have seemed very alien to the first generations to cling to the familiar is understandable, changing European settlers. tastes and sensibilities have led us to a new appreciation of our wonderful flora and fauna. Not conventionally pretty in There are stately Banksias with rigid flower columns, rangy the soft-petalled way of most popular garden blooms, many Callistemons covered with vivid, red bottlebrushes, elegant flowers display a stark and uncommon beauty, only fully Anigozanthos with their characteristic kangaroo paw flowers, appreciated by careful study rather than casual glance, making an endless range of grasses with stately, sword-like foliage them perfect subjects for embroidery. No matter where you plus an infinite variety of Eucalypts with fragrant grey-green live in the world, I hope that you will enjoy discovering some of foliage and bright red or yellow blossoms. These are just some the natural wonders we enjoy at ‘our place’. Happy stitching, Susan FROM THE EDITOR • 3

PATTERN DOWNLOADS Click on the links on the following page to download the patterns for issue 114 direct to your computer or tablet. 4 • INSPIRATIONS

1 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 114 1 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 114 cm 1inches cm 1 2 inches 2 2 3 2 3 3 EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS 4 3 EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS 4 4 5 4 5 5 jarrah & grass 6 5 bush beauties 6 6 blue butterfly 7 6 7 7 8 7 BY MELISSA HORTON 8 8 BY DENISE MACKEY 8 For colour photos and full details, see pages 30–39. 9 For colour photos and full details, see pages 18–29. 9 10 10 PRINTING GUIDELINES / PAGE SCALING 11 PRINTING GUIDELINES / PAGE SCALING 11 Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”, 12 Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”, 12 in the print dialogue box. Refer to the measurements along each edge to ensure you 13 in the print dialogue box. Refer to the measurements along each edge to ensure you 13 14 14 have printed correctly. 15 have printed correctly. 15 16 16 17 www.inspirationsstudios.com 17 18 18 19 Inspirations issue 114 · Copyright reserved ©2022 Inspirations Studios 19 20 This design is for private use only. 20 Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken www.inspirationsstudios.com reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control Inspirations issue 114 · Copyright reserved ©2022 Inspirations Studios This design is for private use only. over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward results. Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward results. Jarrah & Grass Blue Bush Beauties Butterfly 1 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 114 1 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 114 1 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 114 cm 1inches cm 1 cm 1 2 inches 2 2 2 3 inches232 3 3 4 3 4 3 4 4 EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS 5 4 EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS 5 4 EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS 5 5 6 5 6 5 6 6 little brown 7 6 dresden lace 7 6 rainbow 7 7 hen 8 7 8 7 bee-eater 8 8 8 BY MIKE PARR 8 9 BY ANNA SCOTT 9 For colour photos and full details, see pages 50–58. 9 BY WENDY INNES 10 For colour photos and full details, see pages 40–49. 10 10 For colour photos and full details, see pages 60–67. 11 11 PRINTING GUIDELINES / PAGE SCALING 11 12 PRINTING GUIDELINES / PAGE SCALING 12 Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”, 12 PRINTING GUIDELINES / PAGE SCALING 13 Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”, 13 in the print dialogue box. Refer to the measurements along each edge to ensure you 13 Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”, 14 in the print dialogue box. Refer to the measurements along each edge to ensure you 14 14 in the print dialogue box. Refer to the measurements along each edge to ensure you 15 15 have printed correctly. 15 16 have printed correctly. 16 16 have printed correctly. 17 17 17 18 www.inspirationsstudios.com 18 18 www.inspirationsstudios.com 19 19 19 20 Inspirations issue 114 · Copyright reserved ©2022 Inspirations Studios 20 20 Inspirations issue 114 · Copyright reserved ©2022 Inspirations Studios This design is for private use only. This design is for private use only. www.inspirationsstudios.com Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the Inspirations issue 114 · Copyright reserved ©2022 Inspirations Studios reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control This design is for private use only. contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward results. Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward results. reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward results. Little Brown Hen Dresden Lace Rainbow Bee-eater 1 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 114 1 THE WORLD'S MOST BEAUTIFUL NEEDLEWORK MAGAZINE ISSUE 114 cm 1inches cm 1 2 inches 2 2 3 2 3 3 EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS 4 3 EMBROIDERY DESIGNS · INSTRUCTIONS · PATTERNS 4 4 5 4 5 5 dream a little 6 5 victorian hearts 6 6 dream 7 6 7 7 8 7 BY KIM BEAMISH 8 8 BY TAETIA MCEWEN 8 For colour photos and full details, see pages 82–89. 9 For colour photos and full details, see pages 68–81. 9 10 10 PRINTING GUIDELINES / PAGE SCALING 11 PRINTING GUIDELINES / PAGE SCALING 11 Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”, 12 Print all pages at 100% (actual size). Choose “none”, not “shrink to fit” or “reduce to fit”, 12 in the print dialogue box. Refer to the measurements along each edge to ensure you 13 in the print dialogue box. Refer to the measurements along each edge to ensure you 13 14 14 have printed correctly. 15 have printed correctly. 15 16 16 17 www.inspirationsstudios.com 17 18 18 19 Inspirations issue 114 · Copyright reserved ©2022 Inspirations Studios 19 20 This design is for private use only. 20 Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publications has taken www.inspirationsstudios.com reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warranties of the contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good faith. As we have no control Inspirations issue 114 · Copyright reserved ©2022 Inspirations Studios This design is for private use only. over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liability for untoward results. Permission to reproduce or copy any of the contents for any other purposes must be obtained from the publisher in writing. Inspiratons Publ cat ons has taken reasonable steps to secure the copyright for the items reproduced in this publication. Articles are published in reliance upon the representations and warrant es of the contributors and without our knowledge of any infringement of any third party. Information and instructions given are presented in good fai h As we have no control over physical conditions surrounding application of information contained in this project, the contributors and publisher disclaim any liab l ty for untoward resu ts Dream a Little Dream Victorian Hearts PATTERN DOWNLOADS • 5

In Profile TAILOR MADE Theatrical performances and private moments – Movement and meditation Flat surfaces and three-dimensional installations – Quiet contemplation and community participation Embroidery artist susie vickery embraces all these things. On the surface, they seem like contradictory and opposing concepts, yet in Susie’s world they are complementary and catalysts for interesting and groundbreaking embroidery projects. Story by Ansie van der Walt Susie started her career in the 1980s as a costume maker for theatre productions – first in Australia and later at the Royal Shakespeare Company and the West End in London. “I specialised in making 19th century men’s costumes purely because it was the time of Les Miserables and Phantom of the Opera. There were a lot of big West End musicals that needed 19th-century men’s costumes.” This make-believe world of theatre quickly became very real when in 1998, Susie and her husband followed his career to Kathmandu in Nepal. Susie enrolled in an embroidery course, first through City & Guilds and later followed by a university degree. “It was the days before internet and Zoom when distance learning meant receiving printed coursework and returning completed projects through the mail. It was a complicated and time-consuming process!” 6 • INSPIRATIONS

It was during this time that Susie became involved with community development work. She started with a sewing project in the Tibetan refugee camp in Kathmandu, and later with a handicraft development group in southern Nepal and the Tibetan autonomous region in China. “I was trained in how to sew a Tibetan robe by a Tibetan tailor. I then helped train young Tibetans in this craft. With the handicraft group, I helped with sewing skills, developing new products, and quality management.” The Vickery’s nomadic lifestyle took them from Nepal to China, to Mumbai, and everywhere they went Susie became involved with handicraft and development projects. She helped artisans to develop sewing skills and new products, and in the process, they learned about business practices like pricing, quality management, inventory management, marketing, and other life and business skills. Susie also extended her work to projects in Gaza, Kuwait, Turkey, Myanmar, and as far afield as Mexico. “Living, eating, and working with these craftspeople is the perfect way to learn about and understand their culture in a way that just being a tourist can never accomplish.” During all this time, Susie used her experiences and interactions with the people she worked with to inform and inspire her own embroidery work. A particularly touching project she worked on in Mumbai is called Icons of the Ordinary Everydeities. It is a collection of handstitched and appliquéd portraits celebrating ordinary people who crossed her path - people who would otherwise not receive any recognition or validation. It was Susie’s way of saying ‘I see you.’ Susie’s interest in 19th century British tailoring, as well as her work in the poorer parts of Asia, came together when she did her dissertation for her degree comparing Victorian sweatshops in London with current day sweatshops in Mumbai. This is also where she introduced her animated stop-motion embroidered films inspired by her theatre days. “I wanted to make an animated story. I found this essay On the melancholy of tailors by Charles Lamb written in the early 1800s. It is a satirical essay attributing the melancholy of tailors to the fact that they sit cross-legged and eat too much cabbage. I illustrated the essay in the form of an embroidered long panel, referencing the Bayeux Tapestry. I then had these little two-dimensional puppets made from bits of pattern and old images appliquéd onto fabric and stitched all around. I joined the body parts with buttons. I made these little stop-motion animations with the puppets by laying them down on the embroidery and photographing them from above. I taught myself how to do stop-motion because I wanted movement in my work. I am not so interested in just making a flat work to sit on the wall. I want something that moves, that the viewer can interact and engage with.” Susie’s experiments with stop-motion developed into making little automations of sweatshops. “I had the flat puppets sit at sewing machines made of bobbins and cotton reels. I made a few of those where you turn the bobbin and the woman sewed, or the man ironed. I was interested in seeing how I could make a textile that moves.” After years of living and working overseas, home called, and Susie returned to Western Australia where she continues her IN PROFILE • 7

In Profile development work. She collaborates with various Aboriginal serve as a cover that, when lifted, revealed a collection of formal communities through the Community Arts Network (CAN) documents relating to their families. “It was the stories of their as well as with a group of Arabic-speaking women refugees parents and grandparents. Many of them were from the stolen originating from across the Middle East. Even though they come generation where their children were taken from them. They had from opposite ends of the Australian society – those who have these thick files of government documents and letters begging always been here, and those who have recently arrived, they for their children back. One person had documents about their all deal with issues of displacement, loss of land and culture, grandfather who fought in the war but who was not given the and various other social dilemmas not very different from the same rights on his return as other soldiers. The photos were all problems Susie encountered in the communities she worked happy, smiling photos but once you lifted the lid, it exposed the with across Asia. sad and heartbreaking stories underneath.” “Embroidery is about telling stories. With the Arabic women, For her latest collaborative textile installation, Susie they would each embroider and appliqué the story of leaving designed an interactive ocean experience for the inaugural their homes and gradually making their way to Australia. The Indian Ocean Craft Triennial that was held in Perth in late project is not just about the end product. It is about the process. 2021. The work filled a whole room and was called The Curious It is about the women sitting together each week, talking Five Go Surfing. It tells the ocean-inspired stories of five together, getting to know each other, having the courage to tell women who had to either transform themselves or change their stories. We all cried a lot, and it was beautiful to see them their appearances to enable them to follow their dreams and opening up.” ambitions in a male-dominated world. The Community Arts Network has a big art exhibition at The installation consisted of a maze made of fifty metres of the Fremantle Arts Centre every two years showcasing the work indigo-dyed and batik-embellished cotton cloth, representing of the indigenous people of Western Australia. In the last project the ocean. The ocean journey starts with creatures from marine Susie was involved with, they stitched and embroidered old mythology based on Hindu creation myths and ends with an family photos printed onto fabric. The photos were installed to ocean filled with plastic. Along the way, visitors encounter puppets, interactive installations, and other textile and embroidered curiosities telling the stories of the five women – Jean Baret, Bougainville’s botanical assistant who had to disguise herself as a man to be allowed to follow her ambition; James Barry, an Irish woman who worked for the British Army in South Africa; Rukmabai, a circus performer; Fearless Nadia, a stuntwoman; and the vaudeville star Effie Fellows. Susie collaborated with her friend and fellow artist Kolkatta- based Bappaditya Biswas and artists from the Jankpur Women’s Development Centre in Nepal to create all the elements of this installation. With textiles and thread, Susie made connections and built relationships across cultures, across time, and across the world. Susie may have left the theatre behind a long time ago. She is not making costumes anymore, but she is still dressing up stories. She is still using a needle and thread to perform miracles, to bring magic, and to spread joy. Her stories, like any good theatre production, include suspense, drama, heartbreak, and sadness. But like any good theatre production, we leave the show with a smile on our face and joy in our heart. For Susie, embroidery is not just a picture. It is a story, and a performance. www.susievickery.com | Instagram: @susievickery 8 • INSPIRATIONS

Inspired by the Needle CITIZEN Botanist After travelling across continents for many years, embroidery artist susie vickery was looking for a new challenge and a new story. Time travel was the next frontier! Enter Jacques-Julien Houtou de Labillardière, or as Susie knows him, Citizen Botanist. Inspired by Jacques-Julien’s 18th century adventures, Susie set off on an adventure of her own by combining all the things that she loves - costume-making, puppets, embroidery, and animation. AS PART OF HER ANNUAL MASTERCLASS in 19th century be embroidered and wear fabulous 19th century costumes, and men’s tailoring at the Victorian College of the Arts in Melbourne, he would be travelling with me and we would make animations. Susie teaches the students to work on half-scale models. But who would he be? And why would he be travelling? And why “I love the technical challenge of making prototypes. Problem- would he be dressing fabulously? Maybe he was a plant-hunter. solving and learning new skills are some of my favourite aspects And a bit of a dandy. A French dandy.” of my work. I also love working on a smaller scale – it is less unwieldy and makes good use of all the scraps of precious fabric It was once she started researching French plant-hunters that I have been hoarding!” that she discovered the story of Jacques-Julien Houtou de Labillardière. He ticked all the boxes Susie was hoping for. And, The idea of Citizen Botanist developed over time. Once Susie as she discovered to her surprise, he travelled to Australia! set her sights on making a puppet, she had to discover his name, character, and story. “I was going to make a puppet – he would The discovery of Jacques-Julien’s story also revealed to Susie a part of Australia’s history that she was not aware of. INSPIRED BY THE NEEDLE • 9

Discussing tour preparations Botanist supervises tour preparations Chatting with Prince Karl Botanist’s knee joints Botanist’s slippers Trousers detail Mask wearing Having returned to Western Australia twisted silk hand-dyed in Australia, and after several experiments, Susie settled after more than thirty years living his joints are made with wooden beads on adding a neck bulge to the torso with abroad, this project represented her found in a special haberdashery shop in a separate, loose, unstuffed neck sleeve personal homecoming. “Even though Mumbai. He is filled with cotton padding over it. This allowed the head to stay there are many French place names, found in India and is weighted in his feet upright but with enough flexibility to like Esperance, in Australia, we were and nether regions to allow him to sit turn side-to-side and to nod. only ever taught the British version without toppling over. of our history. I had no idea about the Once Susie perfected his body, it was French explorers, their influence on our Part of Susie’s development work time to dress him. The very first outfit country, and their relationships with the with handicraft projects involved she designed for him was a dressing indigenous people of the land. designing toys. This experience came gown, also known as a Banyan or a Robe in handy when she created the puppet. de Chambre – an essential garment for Labillardière interacted with the After lots of trial and error, and making every well-dressed Victorian man. The indigenous people of Tasmania in a different versions of each body part, garment is shaped like a kimono and manner that suggested curiosity and Susie settled on a one-third scale used to lounge at home. Susie also made a willingness to learn. Everything puppet. “I handstitch everything as it a beautiful pair of slippers decorated changed a few decades later when the gives a more precise shape. The body with metalwork crowns she bought at a settlers started hunting them close to parts were made, taken apart and Hand and Lock conference years before. extinction. We have continued our path readjusted, and sewn again.” Susie “I loved going back to my old costume of destruction of both the natural world gave one of his trial feet to a roadside books, researching patterns and playing and indigenous culture for almost two shoemaker in Mumbai who made a with scale.” centuries. With my travelling Citizen perfect pair of chappals for Citizen Botanist, I am observing both the good Botanist to wear when he visits India. Citizen Botanist has been on several and the bad changes that happened trips since he came to life, and for each across time.” Another challenge was to create the adventure, he sported a collection of joints. Susie needed them to be sturdy yet purpose-made garments to complement Suzie chose to make Citizen flexible, allowing for natural movement his Victorian gentlemen’s wardrobe. Botanist’s body from a vintage mangle while maintaining shape and posture. His first trip to Nepal included a lungi, cloth she bought from a shop in She settled on wooden beads for his a type of sarong worn by the men of Portobello Road in London as it has a joints and pipe cleaners in his fingers to the Indian subcontinent, made from an dense weave, a pleasing natural tone and allow him to gesture with his hands. The old lungi belonging to Susie’s husband. is lovely to sew. His hair is stitched with neck was particularly challenging and He matched this with his handmade 10 • I N S P I R AT I O N S

Prince Karl relaxes Botanist in Nepal Who was Jacques-Julien Houtou de Labillardière? Reading in lockdown Botanist Christmas card BORN IN NORMANDY, France, in 1755, chappals from Mumbai. In India, he Aboriginal Association’s Yarning and Labillardière studied botany and medicine sported a gamcha, a towel-like cloth Sewing Group who advised her on the at Montpellier, graduating as a doctor Indian men wear over their shoulders. Noonar names of the local plants which of medicine in Paris around 1780. After the botanist discovered and used, as well working at the Jardin du Roi, he was sent to In 2019, Citizen Botanist had his own as their importance in local Aboriginal England for two years in 1782 to study the interactive exhibition at the Mundaring Art culture. plant collections in Kew Gardens where he Centre in Perth called PEREGRINATIONS met Sir Joseph Banks. He undertook his first OF A CITIZEN BOTANIST. It took the But just like the rest of us, Citizen voyage as a naturalist in 1783, travelling and form of a cabinet of curiosities, charting Botanist was caught in the COVID-19 collecting in the Alps, the Mediterranean, Jacques-Julien’s journey to Australia on pandemic and was confined to his and the Levant, before setting sail for the ship Recherche in 1792. The exhibition home for most of 2020 and 2021. He Oceania. He was one of the great traveller- examined Australia’s relationship with the was lucky enough to share his home naturalists of the 18th century and environment and presented an alternative with Prince Karl and Jean Baret, both of published several books, including the first view of its history. It follows Citizen whom travelled with Louis Antoine de book on the flora of Australia. Botanist’s fictional progression as he casts Bougainville on his circumnavigation of off his European apparel and takes on the the world in 1766. Jean was the ship’s In 1791 he was appointed as the naturalist flora of the land. botanist but had to disguise herself as a to Bruni d’Entrecasteaux’s expedition to man to be able to join the voyage. Oceania in search of a lost ship. They failed “Plants he ‘discovered’ have been to find the missing expedition but they used to dye the cloth of his garments, During the lockdown they had to visited southwest Australia (then known some of which have been embroidered contend with the same problems as as New Holland), Tasmania (then known with the flora he recorded. Australian the rest of us – arguing about the toilet as Van Diemen’s Land), the North Island bluebells, Eucalyptus occidentalis, Nuytsia paper, abandoning their dress-up clothes of New Zealand, and the East Indies where floribunda, the Kangaroo Paw and Banksia for more comfortable attire, and even they collected zoological, botanical, and Repens all have their place in his wardrobe wearing masks. Now that the world geological specimens, and documented as the Citizen Botanist is slowly absorbed is opening up again, Citizen Botanist the customs and language of the local into the natural world he is traversing.” is touring with Art on the Move and indigenous Australians. is hard at work overseeing all the For the exhibition, Susie worked in preparations for the journey. He returned to France with his collections collaboration with installation artist, in 1796. In 1799, he published an account of Nathan Crotty and natural dye and print www.susievickery.com/citizen-botanist his voyage and was elected to the Académie artists Holly Stone and Penny Jewell, Instagram: @citizenbotanist des Sciences. In 1804, he published Novae milliner Susi Rigg, as well as the Langford Hollandiae Plantarum Specimen, the first general description of the flora of Australia. He is commemorated in over a hundred published plant names, the most prestigious of which is the Australian endemic genus Billardiera, named in his honour by James Edward Smith in 1793. In 1978, the Irish botanist Ernest Charles Nelson published Adenanthos Labillardierei with the epithet “in recognition of Labillardière’s contribution to the knowledge of the genus and Australian botany.” His name is further honoured in Labillardiere Peninsula and Point Labillardiere on Bruny Island, and by Cape Labillardiere on Ferguson Island, Papua New Guinea. In 2003, Australian historian and biographer, Edward Duyker, published a comprehensive study of Labillardière’s life and work, based on archival notes, personal correspondence, and observations about Labillardière’s impact on modern society: Citizen Labillardière: A Naturalist’s Life in Revolution and Exploration (1755–1834). I N S P I R E D B Y T H E N E E D L E • 11



Handpicked STITCHPDY-TO- TT E R KIT • new release • PA D A • N • REA TT E R Mandala Magic by Laurence Lieblich Available now at: inspirationsstudios.com/handpicked

Cutting Edge Goldwork BETWEEN TECHNIQUES, PROJECTS & PURE INSPIRATION THE COVERS Emi Nimura | Search Press 2021 | Soft cover 144pg Trace ISBN 978-1-78221-703-9 | RRP $47.99 Michele Carragher | Search Press 2021 | Hardcover 176pg ISBN 978-1-78221-743-5 | RRP $64.99 Emi Nimura began her creative career in Japan as a professional beaded jewellery Become immersed in the fascinating artist and became interested in English and exquisitely detailed world of traditional embroidery, particularly Michele Carragher’s embroidered goldwork, when small items of beaded art. Trace opens with a gallery tour Victorian jewellery caught her eye in of the three featured artworks, antique shops. She went on to study with All That Glitters, Entropy and the Royal School of Needlework (RSN) Conscience. Pages are filled with and is now a tutor for the RSN in Japan. close-up images of the stunning, and at times confronting, works Influenced by her background in jewellery, utilising intricate, dimensional Emi’s work is usually a fashion accessory embroidery and beading to create that combines silkwork, goldwork, a narrative layered with metaphor crystals, sequins and beads. Examples of and meaning. her designs are sprinkled throughout the book and her style is gracefully The inspiration for this body of work grew from Michele’s research elegant with a sense of fun. Goldwork is a collaboration with the RSN, with of historical artefacts for her costume and conservation work. images drawn from their collection and student work along with some Beyond the physical objects, she is drawn to the stories surrounding previously published technique illustrations. Nevertheless, this book is an them, and exploring meanings and dualities that resonate through excellent resource for goldwork, particularly for an adventurous beginner. time. A costume-related artefact created by Michele has been the It includes a touch of goldwork history, identification of metal threads and springboard for each artwork. materials used in this style of embroidery, details about getting started with fabric and frame preparation, illustrated instructions for an excellent range of goldwork techniques, and three projects for your jewellery box or wardrobe. The penguin brooch is especially sweet, and several alternative designs are shown. The autumn leaf corsage uses a greater variety of metal threads and techniques, including raised embroidery. The gold acorn embellishment on a clutch purse utilises silk shading in addition to goldwork and raised embroidery. A supplies list accompanies each project, step-by-step photographs guide you through the embroidery and construction, and all necessary templates are provided. The book concludes with several inspiration pages featuring designs by RSN students and future tutors, demonstrating a variety of uses of metal threads, techniques and artistry. A highly decorated glove, evoking symbol-rich gauntlets of the Grounded in traditional techniques, Goldwork showcases a contemporary Elizabethan period, leads to All That Glitters, and explores the approach, highlighting the functional uses of this sparkling embroidery for power wielded by wealth. A jewelled stomacher based on 18th modern jewellery and accessories. century costume, inspired by the wealth and destruction of the French court, leads to Entropy, a piece that speaks to the impacts SEARCH PRESS HAS GENEROUSLY DONATED THREE COPIES OF of overconsumption. A Japanese hairpin, a love token that binds a GOLDWORK. To be in the running to win a copy send your name and gift giver and recipient together, leads to Conscience and themes address by email to: [email protected] or by mail to: of working together to find a path forward from destruction and RSN Goldwork Book Competition, P.O. Box 10177 Adelaide Business Hub disharmony to hope. 5000 South Australia by 31st May, 2022 Mirroring the construction of each piece, Michele includes layers of information about each artefact and artwork. Along with insights into the themes and symbolism of the different elements of each piece, most text is devoted to telling the story of the innovative processes and materials used in their creation. Rounding out the book is a delightful examination of several examples of Michele’s embroidery for costumes designed for Ali and Nino, Queen of the Desert and Game of Thrones. Trace is a uniquely captivating and compelling book that wonderfully showcases the embroidered art of Michele Carragher. 14 • I N S P I R AT I O N S

World of Embroidery Swimming with Stitches Embroidery artist, s t e p h a n i e n e v i l l e , grew up in Pretoria, South Africa, far away from the ocean. As a child, the sea and the beach were a once-a-year holiday destination, remote and safe. Since then, she has spent most of her adult life close to the beach in Sharjah, the UAE, where the ocean has become more familiar and the inspiration for many of her embroidery projects. Story by Ansie van der Walt “My first introduction to Stephanie’s work is a the Umm Al Quwain combination of personal projects mangroves was the and commissions. Her personal work breathtaking aerial is inspired by emotional responses view during a skydiving experience to life events that lead her to in 2005. I never knew this landscape develop a concept. “From there, I do existed here in the UAE.” Twelve research, looking for the appropriate years after this experience, Stephanie techniques to translate my ideas. I participated in the Mangroves from experiment. Play is an important part the Water art project led by Zahidah of developing my ideas. It becomes Zeytoun Millie (see p.15). a process of failures and successes Stephanie’s contribution to this and the outcomes can be completely project included site installations different from the initial idea.” mimicking the emotions of nurturing Commissions are a different and protecting by covering the game and do not allow much room mangrove trees in knitted wool. “The ocean scares me. I don’t like swimming for individual input. Some projects Images of the covered trees were in it. Yet, I like hearing and smelling it. I like allow Stephanie more freedom, then transferred onto cotton fabric starting with a general concept from and embellished with hand and walking next to the ocean, where the wet sand which to develop an embroidery machine embroidery. Stephanie meets the white foam and seeing what the project. “These are more fun. used the threads and stitching as a Unfortunately, art is so subjective metaphor for our human touch on ocean brings back to the land.” and in many cases, there is a chain nature, being both protective and of command and approvals that destructive. have to be adhered to. If you look This personal project was later followed by a commissioned at my Instagram feed, you can tell when I am doing commissions work called Mangroves from the Sky, also inspired by the and when I am free to just play again – it usually involves big Umm Al Quwain mangroves, this time viewed from above via bursts of colour, or something pink!” Google Maps satellite imaging. “Hand stitching is associated with Stephanie’s embroidery and other textile works often focus nurturing, love, and care – a sense of protection and devotion. on colour, are themed around colour, or use colour as a strong Being extremely time-consuming (it took me more than 700 element. Choosing colour is an emotional and intuitive process woman-hours of labour!) the stitching symbolises both the for her. “Colour makes me happy. I use it to set the mood and human effort and dedication to nature conservation, as well as the tone for a project but I also use it to inject my individuality the time the natural environment takes to regenerate and revive.” and personality. I have a great love of pink, which is a standing W O R L D O F E M B R O I D E R Y • 15

World of Embroidery Plastic 5 - Memories of inner-circle joke, particularly the way I the Beach, installation pronounce it with my South African accent! I will always try to use it where I can. It can Commission for Vida be a polarising colour, but it is my ultimate Emirates Hills happy colour.” Hotel Although Stephanie has always Mangroves on the water, installation considered herself an artist, art as a career was not an option after school. Studying business and travelling the world led to her settling in the UAE in 1999. “It was only once I was married that I had the opportunity to pursue my art and I enrolled, first for a BA and later an MA in Visual Arts. It seems silly, but it was only after I received that piece of paper that I felt allowed to call myself an artist.” It was during a third-year project in 2012 dealing with memory, absence, and loss, that all the pieces came together for Stephanie. “I started with hand- embroidered portraits to convey my concept. This developed into a larger body of work, continuing into my fourth year. My techniques evolved, and my obsession with everything soft, shiny, and stitched developed.” For Stephanie, the pieces only fell into place recently. “One of my recent bodies of work investigated my relationship with my mother and my maternal heritage. My mother is a dressmaker and I grew up surrounded by textiles. I only played with dolls as a child and was always in her studio making dresses for them. My maternal grandmother was a fantastic knitter and I have a collection of her cross-stitch pieces and needlepoint tapestries dating from the 1970s. It never before occurred to me what an influence their love of needlework must have had on me.” Stephanie’s personal embroidery work deals mostly with emotional connections – the thread that binds us. “Personal relationships take time and effort, there is a natural ebb and flow to life and relationships that equals the in-and-out rhythm of a needle, each stitch captures a moment or a thought, an attempt to fix, close, or join two parts together. These embroidery techniques represent love and nurture.” It is this same rhythm of ebb and flow in the ocean that mesmerises Stephanie. “I love the majestic feel of the sea. How calm it can be and how raging it can be. The beauty versus the destruction – it gives life and sustenance and then takes it back. Waves rolling in and out – everything comes and goes like mini-cycles of life.” i n s ta g r a m : @stephneville w e b s i t e : www.stephanieneville.com

Mangroves from THE MANGROVES FROM the Sky THE WATER (MFTW) Memories of the is an art project curated by Zahidah Zeytoun Beach, installation Millie. It started as an art campaign in the UAE in 2014 with a series of multimedia group art exhibitions and a 2017 Mangroves Festival. The art campaign continued in Australia for International Mangroves Day on 26 July 2021. The Project aims to > encourage viewers to realise the beauty and importance of mangroves, > protect wetlands and mangroves globally which have a strong tie to indigenous people, > encourage discussion about the mangroves, seagrasses and wetlands, > emphasise the importance of finding heritage and contemporary storytelling of mangroves that act as a reference point for cultural identity and popular memory in Umm al Quwain and Victoria.   Zahidah Zeytoun Millie holds a Masters of Visual Arts from Monash University. “I started kayaking and painting among the Umm Al Quwain mangroves to soothe my constant concern for my unsettled country Syria.” Her experiences in discovering mangroves led to Zahidah founding the Mangroves from the Water team of artists to commence touring with an exhibition (2015-2016) and the 2017 Mangroves Festival. The latter project aimed to raise awareness of the importance of native trees; the four-day art and culture festival occurred next to the mangroves in the UAE emirate of Umm Al Quwain between 8 and 11 March 2017. After moving to Geelong in 2017, Zahidah continued her kayaking and painting in the mangroves of the Barwon region of Victoria. This provided her with an opportunity to discover a new history and society.  The mangroves of both countries are not appreciated in art as a landscape subject and are not very well protected, which encouraged her to pursue further studies to understand the culture and the land in Australia to be able to support mangroves and the wetlands. Mangroves from the Water continued its journey in Australia and beyond, with an exhibition at the Gordon Gallery, Gordon- Geelong City Campus Institute, Waterfront, Geelong in June 2021. Geraldine Chansard, Stephanie Neville and Alexis Gambis are Mangroves from the Water dedicated artists who continue exhibiting along with the local Australian artists. @mangrovesftw www.mangrovesfromthewater.com W O R L D O F E M B R O I D E R Y • 17

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Jarrah & Grass Blue Butterfly eucalyptus marginata, commonly known as jarrah, is a West Australian tree best known for its deep red, insect-resistant wood that has been used for flooring and furniture making for centuries. A member of the myrtle family, it produces conical, coral buds that open to white flowers consisting of hundreds of pollen-tipped stamens. This magnificent stumpwork study captures the beauty of this plant, complete with the eggs, pupa, caterpillar and adult form of the grass blue butterfly. technique Stumpwork by Denise Mackey of Australia

before you begin See the pattern download for the embroidery design and templates We recommend that you read the complete article All embroidery is worked with ONE strand of thread unless specified this design uses Back stitch | Blanket stitch Couching | Detached chain Encroaching satin stitch Fly stitch | French knot Overcasting Raised stem stitch Satin stitch Single feather stitch Split stitch | Stem stitch Straight stitch Surface satin stitch Wrapping The finished design measures 11cm x 16.5cm wide (4⅜\" x 6½\"). 20 • I N S P I R AT I O N S

requirements F = 738 vy lt tan preparation for embroidery G = 745 vy lt yellow Fabric H = 746 ultra lt yellow PREPARING THE FABRICS I = 783 med topaz 35cm (14\") square of ivory J = 900 dk burnt orange Cut the piece of quilter’s muslin into one, 35cm (14\") polyester duchess satin K = 935 vy dk avocado green square and two, 20cm (8\") squares. Put the two small L = 936 dk avocado green squares aside. Neaten the edges of the large muslin and 40cm x 55cm wide (16\" x 22\") M = 972 deep canary satin squares with a machine zigzag or overlock stitch piece of quilter’s muslin N = 3031 brown groundings to prevent fraying. Place the satin square over the O = 3051 dk green-grey muslin square and mount both fabrics in the 25cm (10\") Supplies P = 3052 med green-grey hoop, tensioning until drum tight and ensuring that the Q = 3064 med mocha grainlines remain straight. 5cm x 8cm wide (2\" x 3⅛\") R = 3348 lt yellow-green piece of yellow wool felt S = 3777 vy dk terracotta TRANSFERRING THE DESIGN T = 3781 dk French grey 10cm (4\") embroidery hoop U = 3821 med straw Main design V = 3830 terracotta 15cm (6\") embroidery hoop W = 3857 dk rosewood Measure and cut a 12.5cm x 19cm wide (5\" x 7 ½\") X = 3865 winter white rectangle from the sheet of paper. Centre the paper 25cm (10\") embroidery hoop Y = ecru rectangle over the satin, aligning the edges with the straight grain. Insert a fine pin or needle at each corner 5cm (2\") square of bronze Gütermann polyester sewing and remove the paper. Using the pale blue rayon sewing snakeskin thread thread, make a long stitch between the marked points Z = 488 gold on each side to form a rectangle. This is the placement 5cm x 8cm wide (2\" x 3⅛\") guide for the embroidery design. Using the mechanical piece of fusible webbing Kreinik metallic cord pencil, trace the design and rectangle border onto AA = 105c antique silver tracing paper. Turn the paper to the wrong side and A4 sheet of white paper AB = 205c antique gold retrace the design only. Do not retrace the rectangle. With the right side of the tracing facing up and aligning 35cm (14\") lengths of 33 Madeira no. 40 metallic the rectangles, position the tracing over the satin and gauge white paper-covered AC = alu secure with low-tack tape. wire (7) Madeira Monofil 60 Place a lid or tracing disc behind the fabric within the Pale blue rayon sewing AD = 1001 clear hoop. Using the stylus, retrace the design to transfer thread it onto the fabric. Check to ensure that all lines have Rajmahal ART Silk stranded transferred before removing the tracing. Low-tack tape viscose AE = 25 Lagerfeld inkREAD Tweezers AF = 111 dainty lilac AG = 113 purple dusk Stylus or spent ballpoint pen AH = 221 pastel grey AI = 226 gothic grey Fine sharp embroidery AJ = 122 Cossack blue scissors Variegated chenille thread Scissors to cut wire AK = blue/brown Small ruler Beads Post-it note 3mm glass beads AL = blue/purple (2) Tracing paper 6mm x 9mm wide round Fine black pen beads AM = dark brown (6) HB mechanical pencil Mill Hill petite beads Needles AN = 40374 rainbow (2) No. 18 chenille Mill Hill seed beads No. 7 crewel AO = 00148 pale peach (6) No. 10 crewel AP = 02023 root beer (6) No. 1 milliner’s No. 7 milliner’s Y-TO-ST No. 9 milliner’s No. 12 sharp AGE 93 • No. 26 tapestry ITCH KIT No. 16 yarn darner •P Threads & beads Au Ver à Soie, soie d’Alger stranded silk A = 3443 steel grey Couching thread 371 B = white opal DMC soft cotton C = 2299 dk brown DMC stranded cotton D = 372 lt verdigris E = 611 dk taupe

5 1 10 4 7 2 9 8 3 6 Detached leaves embroidery ORDER OF WORK Place one 20cm (8\") square of quilter’s See pages 28–29 for step-by-step SURFACE EMBROIDERY muslin into the 15cm (6\") hoop and instructions for cutting out a wired shape tension until drum tight. Using the and sinking wire tails. Lower stem mechanical pencil, trace the shaping for the five, detached leaves onto Refer to the close-up photograph for stems tracing paper. Transfer the shaping for colour and stitch placement. the leaves to the fabric in the same Using the chenille needle, bring two manner as the main design. Label each Use the no. 18 chenille needle for lengths of C to the front at the right- leaf on the surrounding fabric. sinking the soft cotton tails and hand end of the main stem, leaving working the caterpillar padding, the 5cm (2\") tails on the wrong side. Hold Butterfly no. 7 crewel needle for twelve strands the tails in place with tape. Begin of thread, the no. 10 crewel for one couching the lengths along the stem wings strand of thread, the no. 1 milliner’s at 3mm (⅛\") intervals using V, working needle for the couching thread, the no. each stitch on the marked line and Place the remaining muslin square 7 milliner’s for French knots with three maintaining the rounded shape of the into the 10cm (4\") hoop and tension strands, the no. 9 milliner’s for French cotton padding. Continue couching until drum tight. Using the mechanical knots with one strand and the Madeira until reaching the second blossom pencil, trace the shaping for a left metallic, the no. 26 tapestry needle for stem. Separate the padding threads and right fore wing and left and right raised stem stitch and wrapping the and continue couching one length hind wing onto tracing paper. Transfer large beads, the no. 12 sharp needle along the lower stem to the leaf at the the shaping to the fabric in the same for the monofil and wrapping the small tip, finishing the couching 1mm–2mm manner as the main design. beads, and the no. 16 yarn darner for (1/32\"–1/16\") inside the leaf. Take the sinking wire tails. padding thread to the back with the pupa chenille needle and hold in place with All embroidery is worked in a hoop. a piece of tape. Couch the second Trace the three pupa padding shapes onto the paper side of the fusible webbing with the mechanical pencil. Fuse the webbing to the piece of yellow wool felt and cut out. 22 • I N S P I R AT I O N S

thread along the blossom stem only to Trim away the excess padding threads Upper stem the point that the design line becomes on the back of the work. broken. Take the padding thread to the stems back and tape in place. Couch single At the junction of the stem and each lengths of C with V along the leaf leaf, work a small V shape with raised Using the chenille needle, bring two stems in the same manner, finishing stem stitch. lengths of C to the front at the right- the couching 1mm–2mm (1/32\"–1/16\") hand end of the main stem, leaving 5cm inside each leaf and taping the padding leaves (2\") tails on the wrong side. Hold the thread tails on the back of the work. tails in place with tape. Begin couching Work the remaining bud and flower There are five leaves attached to the the lengths along the stem at 3mm (⅛\") stem only to the point that the design stem. Work the centre vein on each intervals using V, working each stitch line becomes broken in the same leaf with stem stitch using V, blending on the marked line and maintaining the manner. Cover the padding worked the vein into the end of the stem. Work rounded shape of the cotton padding. with two threads along the main stem an additional row of stem stitch down Continue couching along the stem with ten rows of raised stem stitch, each side of the centre row using S, until reaching the third leaf stem (leaf beginning on one edge with one row working down one third of the vein 8). Separate the padding threads and of W then working one row each of S, length on one side and one half on the continue couching one length along the V, S, two rows of V then one row each second side. upper stem to the leaf at the tip. Take of S, V, S and finishing with one row of the padding thread to the back with W. Continue along the padding worked Outline each leaf with stem stitch the chenille needle and hold in place with one thread at the tip of the main using O for leaves 2, 3 and the lower with a piece of tape. Couch the second stem with seven rows of raised stem edge of leaf 1, and V for leaves 4 and 5 thread along the stem to leaf 8. Take stitch, beginning on one edge with and the upper edge of leaf 1. the padding thread to the back and tape one row of W then working one row in place. Couch single lengths of C with each of S, V, S, V, S and finishing with Pad each half of each leaf with straight V along the remaining leaf, gumnut and one row of W. Cover the stems to the stitch, working parallel to the edges, bud stems in the same manner. Work leaves, flowers and buds with seven then cover with angled satin stitch the upper bud stem only to the point rows of raised stem stitch in the same using O for the lower side of leaf 1, that the design line becomes broken. manner. Blend the leaf and flower right-hand side of leaf 2 and both sides stems into the main stem by staggering of leaf 3, P for the upper side of leaf 1, Cover the padding worked with two the starting point of the rows of L for the left-hand side of leaf 2 and threads along the main stem with ten stitching following the leaf 4, and K for the right-hand side of rows of raised stem stitch, beginning diagram (diag 1). leaf 4 and both sides of leaf 5. Work on one edge with one row of W then additional stem stitches with S and V working one row each of S, V, S, four at the intersection of the leaf and stem rows of V then one row each of S and to ensure that the transition is smooth. W. Continue along the padding worked with one thread at the tip of the main stem with seven rows of raised stem stitch, beginning on one edge with one row of W then working one row each of S, V, S, V, S and finishing with one row of W. Cover the stems to leaf 10 and the buds with seven rows of raised stem stitch in the same manner. Cover the stems to leaves 6, 7 and 8 and the stems to the lower gumnuts beginning on one edge with one row of W then working one row of S, three rows of V then one row each of S and W. J A R R A H & G R A S S B LU E B U T T E R F LY • 23

Blend the leaf, gumnut and bud stems into the main stem by staggering the starting point of the rows of stitching following diagram 1. c at e r p i l l a r Using U, outline the shape with back stitch working one stitch per segment and one stitch across the head (first line). Leave a gap of approximately 1mm (1/32\") between the lower edge of the body and the stem. Pad the body with surface satin stitch using six strands of U, working short stitches at the centre of the body then covering with long stitches, working parallel to the edges. The body is covered with raised stem stitch. Work eleven, firm foundation stitches across the body using U and the back stitches as a guide to placement. Using Q, attach an AL bead to form the head, taking care to ensure that the hole runs parallel with the body. Turn the work upside down. Beginning along the upper edge of the body, complete the raised stem stitch working rows in the following colours and numbers: Q x 4, U x 3, Q x 3, U x 5, F x 2, H x 2. Work short rows where necessary to maintain the body shape and take some rows through the head bead. Using three strands of I, work eight French knots along the lower edge of the body for the legs, working one knot at the base of the three segments behind the head, miss two segments then work one knot at the base of the next four segments, miss two segments then work the final knot at the base of the tail segment. Shape the legs using the tweezers. Using I, work six French knots along a row of raised stem stitch in the lower half of the body to form the spiracles. Begin in the fifth segment from the head and work one knot in each segment. Take care to ensure that the knots stay on the surface. pupa Beginning with the smallest shape and using the photograph as a guide to placement, centre the felt padding, webbing side uppermost, over the pupa shape and stab stitch in place around the outer edge using Z. Repeat with the remaining two felt shapes finishing with the largest. The right-hand end of the padding should extend over the edge of leaf 1. Trace the pupa leather template onto the adhesive end of the Post-it note and cut out. Check the template size over the padding and adjust if necessary. Stick the template to the right side of the snakeskin and cut out. Remove the template. Position the snakeskin over the padding and stitch in place with small stab stitches using AD, beginning with a stitch at each end and two on each long edge then working around the shape. On the left-hand side of the pupa, 24 • I N S P I R AT I O N S

work six, evenly spaced couching The stamens should measure 1cm (⅜\") similar manner using V to couch and stitches over the shape using AB to across at the tips. overcast the centre vein and blanket create seven segments. Using B, work stitch the right-hand outline and O to a straight stitch across the pupa at the Using R, outline, pad and cover the couch and blanket stitch the left-hand right-hand end to form a sling. base of each flower in the same outline. Stitch the padding and satin manner as the buds, taking care to stitch using K on the right-hand side Flowers and buds cover the ends of the stamens where and L on the left-hand side. they meet the base. Work leaf 10 in a similar manner using stems V to couch, overcast and blanket stitch Complete the stems to the buds and Open flowers the wire and working the padding flowers on the lower stem and buds and satin stitch with O on the right- and gumnuts on the upper stem with Work all straight stitches 8mm (⁵/16\") in hand side and P on the left-hand side. raised stem stitch in the following length. Using G and radiating out from Remove the fabric from the hoop and manner. Using twelve strands of Q, the centre point, work a straight stitch carefully cut out each leaf using the pad each remaining stem section with to the north, south, east and west. fine, sharp embroidery scissors. a straight stitch. Tape the ends of the Using the same thread, work a straight padding thread in place on the back of stitch at the halfway point between Butterfly the work. Couch the padding in place at each pair of stitches so that you have 3mm (⅛\") intervals using Q. Using V at eight, evenly spaced stitches. Using Cut four, 10cm (4\") lengths of wire. the stem end and changing to Q at the the same thread, work a straight stitch bud or flower end, work raised stem halfway between each pair of stitches fore wings stitch over the foundation couching so that you have sixteen stitches. Leaving a tail at each end, couch one stitches. Trim away the padding Using X, work a straight stitch halfway length of wire around one wing using threads on the back of the work. between each pair of stitches so that AF. Work close blanket stitch over the buds you have thirty-two stitches. Using G, wire using AF for the sides and AH for Outline one bud with split stitch using work a straight stitch halfway between the outer edge. Form the markings J for the cap and R for the base. Pad each pair of stitches. You should have on the outer edge by working seven, the lower half of the cap with straight sixty-four, evenly spaced stitches. evenly spaced stitches over the wire stitches worked across the shape using using AI. The wing is filled with rows J. Using the same thread, cover the Using three strands of M, work a of close blanket stitch and encroaching padding and outline with satin stitch, French knot at the centre of the flower satin stitch. Using the pencil, lightly working down the shape and extending then six French knots evenly spaced mark in seven lines (diag 3). the stitches slightly over the lower around the first. Work a further eight, edge of the base. Using R, pad the base evenly spaced French knots, around Using AI, fill the outermost area with with straight stitch, working down the six knots. Work the second flower close blanket stitch with the beaded the shape then cover the padding and in the same manner. edge adjacent to the wire. Fill the outline with satin stitch working across remainder of the wing with rows of the shape. Complete the remaining DETACHED ELEMENTS encroaching satin stitch beginning with buds in the same manner. AF, blending this row into the blanket flowers Leaves stitch, then working a second row with Partially open flowers AF, three rows with AG and two rows The stamens are worked with Cut five, 30cm (12\") lengths of wire. with AJ. Using AC, work the veins with seventeen straight stitches, each Beginning at the tip of the centre vein fly stitch, single feather stitch and 6mm (¼\") long using G and X. Work on leaf 6, couch the wire down the straight stitch. Work the second fore the stitches following the diagram for length of the vein using V. Overcast the wing in the same manner. placement and fanning them out from vein using the same thread, ensuring the straight edge of the base (diag 2). that the wire is completely concealed. hind wings Couch the remaining wire around the Leaving a tail at each end, couch one GX edge of the leaf with V, leaving a tail length of wire around one wing using at the base. Using the same thread, AF. Work close blanket stitch over the work close blanket stitch over the wire. wire using AF for the sides and AH for Pad each half of the leaf with straight the outer edge. Form the markings on stitch, working parallel to the edges, the outer edge by working eight, evenly and cover with angled satin stitch using K. Work leaf 7 in a similar manner, working the padding and satin stitch on the right-hand side with K and the left-hand side with L. Work leaf 8 in a similar manner, using V to couch and overcast the vein, O to couch and blanket stitch the outline wire and working the padding and satin stitch with O on the right-hand side and P on the left-hand side. Work leaf 9 in a J A R R A H & G R A S S B LU E B U T T E R F LY • 25

26 • I N S P I R AT I O N S

Butterfly wings Referring to the placement diagram, insert the hind wings at the desired position on leaf 5, at 2 and 3 and secure using Y (diag 5). 32 1 spaced stitches over the wire using AI. Secure the thread by knotting it to Insert the fore wings in the same The wing is filled with rows of close the thread tail. Cover the remaining manner at 1 and 2 and secure using Y. blanket stitch and encroaching satin AM beads in the same manner, using stitch. Using the pencil, lightly mark in T for a second bead, D for two beads thorax six lines (diag 4). and E for two beads. Using a 50cm (20\") length of N, cover one AP bead Using a dark blue section of AK, work Using AI, fill the outermost area with with thread in the same manner as three straight stitches between 1 and close blanket stitch with the beaded the large beads, knotting the thread 3, ensuring the chenille sits flat and the edge adjacent to the wire. Fill the ends together at the base. Cover stitches are not too tight. remainder of the wing with rows of the remaining five AP beads in the encroaching satin stitch beginning with same manner. Thread the tails of one abdomen AF, blending this row into the blanket covered AP bead into the no. 10 crewel stitches, then working a second row needle and take them down through Using seven strands of A, work two with AF, two rows with AG and two the centre of one covered AM bead, straight stitches between 4 and 3. rows with AJ. Using AC, work the veins pulling the threads until the small bead Bring the thread to the surface at 4 and with fly stitch, single feather stitch and sits snugly in the indent of the large wrap the stitches back to the thorax, straight stitch. Using AE, work seven bead. Repeat with the remaining small ensuring that the wraps are smooth and French knots between the ends of the and large beads. even. veins. Work the second hind wing in the same manner. AT TACHING THE head Remove the fabric from the hoop and DETACHED ELEMENTS carefully cut out each wing using the AND FINISHING THE Using A, attach an AL bead at the end of fine, sharp embroidery scissors. BUT TERFLY the thorax to form the head, ensuring that the hole sits perpendicular to the Gumnuts Eggs thorax. Attach an AN bead on each side of the head, working some stitches Leaving a 15cm (6\") tail, bring two, 1.3m Using the photograph as a guide, stitch through the head bead and using the (1yd 12\") strands of T up through the the AO beads in place, using AD, on same thread. Using AA work each hole in one AM bead. Wrap the bead leaf 1 to form the butterfly eggs. antenna with a detached chain, working until the surface is completely covered. the chain to form the tip and a long Leaves anchoring stitch to form the stalk. Shape each detached leaf slightly Gumnuts before attaching. Using the yarn darner and referring to the photograph Thread the six tails at the base of one for placement, attach each leaf in gumnut into a crewel needle and take numerical order, sinking the wire tail to the back at the desired position. following the step-by-step instructions Secure the threads to the muslin on the on page 27 and using Y. back of the work. Attach the remaining gumnuts in the same manner. Finishing Remove the tacking. After carefully lacing the embroidery over mount card, shape the leaves and wings with tweezers. J A R R A H & G R A S S B LU E B U T T E R F LY • 27

CUTTING OUT A WIRED SHAPE When detached shapes are added to a ground fabric, the wire tails are inserted through the fabric and secured to the wrong side of the work. 1Complete the stitching following the instructions. 2 Maintaining tension on the 3 Scratch the edge of the 4 Retrim as needed, working 5 Wired, detached shape fabric, cut out, angling the shape to lift any short from the back of the shape. ready for use. blades of the scissors as close fabric tails. as possible under the blanket stitch edge. 28 • I N S P I R AT I O N S

SINKING WIRE TAILS To form a hole large enough to pass metal thread or wire tails through, use a needle with a large eye and sharp tip. Wire may show through the fabric, so ensure the wire tails are bent back behind the detached element. 1 Insert the large needle into 2 Take the wire tails and 3 Pull the needle all the way 4 On the wrong side, pull the fabric at the required any thread tail to the back through the fabric and the wire and thread position and push through through the eye of the needle remove. through so that the base until the eye is halfway and fabric. of the detached element is through the fabric. against the ground fabric. Bend the wire tails back against the fabric. 5 Using either the thread tail 6Bend the wire into a U. or a new thread, secure Stitch to secure and trim the wire to the backing fabric the wire tail. only with overcast stitch. 7 Bend the detached shape into the required position. J A R R A H & G R A S S B LU E B U T T E R F LY • 29

Bush Beauties 30 • I N S P I R AT I O N S

Sequins, beads and an array of embroidery stitches are used to create these spectacular hooped studies of the colourfully crested Major Mitchell’s cockatoo (lophochroa leadbeateri) and the elegant, superb lyrebird (menura novaehollandiae). technique Sur face Embroider y by Melissa Hor ton of Australia

Worked onto a cotton ground with stranded cotton before you these designs threads, each bird is filled with areas of stitching that begin use cleverly create interest and a variety of textures, and are further embellished with a selection of sparkling See the pattern download Back stitch | Beading sequins and glass beads. for the embroidery designs Fly stitch | French knot Reverse chain stitch The finished designs measure 23cm (9\") in diameter. We recommend that you read Running stitch | Satin stitch the complete article Seed stitch | Split stitch Straight stitch All embroidery is worked with THREE strands of thread unless specified LYREBIRD ITCH KITREADY-TO-ST •P AGE 93 • requirements Fabric 28cm (11\") square of beige cotton Supplies 25cm (10\") square of beige felt 23cm (9\") embroidery hoop Tracing paper Fine black pen Fine heat-soluble fabric marker Needles No. 7 crewel No. 10 crewel Threads, bead & sequins DMC Light Effects stranded metallic A = E301 copper DMC stranded cotton B = 01 white tin C = 03 med tin D = 04 dk tin E = 300 vy dk mahogany F = 301 med mahogany G = 310 black H = 400 dk mahogany I = 435 vy lt brown J = 535 lt charcoal K = 838 dk beige-brown L = 3799 vy dk pewter grey Bead & sequins No. 12 seed bead M = black (1) 6mm cup sequins N = copper (39) 32 • I N S P I R AT I O N S

BAND 3 BAND 5 BAND 1 BAND 4 BAND 2 preparation for embroidery neck and upper back with areas of embroidery French knots, reverse chain stitch, See page 39 for diagrams for working seed stitch, split stitch, straight stitch PREPARING THE FABRIC back stitch, beading, fly stitch, French and fly stitch using J. Embroider the knot, reverse chain stitch, running stitch, chest with areas of the same stitches Neaten the edges of the cotton with satin stitch, seed stitch, split stitch and using C for the French knots and D for a machine zigzag or overlock stitch to straight stitch the remaining stitches. Continue filling prevent fraying. the body in the same manner using J, Refer to the close-up photograph for finishing at the base of the tail. Stitch TRANSFERRING THE DESIGN colour and stitch placement. the left-hand leg with split stitch and running stitch using L and the right- Centre the inner ring of the hoop on Use the no. 10 crewel needle for hand leg with satin stitch using J and the felt and trace around the outside attaching the beads and sequins seed stitch using L. of the ring with the heat-soluble fabric and the no. 7 crewel for all other marker. Cut out around the marked embroidery. Wing ring and put aside to finish the hoop back. Using the black pen, trace the All embroidery is worked in the hoop. Work the bands of the wing, beginning design and placement marks onto at the lower edge with straight stitch, tracing paper. Tape the tracing to a ORDER OF WORK reverse chain and satin stitch using K. lightbox or window. Centre the fabric Stitch the second band with French over the tracing, aligning the straight Head and body knots, seed stitch and split stitch using grain with the placement marks, and E, the third band with satin stitch, transfer the design using the heat- Using two strands of G, stitch the M reverse chain, fly stitch and split stitch soluble fabric marker. Mount the fabric bead at the marked position for the using H, the fourth band with straight in the hoop with the design centred eye. Stitch the upper beak with angled and tension until drum tight. satin stitch and the lower beak with French knots using L. Outline the eye with running stitch using C. Using the photograph as a guide, fill the head, B U S H B E A U T I E S • 33

stitch, French knots and seed stitch M 3 using F and the fifth band with split M 4 stitch, running stitch and satin stitch 2 using I. Embroider the lines between the wing bands with A, working the 1 lower line with reverse chain, the second line with running stitch, the third line with back stitch and the fourth line with reverse chain stitch. Tail f i l a m e n ta r i e s Work the shaft (rachis) of each feather, beginning at the base with J and shading through D, C to B, using back stitch for feather 1, running stitch for feather 2, reverse chain for feather 3 and back stitch for feather 4. Embroider the barbs on each feather with straight stitch and one strand of thread, beginning at the base with D and shading through C to B. median feathers Stitch the shaft of the left-hand feather with split stitch using B and the barbs at the tip with straight stitch using two strands of the same thread. Stitch the shaft of the right hand feather with French knots and the barbs with straight stitch using the same thread. ly r at e s Work the barbs with satin stitch using B for the inner section and K for the outer section. Embroider the lower shaft of the left-hand lyrate with running stitch using F. Using the same thread, attach a line of N sequins, cup side down, along the remaining shaft and along the shaft of the right-hand lyrate, covering the base of the barbs. FEATHER KEY (M = MEDIAN) 34 • I N S P I R AT I O N S

COCKATOO preparation for embroidery requirements PREPARING THE FABRIC transfer the design using the heat- soluble fabric marker. Remove the dark Fabric Neaten the edges of the dark red red cotton from the tracing. Centre the cotton with a machine zigzag or piece of white cotton over the marked 28cm (11\") square of dark red overlock stitch to prevent fraying. section and transfer the shoulder cotton shaping with the heat-soluble fabric TRANSFERRING THE DESIGN marker. Repeat with the pink cotton 2.5cm x 4cm wide (1\" x 1 ½\") and the head shaping. piece of white cotton Centre the inner ring of the hoop on the dark red felt and trace around the Cut the shaping for the felt on the 2.5cm x 5cm wide (1\" x 2\") outside of the ring with the heat- chest and crest from the tracing. Pin the piece of pale pink cotton soluble fabric marker. Cut out around template for the chest onto the pink felt the marked ring and put aside to finish and cut out. Repeat with the template Supplies the hoop back. Using the black pen, for the crest on the white felt. trace the design and placement marks 2.5cm (1\") square of white felt onto tracing paper. Tape the tracing to Mount the dark red fabric in the hoop a lightbox or window. Centre the fabric with the design centred and tension 2.5cm x 5cm wide (1\" x 2\") over the tracing, aligning the straight until drum tight. piece of pale pink felt grain with the placement marks, and 25cm (10\") square of dark red felt 23cm (9\") embroidery hoop Tracing paper Fine black pen Fine heat-soluble fabric marker Needles No. 7 crewel No. 10 crewel Threads, beads & sequins DMC stranded cotton A = 151 blush B = 310 black C = 321 vy lt garnet D = 606 scarlet E = 721 med orange spice F = 726 golden yellow G = 742 lt tangerine H = 762 vy lt pearl grey I = 778 vy lt antique mauve J = 3689 lt tea rose K = blanc Beads & sequins Size 12 seed beads L = white (35) M = pink (33) N = dk red (24) O = black (1) 5mm flat sequins P = white ab (18) 6mm cup sequins Q = white (20) R = pink (16) S = yellow (3) T = orange (3) U = blue/black (1) B U S H B E A U T I E S • 35

embroidery See page 39 for diagrams for working back stitch, beading, fly stitch, French knot, reverse chain stitch, running stitch, satin stitch, seed stitch, split stitch and straight stitch Refer to the close-up photograph and guide for colour and stitch placement. Use the no. 10 crewel needle for attaching the beads and sequins and the no. 7 crewel for all other embroidery. All embroidery is worked in the hoop. ORDER OF WORK Head eye Using two strands of B, attach the U sequin, cup side down, with an O bead at the position for the eye. Work a stitch on each side of the bead to ensure that it sits flat. Outline the eye with split stitch using H. beak Fill the upper beak section with reverse chain stitch and the lower section with French knots and straight stitch using H. crest Position the white felt crest piece over the design and stitch in place with running stitch close to the outer edge using two strands of K. Fill the crest feathers with stitched areas of French knots, fly stitch, split stitch, seed stitch, satin stitch, straight stitch and reverse chain using the same thread. Using two strands of K, attach fourteen L beads on the right-hand side of the first feather and three, slightly overlapping Q sequins, cup side down, to form the fourth feather. Work the stitched areas on the remaining crest with French knots, fly stitch, split stitch, seed stitch, satin stitch, straight stitch and reverse chain using C, D, E, F and G. Attach three, slightly overlapping S sequins, cup side down using two strands of F and three, T sequins in a similar manner using E. Attach two lines of N beads to the base of the crest with two strands of C, using fourteen beads near the front of the head and ten near the back. 36 • I N S P I R AT I O N S

FS L Fead S felt K F 1 eads t K F RC 1 lit K 14 beadslit S F D K 1s F EC KK G F C C felt C 1 F S KF S E DK eads E DG F N K F E TK S F F RC FC Q K N S J A H A AJ Ft C P A J I J F C spl t F A M J J AA H I sp t J HJ AI AI C S F I J F S s lit bead R I split AJ A F F A pt JI I Q S S MA split RC S F A IJ S sp t I sp it PI I A L A J K I IL Q J RA STITCH GUIDE IJ COLOUR GUIDE F French knot running stitch S satin stitch straight stitch RC reverse chain stitch fly stitch split split stitch seed stitch B U S H B E A U T I E S • 37

forehead and top of head of French knots, reverse chain stitch, back of the work to prevent damaging running stitch, split stitch and straight the sequins. Re-tension the fabric Fill the area directly above the beak stitch using the same thread. Attach in the hoop if necessary, ensuring with satin stitch using C. Using K, fill eleven, L beads along the left-hand side that it is drum tight. Trim away the the stitched areas across the top of the of the wing and ten, L beads along the excess fabric, leaving a 4cm (1½\") head with satin stitch, straight stitch, lower edge of the white cotton using seam allowance. Using three strands reverse chain stitch, French knots two strands of K. Attach five, slightly of matching stranded cotton, lace the and running stitch. Attach six, slightly overlapping Q sequins, cup side down, back of the embroidery, maintaining overlapping Q sequins, cup side down, along the right-hand side of the wing a firm tension on the thread as you at the front of the head using two and six, Q sequins along the lower edge work. Tie off securely (diag 1). strands of K. of the wing in the same manner using two strands of K. Position the circle of felt over the back Position the piece of pink cotton over of the embroidery and handstitch in the design and hold in place with small Body place around the outer edge using the running stitches close to the edge same thread (diag 2). using one strand of J. Position the piece of pink felt over the design and hold in place with small head running stitches close to the edge using two strands of A. Work fly stitch, Fill the remaining head area with running stitch, satin stitch and split stitched areas of French knots, fly stitch over the felt, concealing part of stitch, split stitch, seed stitch, satin the edge. Fill the body with stitched stitch, straight stitch, running stitch areas of French knots, fly stitch, and reverse chain using A, I, and reverse chain stitch, running stitch, J, concealing the edges of the pink satin stitch, seed stitch, split stitch and cotton. Work seed stitch over the pink straight stitch using A, I and J. Attach cotton using J. eight, slightly overlapping R sequins, cup side down, at the top of the body Attach ten, slightly overlapping P and eight R sequins at the base of the sequins behind the eye using two body in the same manner using two strands of J. Attach four, M beads to strands of A. Attach eight, slightly the left of the sequins and fourteen, M overlapping P sequins to the right of beads in two rows near the back of the the pink felt using two strands of A neck using two strands of J. and fifteen M beads to the right of the sequins using the same thread. Wing Finishing Position the piece of white cotton over the design and hold in place with small Carefully remove any visible fabric running stitches close to the edge marker with a hair dryer from the using one strand of K. Work rows of fly stitch over the white cotton using K. Fill the wing with stitched areas 38 • I N S P I R AT I O N S

STITCH DIAGRAMS Back stitch Beading Fly stitch French knot CA B A BA Reverse chain stitch Running stitch Straight stitch BB CD Split stitch AA E C DC Seed stitch Satin stitch A AB CD C B D B U S H B E A U T I E S • 39

L ittle Brown Hen A garland of pretty blue periwinkles creates a delightful frame for a plump brown hen and her sweet yellow chicks. Stumpwork techniques are cleverly combined with surface and raised embroidery to bring this charming little family to life on a background of olive-green print cotton. Stranded silk and cotton threads are used to stitch both designs and tiny glass beads add sparkle to the flowers on the framed embroidery and around the edge of the needlebook. technique Stumpwork by Anna Scott of Australia 40 • I N S P I R AT I O N S



READbefore you ITCH KIT requirements Tracing paper 12cm x 25cm wide (4¾\" x 10\") begin•P piece of lightweight wadding FRAMED PANEL Fine black pen See the pattern download 12cm x 25cm wide (4¾\" x 10\") for the embroidery designs Fabric Fine heat-soluble fabric piece of comic board or and templates 30cm (12\") square of light marker firm card We recommend that you olive green print cotton read the complete article and 30cm (12\") square of ivory Needles 6mm (¼\") press stud instructions in the pattern quilter’s muslin No. 18 chenille download 15cm (6\") square of ivory No. 8 crewel Light olive green sewing All embroidery is worked with cotton voile No. 9 crewel thread ONE strand of thread unless 15cm (6\") square of green No. 10 crewel specified cotton No. 26 tapestry Cream sewing thread 15cm (6\") square of ivory Y-TO-ST cotton NEEDLEBOOK Pinking shears AGE 93 • Supplies Fabric Low-tack tape The needlebook measures 6cm x 12cm wide (2⅜\" x 4¾\") 35cm x 30cm wide (14\" x 12\") 9.5cm x 10.5cm wide piece of ivory wool felt piece of light olive green Craft glue (3¾\" x 4⅛\"). 10cm (4\") embroidery hoop print cotton with inner ring bound Glue stick 20cm (8\") embroidery hoop 15cm x 30cm wide (6\" x 12\") with inner ring bound piece of ivory quilter’s muslin Stylus or spent ballpoint pen 28 gauge beading wire Cream sewing thread 15cm (6\") square of ivory Tracing paper Low-tack tape cotton voile Tweezers Fine black pen Fine sharp scissors Supplies Scissors to cut wire 16cm x 20cm wide (6¼\" x 8\") Fine heat-soluble fabric Stylus or spent ballpoint pen piece of ivory wool felt marker 10cm (4\") embroidery hoop Needles with inner ring bound No. 8 crewel 15cm (6\") embroidery hoop No. 9 crewel with inner ring bound No. 10 crewel No. 26 tapestry Threads & Beads Au Ver à Soie, soie d’Alger stranded silk A = 111 ultra lt azure blue B = 621 vy lt nasturtium C = 1844 med privet D = 3424 med sage E = 3714 grey-green F = 4104 brut G = 4235 dk tan H = 4541 ultra lt umber I = 4912 lt hyacinth J = 4913 hyacinth K = F5 ecru DMC stranded cotton L = 939 dk navy blue M = 3013 lt khaki green (needlebook) N = 3362 dk pine green Madeira stranded silk O = 401 terracotta P = 1311 lt grey-green Q = 1603 lt grass green (framed panel) R = 2114 dk golden olive (framed panel) S = 2306 rust Mill Hill petite seed beads T = 42014 black (2) Mill Hill seed beads U = 00479 white (3, framed panel) V = 02001 pearl (needlebook) 42 • INSPIRATIONS

these designs use Beaded knotted pearl stitch | Blanket stitch | Blanket stitch pinwheel | Bullion knot | Bullion loop | Chain stitch | Colonial knot Detached chain | Fly stitch | French knot | Long and short blanket stitch | Long and short stitch | Padded satin stitch | Satin stitch Split stitch | Split back stitch | Stem stitch | Straight stitch | Surface satin stitch | Needlewoven bar | Trellis couching | Whipping preparation for embroidery 2cm (¾\")the 10cm (4\") hoop. Mount the fabric in the hoop, tensioning it in the same manner as before. PREPARING THE FABRICS Transfer the periwinkle template to the ivory cotton three times in the same manner as the main design, ensuring they FRAMED PANEL will fit inside the 10cm (4\") hoop. When the head and wing are complete, mount the fabric in the hoop. Neaten the edges of the light olive green print cotton and Transfer the six leaf templates to the green cotton in the quilter’s muslin with a machine zigzag or overlock stitch to same manner as the main design, labelling each leaf outside prevent fraying. the design lines. The base of each leaf is the end with the letter label. When the flowers are complete, mount the green NEEDLEBOOK cotton into the 10cm (4\") hoop. Trace the felt templates onto tracing paper using the black From the olive green print cotton cut one 15cm x 30cm pen. Cut out, leaving a narrow margin from the marked lines. wide (6\" x 12\") rectangle and one 10cm x 30cm wide (4\" x Set aside until ready to use. 12\") rectangle. Put the smaller rectangle aside for the lining. Neaten the edges of the remaining rectangle and quilter’s NEEDLEBOOK muslin with a machine zigzag or overlock stitch to prevent fraying. Cut a 9cm x 20cm wide (3 ½\" x 8\") piece of ivory wool Main design felt for the needlepages and put aside. Using the black pen, trace the embroidery design, stitchlines TRANSFERRING THE DESIGN and placement marks onto tracing paper. Tape the tracing to a lightbox or window. Aligning the placement marks with the FRAMED PANEL straight grain and the left-hand stitch line 2cm (¾\") in from the left-hand edge of the light olive green cotton, position Main design the fabric over the design and tape in place. Using the heat- soluble fabric marker, transfer the design, stitchlines and Using the black pen, trace the embroidery design and spine to the cotton (diag 2). placement marks onto tracing paper. Tape the tracing to a lightbox or window. Centre the olive green cotton over Place the cotton, right side uppermost, over the quilter’s the design, aligning the placement marks with the straight muslin, aligning the edges, and pin in place. Using the cream grain, and tape in place. Using the heat-soluble fabric marker, sewing thread, working through both layers and beginning transfer the design onto the fabric. Place the cotton, design at the centre of each line, tack along each stitchline and the side uppermost, over spine, extending each line of tacking to the edge of the fabric. the quilter’s muslin, Remove the pins. aligning the edges, Ensuring the embroidery design is centred within the hoop and pin in place. and the grainlines remain straight, mount the layered fabrics Using the cream in the 15cm (6\") hoop, tensioning until they are drum tight. sewing thread, work a line of tacking Detached elements through both layers along each side of Transfer the head and wing shaping to the ivory voile and the design, beginning prepare the felt padding templates in the same manner as each line at the the framed panel. centre and working to the edge of the fabric. Remove the pins (diag 1). Mount the layered fabrics in the 20cm (8\") hoop, tensioning until they are drum tight and ensuring the grainlines remain straight. Detached elements Transfer the head and wing shaping to the ivory voile in the same manner as the main design, ensuring both will fit inside L I TATLLLEI UBMR OMWENA DHOEWN • 43

The finished framed design measures 10cm x 12cm wide (4\" x 4¾\"). embroidery ORDER OF WORK and beginning with I at the outer edge, and shading into J at the base. Working See page 49 for step-by-step DETACHED ELEMENTS over the split back stitch, outline the instructions for working the knotted flower with close blanket stitch using I. pearl stitch and needlewoven bar and Periwinkle flowers pages 28–29 for cutting out a wired Leave the centre free from embroidery shape and sinking wire tails. The detached flowers are only used on at this stage, to be worked when the the framed panel. flower is attached to the fabric. Work Refer to the close-up photograph for Using I, outline one flower with split the remaining two flowers in the same colour and stitch placement. back stitch. Fill each petal with long and manner. short stitch, working inside the outline Use the no. 8 crewel needle for two strands of silk or three strands of Hint BLANKET STITCH OUTLINE cotton, the no. 9 crewel for one strand of silk, the no. 10 crewel for To achieve a sharp point between the petals, anchor the last stitch when beading and bullion knots, the no. 18 reaching the base of one petal and restart the close blanket stitch on the chenille needle for sinking wire tails, next petal, allowing the beaded edge to slightly overlap the previous petal and the no. 26 tapestry needle for edge near the flower centre. the needlewoven bars and whipping. All embroidery is worked in a hoop. 44 • IINNSSPPIIRRAATTIIOONNSS

Leaves ending at the split close blanket stitch, working each stitch outline. Using stitch across the feather and over the The detached leaves are only used on K, work a row of split stitch outline, so that the beaded the framed panel. Stitch each leaf in chain stitch down the edge of the blanket stitch sits just the same manner. right-hand side of outside the split stitch outline. At the each feather. Leaving tip of the feather, take the needle to Cut a 6cm (2 ⅜\") length of wire. Leaving a teardrop shape the back through the same hole on a 1.5cm (⅝\") tail at the base of the leaf, within the tip, work the upper outline for several stitches couch the wire along the outline a row of stem stitch to turn the row around the curve. using C. down the left-hand Embroider the next five feathers in the side of each feather same manner, with the beaded edge Fill each half of the leaf with satin using the same overlapping the previous feather, and stitch, using C for the shaded half on thread (diag 3). alternating between K and H. Stitch the template and P for the remaining the upper feather with blanket stitch half, and angling the stitches towards Note using H, taking the needle to the back the base. For each stitch, emerge to inside the split stitch outline. Turn the inside of the wire at the leaf edge If needed, omit or adjust the length of the row around the feather tip then and take the needle to the back on the continue stitching a very narrow row of centre line. Using the same colours, the stem stitch row to ensure a teardrop close blanket stitch over the split stitch cover the wire outline with close outline, from the tip to the base of the blanket stitch. Stitch the centre vein shape remains at the tip of each neck feather, ensuring the beaded edge sits with stem stitch using E. to the outside of the split stitch. feather. Hen scalloped feathers Using K, cover the split stitch outline head and neck along the lower edge with close Outline the back edge of the wing from blanket stitch. Anchor the last blanket the corner to the tip of the scalloped The needlebook hen is a mirror-image stitch of each scallop and emerge feathers with split back stitch using G. of the framed panel hen. inside the last blanket stitch to begin Using the same thread, fill each feather the next scallop. Fill the teardrop in the lower row with partial blanket eye shape at the tip of each feather with stitch pinwheels, with the beaded two detached chains using H in the edge overlapping the long feathers and Using E, outline the lower edge of the following manner. Work a small, the split stitch outline at each side. eye with split stitch. Beginning at the detached chain at the centre and Embroider the upper row in a similar lower edge, fill the upper section with surround it with a second detached manner using H, overlapping the satin stitch using the same thread. chain with a long anchoring stitch, previous row. changing to stem stitch to extend the head line partway up the neck. Vary the upper wing length of the stem stitch line for each Using F and beginning at the corner on feather so that they are longer towards Cover the remaining split stitch the lower edge, outline the head with the centre of the neck. outlines along each side of the wing chain stitch, extending the line down with close blanket stitch using H. the outer edge along the back of the Wing neck. Changing to K, work a second Using G and H together in the needle, row of chain stitch just inside the first. long feathers fill the wing with offset rows of Stitch a third row using F, continuing detached chain, working the first the row down the inner marked line of Using H, partially outline the wing, row along the upper edge of the the back of the neck. Continue to fill beginning at the front corner and scalloped feathers. Each stitch should the head with rounds of chain stitch working along the front edge of the be approximately 3mm (⅛\") long using F, working each round in the wing, along the outer, scalloped and worked down the length of the same direction and reducing the length edge of the long feathers and along wing. Ensure the stitches are not of the stitches towards the centre. the length of the upper long feather, worked too closely together and work finishing at the marked outline of the the anchoring stitch for each outer neck small, scalloped feathers. detached chain through the blanket stitch outline. Using F and beginning beside the head, Using H and beginning at the base of outline the front edge of the neck with the lower feather, fill the shape with chain stitch. Change to split stitch and continue the row to outline the scalloped lower edge of the head and neck shape. Using the same thread, embroider the remaining long feather outlines with chain stitch, beginning at the head and L I T T L E B R O W N H E N • 45

SURFACE EMBROIDERY Leaves Periwinkle buds Stems large leaves small bud Using three strands of N and beginning Embroider the single leaves (framed Embroider the small bud (needlebook) at the tip of any stem (framed panel) panel) or pairs of large leaves (needle- in the same manner as the small leaves or the left-hand stem (needlebook), book) in the same manner. Outline a using I. embroider stem stitch along the leaf with split stitch using C. Fill the marked line to the tip of one curling lower half of the leaf with straight large buds tendril, shortening the stitches around stitch padding worked along the the curve. For the framed panel, leave length. Cover the padding with angled Embroider each of the two large buds a small gap every second time the stem satin stitch using the same thread, (framed panel) or bud (needlebook) in crosses another stem. Beginning at emerging on the centre line and taking the same manner. the tip of the remaining tendril, work the thread to the back over the outline. stem stitch back to the top of the stem, Embroider the upper half in the same Using J, outline the bud with split stitch working the second row as close as manner using P. Stitch the vein with and fill the upper half with straight possible to the first. On the stem with stem stitch using E. stitch padding worked across the a single tendril on the framed panel, shape. Using the same thread, cover begin the second row above the curve medium leaves the padding and outline with a row of to the tendril. long and short blanket stitch, changing Embroider the upper pairs of leaves to long and short stitch to fill the Using one strand of D and E together (framed panel) in the same manner as remainder of the shape. in the tapestry needle and beginning the large leaves using P for the outline at the top of the stem, whip the stem and lower half, Q for the upper half and Work each of the three raised petals stitch rows together, packing the D for the vein. as needlewoven bars in the following whipping closely without overlapping manner, tightening the weaving thread to ensure a smooth surface. Whip small leaves at the tips to create a point. Using to the tip of one tendril and whip one strand of I and J together in the the second tendril separately. On Work each leaf in the trios of small needle, work the first bar with the base the framed panel, change to D and R leaves (framed panel) with close fly spanning the lower edge of the bud, together in the needle near the base stitch, beginning with a straight stitch with the tip of the bar aligned with the of the stem and continue whipping to at the tip, using P for the centre leaf indent on the bud. When complete, the tips of the tendrils. Embroider the and Q for the leaf at each side. Stitch secure the tip of the needlewoven remaining stems in the same manner. the pair of leaves beneath the small bar at the indent. Work the remaining bud (needlebook) in the same manner bars in a similar manner using I and using P for each leaf. A together in the needle, overlapping 46 • I N S P I R AT I O N S

the previous bars and making each manner. Position the medium body felt spaced a thread width apart. Using S, the length of the outer edge of the piece over the small body piece and fill each space with a straight stitch bud. Secure one bar at the tip of the stab stitch in place as before. Position and continue covering the feather with left-hand lobe and one at the tip of the the large body felt piece over the close blanket stitch to the base. right-hand lobe. head and body, covering the previous padding and secure with stab stitches Using H and beginning with a straight Outline the calyx with split stitch at several anchoring points using K. stitch at the tip, fill the upper third using E. Using the same thread, work Using the same thread, work evenly of the second feather with fly stitch, straight stitch padding across the spaced stab stitches to secure the edge covering the outline between the upper half of the shape. Add a second of the felt, ensuring the design line second feather and the first. Work layer of padding along the full length of remains visible. two or three stitches one thread width the shape, working inside the outline. apart. Using G, fill each space with a Cover the padding with satin stitch, tail feathers fly stitch and continue with close fly working across the shape and over the stitch until two thirds of the way down outline using the same thread. Using G, outl e each tail the feather. Work another two or three feather with split stitch. spaced stitches. Using S, fill each space Hen Using the same thread with a fly stitch and continue to the and beginning at the tip base with close fly stitch. padding of the lower feather, begin a detach Embroider the third feather in the same Tape the prepared templates, one at chain, emerging manner as the second. Stitch the fourth a time, to the felt, ensuring all edges through the feather in a similar manner, shading in of the paper are covered. Cut out on chain just over quarters beginning with K at the tip and the marked line. Using the template the outline. Do working through H, G to S at the base. as a guide, transfer the two lines to not anchor the Work the upper feather in the same the large body piece with the fabric stitch (diag 4). manner as the fourth feather, covering marker. both outlines along the sides. The Changing to close scalloped feathers at the base of the tail Centre the head padding piece within blanket stitch, cover are stitched when the body is complete. the head and stab stitch in place at the upper third of the feather, working the quarter points using K, emerging across the full width, with the base of body through the fabric and taking the each stitch beside the outline of the needle to the back through the felt. next feather and the beaded edge just Using H, work a long straight stitch Stab stitch the small body felt piece over the outline. Work four stitches over each of the marked positions in the centre of the body in the same on the felt and at the edge of the felt beside the tail. Beginning at the tail end of the body, and using the same thread, cover the first 3mm (⅛\") of the body with surface satin stitch, working across the shape. Begin to move the stitches around the curve of the body by working the next stitch two thirds of the way across the body followed by a full-length stitch. Work pairs of stitches in this manner several times then continue to fill the lower two thirds of the body in the same manner. Fill the remaining area with long and short stitch. Using G, cover the body with trellis couching, referring to the photograph for the angle of the laid stitches. Place the stitches 4mm (3/16\") apart and couch each intersection with a small, vertical stitch using S. small tail feathers Embroider each feather in the same manner. Using G, work straight stitch padding across the feather, filling the shape. Cover the padding with a partial blanket stitch pinwheel using the same thread. L I T T L E B R O W N H E N • 47

Chicks close as possible to the stitching along with straight stitch padding worked the scalloped tips of the neck feathers. along the length. Cover with satin Embroider each chick in the same Clip the seam allowance under the chin stitch in the same manner as the manner. (diag 5). lower beak. Using B, outline the head with tiny split Pull up and secure the gathering Embroider the wattle with two, stitches. Using the same thread and thread, turning the seam allowance to 16-wrap bullion loops using O. Stitch beginning along the lower outline, fill the wrong side around the head. Fold the comb with four, curved bullion the body with rows of detached chain, under and finger press the remaining knots, working each end of the knots working each stitch no longer than seam allowances. Position the piece 2mm–3mm (1/16\"–⅛\") apart, using the 2mm (1/16\"), and ensuring the anchoring over the head and neck and hold same thread. stitch faces outwards. Fill the head in place with pins. Using the cream with horizontal straight stitch padding. sewing thread and beginning under the Flowers Beginning at the centre, cover the head chin, ladder stitch the head and neck with long detached chains. Each stitch piece in place, leaving the scalloped Attach the flowers to the framed is worked from the lower edge with edge unstitched. panel only. the anchoring stitch worked over the Using L, attach one T bead at the outline at the top of the head. position for the eye, taking the needle Using the fine, sharp scissors, cut out through all layers. Pull the thread the flowers as close as possible to Using O and referring to the close-up firmly to create a small indent. the stitching. Centre one flower over photograph for placement, work a tiny Using G, outline the upper and lower a marked position and secure at the detached chain for the beak. Stitch the edge of the beak with split stitch and centre with one or two stab stitches eyes with French knots using L. work the dividing line with a straight using A. Attach a U bead at the centre stitch. Beginning at the head end and surround the bead with colonial A S S E M B LY and using the same thread, cover the knots using the same thread. Repeat lower half of the beak with satin stitch for the remaining flowers. Wing worked across the shape and over the outlines. Using G, fill the upper beak Leaves Using the fine, sharp scissors, carefully cut out the wing as close as possible to Attach the leaves to the framed panel the stitching leaving a 6mm (¼\") seam only. allowance at the straight edge. Position the wing over the body and, using the Cut out the leaves in the same manner cream sewing thread, back stitch in as the flowers. Each leaf is attached at place across the neck, working through the base of a large, single leaf on the the seam allowance. main design by sinking the wire tails through the fabric using the chenille Head and neck needle. On the wrong side of the work, secure the wires to the backing fabric Using the cream sewing thread, work a only using the cream sewing thread. line of small gathering stitches around the curve of the head, 3mm (⅛\") from construction the embroidery. Cut out the head and neck, leaving a 6mm (¼\") seam See the pattern download allowance around all edges. Using the to construct the needlebook. fine, sharp scissors, trim the fabric as 48 • I N S P I R AT I O N S