Inktober 2019, Day 29: Injured

The prompt was "Injured."

Materials

• Pigma Micron 005 and 02 pens 
• Faber-Castell M, S, and F black pens
• HB hardness drawing pencil
• White polymer erasers of various shapes and sizes
• Cold-pressed watercolor paper cut to 3.75x5.5" 

Step 1:  Sketch with a pencil

Sketch the general shapes of the body and head,  and the lie of the snow.  Add the scarf, arms, buttons, and facial features.  Add texture and shadows.

Step 2:  Draw with pens

Using the 005, outline everything.  I may have used the 02 to make some of the darker outlines and color in the darker spots.  I used the 005 for the shading.

Step 3:  Carefully erase the pencil marks

Results

I want to add a watercolor wash to add to the drama of the moment -- icy background and some bright colors for the tearful eye, scarf, and nose.

Inktober 2019, Day 30 Catch

The prompt was "Catch."

Materials

• Pigma Micron 005 and 02 pens 
• Faber-Castell M, S, and F black pens
• HB hardness drawing pencil
• White polymer erasers of various shapes and sizes
• Cold-pressed watercolor paper cut to 3.75x5.5" 

Step 1:  Sketch with a pencil

Sketch the general shapes.  Add specificity to the outlines.  Sketch the general patterns, and then add the specific details. 

Step 2:  Draw with pens

Using the 005, outline everything.  Then using the 02, outline the fine upper edge of the wings, the antennae, and the body details.  Using thicker pens, fill in the solid black regions.  Butterflies are never perfectly symmetrical so don't worry about that.

Step 3:  Add the 'catch'

I was originally going to use a butterfly net, but didn't have enough room on the paper, so I sketched a Polaroid picture frame with pencil, and then added the outline and the shading with the 005.

Step 4:  Carefully erase the pencil marks

Results

This was challenging but delightful as it was my first attempt at a butterfly.  Some of the pens don't work well on this paper texture so some of the details are a bit thicker than I'd have liked.  I want to add a splashy bright watercolor wash to mimic the bright details of the live butterfly and possibly the flowery background.

Inktober 2019, Day 11: Snow

The prompt was "Snow."

Materials

• Pigma Micron 005 and 02 pens 
• Faber-Castell M, S, and F black pens
• HB hardness drawing pencil
• White polymer erasers of various shapes and sizes
• Cold-pressed watercolor paper cut to 3.75x5.5" 

Step 1:  Sketch with a pencil

Sketch the general shapes, add detail, and then texture.

Step 2:  Draw with pens

Using the 005, outline everything.  I could have stayed with that, but I chose to use the S to thicken the shadow cast by the snow.

Step 3:  Carefully erase the pencil marks

Results

This was interesting.  I'm not sure I like the resultant feather texture, but this may be my first attempt at it, and that may be hidden by the addition of shadows and color.  I especially like the snow shadows and the snow and branch textures for some reason.  Some of the pens don't work well on this paper texture.  I am going to add more shadows to the bird, but I may do that with the watercolor wash I want to add because cardinals are so bright in contrast to the snow and winter background.

Inktober 2019, Day 6: Husky

The prompt was "Husky."

Materials

• Pigma Micron 005 and 02 pens 
• Faber-Castell M, S, and F black pens
• HB hardness drawing pencil
• White polymer erasers of various shapes and sizes
• Cold-pressed watercolor paper cut to 3.75x5.5" 
• Studio Series Watercolor Brush Pens, 24 colors (with no color names or numbers)
• scratch paper to test and clean brush pens

Step 1:  Sketch with a pencil

Sketch the general shape.  Note how the dogs look a little odd because they're in pairs.  The shadow is slightly angled and also not an exact reflection because you see different parts of some of the paired dogs since it's at a slightly different angle.

Step 2:  Draw with pens

Using the F, outline the sled, track, and dogs, both the silhouette and the shadow.  Don't forget there are some clumps of snow on the high side of the track that also cast a shadow, making it a slightly rough top edge.  Using the M, fill in the solids.  Using the 005, barely sketch the traces.

Step 3:  Carefully erase the pencil marks

Step 4: Add a watercolor wash, if desired

I added a wintry watercolor wash and wanted to make the lower portion reflective ice.  I prepped the lower portion with the water brush, and added light streaks of of a light green-yellow and the lightest blue.  (The blue was *too* cartoonish of a sky blue for wintry ice.)  These didn't blend well on their own so I used the water brush to do so, and then cleaned it on the scratch paper.  I also used the scratch paper to test the colors before using them on this.  I used the water brush to sketch the jagged upper edge of a mountain ridge and wetted the paper below it so the color would blend on its own hopefully.  I used a charcoal brown as there's no grey and I feared the black too dark.  These are not pure pigments however and the various constituent pigments ran at different speeds and in different directions, showing some blues and pinks, so I used the water brush to blend and smudge the line and now it looks like a cloud bank topping a distant ridge line. 

Results

This was interesting.  Some of the pens don't work well on this paper texture.  I'm not sure I like shapes of some of the dogs, and I had to space them out a bit more than initially planned because it was difficult to get the fine resolution with the texture of the paper.  Also they're running in pairs and I'm not sure I was able to distinguish that well.  I had hoped to add more sky/ground colors with the wash, but not with these pens.  For the other ones, I think I'll return to my usual watercolor pans and use these pens for sketches maybe.

Inktober 2019, Day 4: Freeze

The prompt was "Freeze."

Materials

• Pigma Micron 005 and 02 pens 
• Faber-Castell M, S, and F black pens
• HB hardness drawing pencil
• White polymer erasers of various shapes and sizes
• Cold-pressed watercolor paper cut to 3.75x5.5" 

Step 1:  Sketch with a pencil

Sketch the general shape and texture the hair.

Step 2:  Draw with pens

Using the 005, outline everything.  I could have stayed with that, but I chose to use the S to thicken the lines to hide how I'd accidentally made one arm too broad. 

Step 3:  Carefully erase the pencil marks

Results

I don't do a lot with people, and less with people in motion, so I enjoyed being able to capture that.  Some of the pens don't work well on this paper texture.  I think I would have preferred to stick with the 005 but the pen hit a bump and skidded, so I had to save it with the S.  I want to add a splashy bright watercolor wash to add to the 'movement' of the image.

Inktober 2019, Day 8: Frail

The prompt was "Frail."

Materials

• Pigma Micron 005 and 02 pens 
• Faber-Castell M, S, and F black pens
• HB hardness drawing pencil
• White polymer erasers of various shapes and sizes
• Cold-pressed watercolor paper cut to 3.75x5.5" 

Step 1:  Sketch with a pencil

Sketch the general shape.  I outlined the puffball shape as an ellipse and the general shape of the wafting dandelion pappi before I drew in the specific ones.

Step 2:  Draw with pens

Using the 005, outline the general shape of the stem and leaf, the heads of the pappi, and the hatching of the dandelion head, then use the F to add the seeds to the pappi, the 02 and the M to outline and hatch the stem and leaf.

Step 3:  Carefully erase the pencil marks

Results

This was amusing; I enjoyed the lightness and heaviness of different details.  I want to add a watercolor wash for the background.

Inktober 2019, Day 9: Swing

The prompt was "Swing."

Materials

• Pigma Graphic 1 and 2 markers
• Pigma Micron 005 and 02 pens 
• Faber-Castell M, S, and F black pens
• HB hardness drawing pencil
• White polymer erasers of various shapes and sizes
• Cold-pressed watercolor paper cut to 3.75x5.5" 

Step 1:  Sketch with a pencil

Sketch the general shape.

Step 2:  Draw with pens

Using the 005, outline the flowers first so you don't forget, then use the 02 to draw the fine branches, and larger tips for successive outlines.  Fill in with the marker.

Step 3:  Carefully erase the pencil marks

Results

Catching the movement and the breeze was fun.  Some of the pens don't work well on this paper texture.  I'm not sure I like the hair.  I want to add a watercolor wash to amplify the frivolity and light of the carefree season.

Art Yarn Pigeon Eye Stitch Pidge Scarf

Inspiration

I want to make some Christmas gifts and practice knitting on small projects.

Materials

• partial skein of yarn, Pagewood Farms similar to U-Knitted Nations Lana de Nube, est. 83 yds.
• US size 19 (15.0 mm) plastic needles, 14"
• a variation on print-to-PDF version of the free pattern
• a single large signature button
• a sewing needle and thread to match the button

Step 1:  Match found yarns to vintage buttons

I have a stash of yarns I found in the art supply exchange and some were gifts.

I have a selection of vintage buttons from mom's and aunts' stashes; some were my great-grandmother's too.

I tried to pair a selection of both so I can make 7-8 different ones.

Step 2:  Match yarns to patterns

I found a variety of free pidge scarf patterns on Ravelry.com and matched the yarns and needles I have to appropriate patterns.  I chose to start with a Triangle Pidge Scarf (called a Wasabi Cowl for the color, maybe) as it uses a fairly simple set of stitches.  I used keyrings without fobs for stitch markers and this worked fairly well.

Step 3:  Follow the pattern instructions

I relied on a number of YouTube videos to do M1R (Make 1 Right) increase and M1L (Make 1 Left) increase.  I used keyrings without fobs for stitch markers and this worked fairly well.

Step 4:  Evaluate the progress

I chose that pattern because the pictured yarn seemed most similar to mine, and I had that size needles.  I decided this art yarn was too variable in width for this stitch, so I frogged the project.

Step 5:  Start a new project

I searched Ravelry for scarves with similar yarn and I even tried googling "best knit stitches for handspun art yarn" to no avail.  I had been working on a Half-Linen Stitch Pidge Scarf and was liking the results, so I decided to try the stitch with this yarn.  I cast on 13 stitches as that seemed like a good width for a warm winter cowl, and knit two rows of Garter Stitch as I'd thought the four rows in the pattern were too broad.  I only did one knit edge stitch on each end of each row, and later discovered that with the odd number of stitches, this is actually called a Pigeon Eye Stitch, if I'm understanding it correctly.

Step 6:  Evaluate the length

I've been testing the length as I go along by wrapping it around my own neck and trying to envision it with the buttons in use, hoping that the recipient has a similar neck size.

Step 7:  Add buttonholes, if necessary

This particular yarn and stitch have large enough holes I don't need to specifically include a buttonhole for the button I chose -- I don't want it to be too loose when fastened!

Step 8:  Cast off

I used the __________ cast off (include link).

Step 9:  Add buttons

I played with the fit and the lie of the scarf around my own neck to determine where I thought the button would look and work best, and then sewed it on using doubled matching embroidery floss and an embroidery needle.

Step 10:  Block

I used the __________ blocking method (include link).  I had some cardboard and some extra contact paper I put on it so hopefully the scarf would dry faster rather than making the cardboard wet.

Results

I like the look, but I'm waiting for it to finish drying before I can confirm.

WORK IN PROGRESS

Knitting Tips

Inspiration

I found a break in my yarn about two feet down the line after I'd successfully done my first eight rows.  Not wanting to frog it, I turned to internet videos for help!

Warning, these are mostly done by right-handed knitters.  I'm pretty good at flipping images in my head, but I may eventually seek specifically left-handed demonstrations.

Splicing Yarn

Whether you're working stripes, need to use more than one skein of yarn, or found a break in your upcycled yarn ball, there are at least three ways to switch yarns.  Some work better for stripes or for natural animal fibers.

Since I don't know the fiber content of my found yarn, and I don't want a hole in the project, I chose the option for changing colors. 

Weaving in Ends

Now that I've connected the new yarn strand, I need to learn how to weave in the ends.  Weaving in ends as you go, makes the stitches look double thick.  There's another method that shows on the back that I don't know if I want to use in a scarf.  I'll check this one next.

Unraveling Knitting the Right Way

So far when I've unraveled anything, I've frogged it all the way.  I won't want to do that when I'm further along in a project, so I know I'll need to be able to unravel correctly.  This video has three methods.

Continental Style vs. English Style Knitting

I happened to see this video title.  It seems Continental Style is faster and more efficient.  The only difference I now see, is that the yarn is held in your non-dominant hand, allowing the two hands to work in concert.  After watching this I now realize why I have difficulty working the yarn with my dominant hand and I keep switching hands.  I also notice I have instinctually used my fingers to stretch loops open and stop stitches from sliding.

Left Diagonal Slip Stitch

For a future project.

 

WORK IN PROGRESS

Half-Linen Stitch Pidge Scarf

Inspiration

I want to make some Christmas gifts and practice knitting on small projects.

Materials

• a found partial skein of yarn -- #4 orange/pink/purple multi, probably acrylic, est. 153 yds.
• US size 8 (5.0 mm) metal needles, 14"
• a print-to-PDF version of the free pattern 
• two round dark purple sphere buttons, ~3/8" dia.
• a sewing needle and thread to match the buttons 

Step 1:  Match found yarns to vintage buttons

I have a stash of yarns I found in the art supply exchange and some were gifts.

I have a selection of vintage buttons from mom's and aunts' stashes; some were my great-grandmother's too.

I tried to pair a selection of both so I can make 7-8 different ones.

Step 2:  Match yarns to patterns

I found a variety of free pidge scarf patterns on Ravelry.com and matched the yarns and needles I have to appropriate patterns.  I chose to start with this as it uses a fairly simple set of stitches.

Step 3:  Follow the pattern instructions

I relied on a number of YouTube videos to do a Left-Handed Knitted Cast-On, knit vs. purl, and a left-handed slipstitch purlwise.

Step 4:  Progress and Notes

The metal needles are too slippery, and I may be having tension issues.  I wouldn't have four rows of Garter Stitch next time, because I think this edge is too big.  I've had to unknit several times as well as join the yarn because there was a break, so I've gathered those video in my post on Knitting Tips.  I've also realized I was switching between English and Continental Styles because I was taught both by different people who didn't explain the difference.  I've included that link in Knitting Tips too.

Step 5:  Evaluate the length

I've been testing the length as I go along by wrapping it around my own neck and trying to envision it with the buttons in use, knowing that the recipient probably has a smaller neck size.

Step 6:  Add buttonholes, if necessary

The pattern called for three buttons and three buttonholes; I have two vintage ones I want to use, so I only added the first two.  It's a bit tight but I didn't add a second yarnover because I didn't want it to be too loose when fastened!

Step 7:  Cast off

I used the __________ cast off (include link).

Step 8:  Add buttons

The pattern indicated a good placement for the buttons, and I laid the scarf out to make sure the buttons would line up with the holes, then sewed them on using doubled matching embroidery floss and an embroidery needle.

Step 9:  Block

I used the __________ blocking method (include link).  I had some cardboard and some extra contact paper I put on it so hopefully the scarf would dry faster rather than making the cardboard wet.

Results

I love this one!  I might be tempted to keep it if I thought I could wear these unknown fibers.

WORK IN PROGRESS

Yarn Identification

Inspiration

 

I have a file box of assorted supplies I've gathered or been given over the years.  I want to make pidge scarves for Christmas gifts, but to use the free Ravelry patterns, I needed to know the yarn weight and yardage in order to use what I have in place of their suggested yarns.

Materials

• Digital kitchen scale
• #2 pencil
• Yardstick or vinyl tape measure
• Ruler
• Small note papers
• Stick pins
• Pen
• Calculator or pen & paper

Step 1:  Weigh the yarn

Using your kitchen scale, tare at 0g, and weigh the whole skein.  If you have multiple balls and skeins of the same kind and color, use a lightweight bowl to hold them all and tare it at 0g.  Record this on a note paper.

Step 2:  Measure several yards of yarn and weigh this

My kitchen scale won't register less than 2g, so I measured enough yards of yarn to register at least 3g.  You don't have to cut this off; merely rest the measured length on the scale, and let the rest hang off the edge to the nearby skein.  Divide the weight of the skein by the 3g and multiply by the number of yards you measured to obtain the approximate total yardage of the skein.  Record these numbers on the paper.

Step 3:  Determine the WPI of the yarn

WPI is "wraps per inch."  Wrap the yarn around a #2 pencil for at least 1" and count the number of wraps per inch.  I did 2" and divided by 2 to ensure a better measure.  Record on the note paper.

Step 4: Determine the weight of the yarn

This is the yarn 'thickness'.  Using the WPI chart linked in Step 3, determine the number and name of the yarn weight.  Make a note of this.  Include the Gauge as well, if you like.

Step 5: Attach the paper to the yarn

I used a stick pin and made sure the point was buried in the yarn.

Result

Two hours later, I'm prepared to choose patterns!

Batman Embroidery Piecework Pillow

Inspiration: My own mind!

Materials 

• A huge box of embroidery floss in a variety of colors (that belonged to a favorite aunt)
• Small, pointed, sharp thread scissors
• Fabric scissors to cut fabric, optional
• Embroidery needles
• Needle threaders, optional
• Hoops of various sizes, 8" for this project (a gift for which I'm grateful)
• Squares of various solid color cotton fabrics I got for free, cut to 10" x 10" or 12" x 12"
• A long, thin loop turner, optional (not pictured here)
• A container for the project and supplies (not pictured)
• Pencil, pen, chalk, or colored pencil to transfer the pattern (not pictured)
• A pattern (shown below)
• Paper cutter or paper scissors--do not use fabric scissors on paper or they will get dull faster

 

Step 1:  Gather supplies. 

Pattern
I used clip-art to make a suggestion of a pattern I can adapt as I embroider.

Embroidery Floss
I used only black floss, as the fabric is reminiscent of a night-sky.

Hoop
Choose your hoop size so you know how large to cut your fabric square.  I had ~10" fabric squares and chose a 9" hoop because that gives me an 8" square for the piecework..  I put a rubber band on the inner hoop to help with traction and that kept better tension on  the fabric.

Needle
The needle needs to be large enough to make threading it easy enough, but I think mine's too large and makes holes in the fabric that allow the knots to pass through, unless I double knot the end of the floss.  I didn't knot my work in the back; this time, I anchored the thread by running it through the back of some previous work, sometimes a second time in the opposite direction, if I didn't have at least 1" of thread anchored.

Fabric Scissors, Thread Scissors, and Paper Scissors or Paper Cutter
You may need fabric scissors to cut the fabric.  It's easier to have dedicated scissors, but if you're not worried about your edges being rough, it may not matter.  Don't use fabric scissors on paper if you do have a separate pair, or they dull faster.

The thread scissors need to be sharp enough to easily snip the thread and small and pointed enough to snip a stitch if you have to remove some of your work.

You will also need paper scissors or a paper cutter to trim your pattern.

Loop Turner, optional
I used this to re-knot some trimmed work where the knots spontaneously came undone.  It can also help with anchoring the final ends of your work.

Fabric
I've since learned there's cloth that's specifically woven to make such projects easier, called Aida weave.  This fabric is a plain calico and worked well.

I washed, ironed, and cut several squares of various dark sky colors, and ultimately chose a gold-glittered purple and black cloudy fabric. 

Container
I have a small box that fits everything including my current project.  This makes it easy to tidy up without putting everything away.

Writing Utensil
The pattern transfer link (below) discusses several options and how to choose them.  I used a white charcoal pencil; I need a softer, off-white color to show on dark fabrics, but so it won't be such a stark contrast if it isn't all hidden by the thread.   It was difficult to transfer the fine detail -- next time I need to tape the pattern and fabric to the window so I can pause to sharpen the pencil more often.

Step 2:  Transfer the pattern and prepare the hoop and fabric.

There are several methods for transferring a pattern.  I held my paper and fabric to a window on a sunny day and used a white charcoal pencil as discussed under Writing Utensil. 

Step 3:  Choose thread colors.

I chose only black for the bats, to contrast with the off-black fabric.  I plan to leave the central large bat shape empty to represent the cave from which they are escaping.

Step 4:  Begin stitching. 

I'm using a variety of stitches, mostly Back Stitch and Running Stitch, and making up the technique as I go.

Step 5:  Keep the back tidy and anchor threads. 

The reverse shows how I anchored my threads in existing work.  I attempted to keep the threads on the back hidden from the front, so when I lay this over batting, they won't show through the background fabric.

Step 6:  Finish stitching. 

 

 

  

Step 7:  Design the piecework pattern. 

My mom has leftover scraps, pre-cut squares and triangles, that she won't use, so I can select from those for free. 

I used a giant sheet of graph paper, from a pad I also picked up for free, and drew grid lines every 2" -- the approximate width of a sewn square.  Using her rotary cutter, mat, and ruler, I used another sheet to cut 2" squares and cut half of those into "half-squares", so called to differentiate these triangles by those called "quarter-squares."  I laid those out until I had a design approximating a swarm of bats.

This is a pillow that will be 16"x16", or four 4x4 blocks each measuring 8"x8".

I used another sheet of graph paper, and transferred the scaled design to that -- I can two four pairs of blocks from that and rotate them about the design; the center space will have the embroidery piece appliqued.

Step 8:  Determine the pieces needed.

I transferred the design to a grid-dotted notebook (not to scale) for easier reference, and made notes about what number of each shape of piece I will need in what hues and tones.

I sorted through her thousands of scraps and hundreds of fabrics first by color, then separated each hue (here, dark blues, greys, blacks, and purples) roughly by shade and tone.  I tried to select unique fabrics for each piece, but in some cases used a striped piece cut vertically and the same one cut on the diagonal; in other cases used the reverse of a fabric if it looked enough like a true print.

There are 88 total pieces in this pattern, and at least 80 unique fabrics for this face.  This is not including the backing that I will quilt the face to, or the background for the embroidery, which I will applique in the center of the piecework, or the back of the pillow itself, which will be one large piece.

 

Step 9:  Incorporate into piecework. 

Details

Step 10:  Quilt pillow front. 

Details

Step 11:  Finish pillow. 

Details

 

WORK IN PROGRESS

Garden Wall Embroidery Sampler Piecework Pillow

Inspiration: Beginner's Embroidery Kit Heart Sampler

I'd come across this Floral Heart Embroidery Sampler when searching for the previous Heart Embroidery Sampler and liked design as well as the opportunity to practice even more stitches.

Materials 

• A huge box of embroidery floss in a variety of colors (that belonged to a favorite aunt)
• Small, pointed, sharp thread scissors
• Fabric scissors to cut fabric, optional
• Embroidery needles
• Needle threaders, optional
• Hoops of various sizes, 8" for this project (a gift for which I'm grateful)
• Squares of various solid color cotton fabrics I got for free, cut to 10" x 10" or 12" x 12"
• A long, thin loop turner, optional (not pictured here)
• A container for the project and supplies (not pictured)
• Pencil, pen, chalk, or colored pencil to transfer the pattern (not pictured)
• A pattern (included below)
• Paper cutter or paper scissors--do not use fabric scissors on paper or they will get dull faster

 

Step 1:  Gather supplies. 

Pattern
A sampler pattern gives you the opportunity to learn several new stitches and attempt to make an appealing design with them.   I followed the directions in the Inspiration link for preparation. 

Embroidery Floss
I used a pleasing combination of blue, green, pink, orange, and yellow floss colors with multiple hues that coordinated with the pale cream fabric I had.

Hoop
Choose your hoop size so you know how large to cut your fabric square.  I had ~9" fabric squares and chose a 5" hoop because that was the size of the pattern.  I put a rubber band on the inner hoop to help with traction and that kept better tension on  the fabric.  I will trim these squares next time, as the corners flop over and get in the way.

Needle
The needle needs to be large enough to make threading it easy enough, but I think mine's too large and makes holes in the fabric that allow the knots to pass through, unless I double knot the end of the floss.  I didn't knot my work in the back; this time, I anchored the thread by running it through the back of some previous work, sometimes a second time in the opposite direction, if I didn't have at least 1" of thread anchored.

Fabric Scissors, Thread Scissors, and Paper Scissors or Paper Cutter
You may need fabric scissors to cut the fabric.  It's easier to have dedicated scissors, but if you're not worried about your edges being rough, it may not matter.  Don't use fabric scissors on paper if you do have a separate pair, or they dull faster.

The thread scissors need to be sharp enough to easily snip the thread and small and pointed enough to snip a stitch if you have to remove some of your work.

You will also need paper scissors or a paper cutter to trim your pattern.

Loop Turner, optional
I used this to re-knot some trimmed work where the knots spontaneously came undone.  It can also help with anchoring the final ends of your work.

Fabric
I've since learned there's cloth that's specifically woven to make such projects easier, called Aida weave.  This fabric is a plain calico and worked well enough, but I need a smaller bore needle.

I washed, ironed, and cut several squares of various pastels, and ultimately chose a pale cream and a palette of orange, green, pink, yellow, and blue threads. 

Container
I have a small box that fits everything including my current project.  This makes it easy to tidy up without putting everything away.

Writing Utensil
The pattern transfer link (below) discusses several options and how to choose them.  I used an H graphite pencil, which in retrospect was a bad choice for this pale fabric.  I'm not sure what I should have used -- a light colored pencil or perhaps chalk; I have many options of both.

Step 2:  Make and transfer the pattern, prepare the hoop and fabric, and choose thread colors.

I found a design I liked online, but realized after I'd selected it that it didn't have a pattern available.  I imported the original image into a word processing software and changed it to grey-scale, then adjusted the contrast and saturation until I thought it would work as a pattern.  I also scaled the image to 5".  I printed out a large color version of the image in the hopes of being able to identify the stitches used.

There are several methods for transferring a pattern.  I taped my paper and fabric to my window on a sunny day and used an H graphite pencil as discussed under Writing Utensil.  This still shows up on this pale fabric and I've had to adjust some of my stitches to cover it.

The theme of this is oranges and pinks, but I also needed yellows for flower centers, greens for the greenery, and blue for contrast.  I will not be adding the metal piece.

Step 3:  Choose stitches to use.

I was given a reference book for embroidery, and I'm going through it, choosing stitches I think are appropriate for the vines, stems, leaves, flowers, and other embellishments.  This is much simpler than attempting to identify a variety of appropriate stitches online, then searching each one for instructions individually.

I am diagramming and labeling this in my notebook, and will include that image when finished.

Step 4:  Begin stitching. 

After a false start with a Star Stitch flower terminated in French Knots, I tried a Basket Stitch stem and decided I should do the flowers first.

After a Long-Short Stitch or Needlework Painting flower, I realized I should have tried that method on a larger flower where I could make larger stitches—I was worried a larger flower would take too long with this method. I should have done the central French Knot last and done the painting from the front.

I then used the Petal Stitch for a vine with intentional irregularity, because (A) nature isn't 'regular' and (B) I needed to hide some graphite. 

I used three French Knots surrounded by Bullion Stitch flower.  I used a different needle as advised, but I need a different one still.  If the width of the eye is wider than the width of the rest of the needle, it makes French Knots and Bullion Knots difficult.

I've decided to do one flower or embellishment and one stem or vine each time.

A Coral Stitch vine and the beginnings of a Wheatear Stitch vine; then I decided to do the flowers first. Now I have excess green thread I tacked up with a spare needle to keep it out of my way. I started a fancy flower (I don’t remember the stitch name), but I’m not sure I want to keep it and I’m not sure I can easily remove it, so I tacked up the orange too. A pink modified Star Stitch flower on the left, a pink Woven Wheel flower, and a red Granitas Stitch flower.

A cluster of pale pink Tulip Stitches.  Light green Feather Stitch with pale yellow intentionally irregular Link (or Detached Chain) Stitches for buds to hide the graphite.

Step 5:  Plan the stitches. 

I had a rough list I made in Step 3, but that was from before I had this book.  I made this list for which stitches would be most appropriate for the various design elements, and made a schematic of my pattern in my notebook with numbered vertical lines/vines and lettered flowers and other elements.

This way I can spread out the wider or more intricate stitches across the design.

Step 6:  Continue stitching. 

Orange Seeding Stitch with a green Cable Stitch vine.  Pale pink and darker pink Ribbed Web flower, surrounded by red French Knots in the gaps, then a red and pink Laced Running Stitch, and finally a pale pink and medium pink Whipped Running Stitch.



Woven Wheel Rose in pinks and reds.  Woven Spider Web flower with Scalloped edging in oranges and yellows (variegated thread).

Feathered Chain Stitch vine in dark green.  Two Pistil Stitch flowers in yellow-orange.  I picked out the red French Knots from the Ribbed Web flower and replaced them with a medium pink.  I used the same pink to Whip the red Back Stitch that circumscribes the flower. 


New, from left to right:  Scroll Stitch vine in medium green.  Stem Stitch stem plus Link Stitch Leaves in dark olive green.  Satin Stitch cluster flower in variegated orange.  Three Lazy Daisy flowers in similar orange-yellows.  Medium pink Berry Stitch flower cluster.  Broad Chain Stitch stem and Link Stitch Leaves in the same Dark Olive green.  I removed the ugly unfinished flower.  I'll have to look it up again and re-do it with colors that don't contrast as much, or a variegated thread.

Step 7:  Keep the back tidy and anchor threads. 

Details

Step 8:  Finish stitching. 

Details

Step 9:  Design the piecework pattern. 

My mom has leftover scraps, pre-cut squares and triangles, that she won't use, so I can select from those for free. 

I used a giant sheet of graph paper, from a pad I also picked up for free, and drew grid lines every 2" -- the approximate width of a sewn square.  Using her rotary cutter, mat, and ruler, I used another sheet to cut 2" squares and cut half of those into "half-squares", so called to differentiate these triangles by those called "quarter-squares."  I laid those out until I had a design approximating a flower.

This is a pillow that will be 18"x18", or 9x9 squares and 3x3 blocks.

I used another sheet of graph paper, and transferred one-fourth of the design to that -- I can make four pairs of blocks from that and rotate them about the design; the center block will have the embroidery piece appliqued. 

Step 10:  Determine the pieces needed. 

I transferred the design to a grid-dotted notebook (not to scale) for easier reference, and made notes about what number of each shape of piece I will need in what hues and tones.

I sorted through her thousands of scraps and hundreds of fabrics first by color, then separated each hue (here, orange and pink) roughly by shade and tone.  I tried to select unique fabrics for each piece, but in some cases used a striped piece cut vertically and the same one cut on the diagonal; in other cases used the reverse of a fabric if it looked enough like a true print.

This is the same design as used for the  Floral Heart Embroidery Sampler, but with a different color scheme, as noted at the bottom of the page on the left.

There are 121 total pieces in this pattern, and at least 115 unique fabrics for this face.  This is not including the backing that I will quilt the face to, or the background for the embroidery, which I will applique in the center of the piecework, or the back of the pillow itself, which will be one large piece.

 

Step 11:  Incorporate into piecework. 

Details

Step 12:  Quilt pillow front. 

Details

Step 13:  Finish pillow. 

Details

 

WORK IN PROGRESS

Floral Heart Embroidery Sampler Piecework Pillow

Inspiration: Beginner's Embroidery Kit Heart Sampler

I'd come across this Floral Heart Embroidery Sampler when searching for the previous Heart Embroidery Sampler and liked design as well as the opportunity to practice even more stitches.

Materials 

• A huge box of embroidery floss in a variety of colors (that belonged to a favorite aunt)
• Small, pointed, sharp thread scissors
• Fabric scissors to cut fabric, optional
• Embroidery needles
• Needle threaders, optional
• Hoops of various sizes, 8" for this project (a gift for which I'm grateful)
• Squares of various solid color cotton fabrics I got for free, cut to 10" x 10" or 12" x 12"
• A long, thin loop turner, optional (not pictured here)
• A container for the project and supplies (not pictured)
• Pencil, pen, chalk, or colored pencil to transfer the pattern (not pictured)
• A pattern (linked below)
• Paper cutter or paper scissors--do not use fabric scissors on paper or they will get dull faster

 

Step 1:  Gather supplies. 

Pattern
A sampler pattern gives you the opportunity to learn several new stitches and attempt to make an appealing design with them.   I followed the directions in the Inspiration link for preparation. 

Embroidery Floss
I used a pleasing combination of four different floss colors with multiple hues that coordinated with the pastel lavender fabric I had.  I ended up with about ten different colors total.

Hoop
Choose your hoop size so you know how large to cut your fabric square.  I had ~9" fabric squares and chose a 5" hoop because that was the size of the pattern.  I put a rubber band on the inner hoop to help with traction and that kept better tension on  the fabric.


Needle
The needle needs to be large enough to make threading it easy enough, but I think mine's too large and makes holes in the fabric that allow the knots to pass through, unless I double knot the end of the floss.  I didn't knot my work in the back; this time, I anchored the thread by running it through the back of some previous work, sometimes a second time in the opposite direction, if I didn't have at least 1" of thread anchored.

Fabric Scissors, Thread Scissors, and Paper Scissors or Paper Cutter
You may need fabric scissors to cut the fabric.  It's easier to have dedicated scissors, but if you're not worried about your edges being rough, it may not matter.  Don't use fabric scissors on paper if you do have a separate pair, or they dull faster.

The thread scissors need to be sharp enough to easily snip the thread and small and pointed enough to snip a stitch if you have to remove some of your work.

You will also need paper scissors or a paper cutter to trim your pattern.

Loop Turner, optional
I used this to re-knot some trimmed work where the knots spontaneously came undone.  It can also help with anchoring the final ends of your work.

Fabric
I've since learned there's cloth that's specifically woven to make such projects easier, called Aida weave.  This fabric is a plain calico and worked well enough, but I need a smaller bore needle.

I washed, ironed, and cut several squares of various pastels, and ultimately chose a pale lavender and a palette of purple, green, red, pink, and blue threads. 

Container
I have a small box that fits everything including my current project.  This makes it easy to tidy up without putting everything away.

Writing Utensil
The pattern transfer link (below) discusses several options and how to choose them.  I used a 7H graphite pencil, which in retrospect was a bad choice for a pastel lavender fabric.  I should have used a light colored pencil or perhaps chalk; I have many options of both.  The other issue with the fabric was that it stretched as I sketched on it.  A softer lead may have distorted the pattern less.

Step 2:  Transfer the pattern and prepare the hoop and fabric.

There are several methods for transferring a pattern.  I taped my paper and fabric to my window on a sunny day and used a 6B graphite pencil as discussed under Writing Utensil.  I should have chosen differently; this graphite doesn't brush off easily, nor do I plan to wash the finished piece.

The pattern is emailed free via the Inspiration link.  It comes with color/thread directions shown, as well an older layout and color/thread suggestion (not shown).

My final version of the pattern is on the left.

Step 3:  Choose thread colors.

I didn't have the colors listed, so I chose a combination that I thought was close enough and most pleasing of my options.

The original used 8 colors.  Mine has 10 with the addition of black and because I used two reds as well as the pink for the rose.  I used a variegated purple for the heart fill and the Wide Detached Chain Petals, so it looks like more colors.

Step 4:  Begin stitching. 

The Inspiration link includes a downloadable step-wise stitch guide, but I needed to google some stitches for better instructions.

I used a Layered Back Stitch to fill the heart with a solid dark and variegated purples.  The Padded Satin Stitch mini heart I based on a Chain Stitch that's too lumpy for this size.  For the Woven Wheel Rose I used three colors, and figured out how on my own.  The three types of exterior petals are a Long Single Stitch in the pink, a Detached Chain in the darker red, and a Wide Detached Chain in the lighter section of the variegated purple.

 

Step 5:  Keep the back tidy and anchor threads. 

The reverse shows how I anchored my threads in existing work.  I attempted to keep the threads on the back hidden from the front, so when I lay this over batting, they won't show through the light background fabric.

Step 6:  Continue stitching. 

I Fern Stitched the dark green leaf, but had to add additional thread partway through and lost my rhythm so it's a bit off towards the base.  The light green leaf is a Couched Satin Stitch.

I freehanded the butterfly to hide the lopsidedness of the mini heart and where the graphite that showed, using single strand black Back Stitch and Satin Stitch with a smaller needle, and filled it with electric blue in a Satin Stitch with three threads.

Step 7:  Finish stitching. 

I added more French Knots to hide graphite and some 3-strand knots in between to make it look better and tack down some larger knots. 3-strand might have been better to start, but one also pulled through the fabric. The Whipped Stem Stitch is the only one I had true difficulty with twisted floss. I should have used fewer strands for the Fern Stitched leaflets, and I like the look of outside-middle-outside better than any other order where the middle is stitched last.



Here's a close-up of the back of the Stem Stitch (before Whipping, but with anchors).  The front and back of the Stem Stitch should look the same; I might try to replicate this intricate woven look for some future project.

 

 

 

    

 

  

Step 8:  Design the piecework pattern. 

My mom has leftover scraps, pre-cut squares and triangles, that she won't use, so I can select from those for free. 

I used a giant sheet of graph paper, from a pad I also picked up for free, and drew grid lines every 2" -- the approximate width of a sewn square.  Using her rotary cutter, mat, and ruler, I used another sheet to cut 2" squares and cut half of those into "half-squares", so called to differentiate these triangles by those called "quarter-squares."  I laid those out until I had a design approximating a flower.

This is a pillow that will be 18"x18", or 9x9 squares and 3x3 blocks.

I used another sheet of graph paper, and transferred one-fourth of the design to that -- I can make four pairs of blocks from that and rotate them about the design; the center block will have the embroidery piece appliqued.

Step 9:  Determine the pieces needed. 

I transferred the design to a grid-dotted notebook (not to scale) for easier reference, and made notes about what number of each shape of piece I will need in what hues and tones.

I sorted through her thousands of scraps and hundreds of fabrics first by color, then separated each hue (here, green and purple) roughly by shade and tone.  I tried to select unique fabrics for each piece, but in some cases used a striped piece cut vertically and the same one cut on the diagonal; in other cases used the reverse of a fabric if it looked enough like a true print.

(This page also has notes at the bottom about a second project using this pattern.)

There are 121 total pieces in this pattern, and at least 115 unique fabrics for this face.  This is not including the backing that I will quilt the face to, or the background for the embroidery, which I will applique in the center of the piecework, or the back of the pillow itself, which will be one large piece.

 

Step 10:  Incorporate into piecework. 

Details

Step 11:  Quilt pillow front. 

Details

Step 12:  Finish pillow. 

Details

 

WORK IN PROGRESS

Themed Bouqets

Inspiration

I needed a bouquet and I didn't have time or the wherewithal to go buy one, so I looked at what I had, and made one.  It's become tradition now.

Materials, Processes, and Results

The  first was dog biscuit-shaped cookies on bamboo skewers, tied in paper with a ribbon to look like a bouquet.  I had the extra cookies because they hadn't been quite right for another project.  Unfortunately I don't have a picture of the bouquet or the Italian cookies I used, only a picture of some cracker-type cookies I used for the other project.

For the second, I cut a slit in some free candy papers and passed one twisted end of a wrapped cough drop through it.  I wired one to the top of a bamboo skewer.  I used some single serving packets of cold medications from the health clinic to create bunched "leaves" I wired to more skewers.  I trimmed the skewers to various lengths and used rubber bands to keep them loosely grouped.  I layered paper facial tissue inside a green satin "handkerchief" scarf I had, wrapped it up, and tied it with raffia I also had on hand.
 




  

I had packs of origami paper I'd barely touched and looked up various free origami clothing patterns online.  From left to right: a man's black trenchcoat, a yellow short-sleeved, white-collared dress shirt with black slacks taped below, a woman's French blue coat with a pale blue scarf, and a sky blue calico party dress with a royal blue handbag.  I used black-coated copper jewelry wire and jewelry pliers and nippers to create the miniature wire hangers.  I also wired three bamboo skewers together to create the "clothes rod".  I wrapped this in stiff grey tissue paper used to package clothes in gift boxes and tied it with two large iridescent glittery pipe cleaners.  All materials I'd had on hand.

DIY Heart Embroidery Sampler Piecework Pillow

Inspiration: DIY Heart Embroidery Sampler (For Beginners)

I had most of the supplies and I wanted to learn embroidery so I can repair some clothes.  This seemed like a simple enough start, and along the way, I decided it will be the centerpiece of a quilted piecework pillow I will give as a gift.  Then I will paint or draw the same design for a subsequent gift to the same person.  Now I have seven such paired gifts in mind. 

Materials 

• A huge box of embroidery floss in a variety of colors (that belonged to a favorite aunt)
• Small, pointed, sharp thread scissors
• Fabric scissors to cut fabric, optional
• Embroidery needles
• Needle threaders, optional
• Hoops of various sizes, 8" for this project (a gift for which I'm grateful)
• Squares of various solid color cotton fabrics I got for free, cut to 10" x 10" or 12" x 12"
• A long, thin loop turner, optional (not pictured here)
• A container for the project and supplies (not pictured)
• Pencil, pen, chalk, or colored pencil to transfer the pattern (not pictured)
• A pattern (linked below)
• Paper cutter or paper scissors--do not use fabric scissors on paper or they will get dull faster

 

Step 1:  Gather supplies. 

Pattern
A sampler pattern gives you the opportunity to learn several new stitches and attempt to make straight lines with them.   This heart pattern doesn't require any curves and starts off with seven of the simplest stitches.  It also uses seven different thread colors.  I printed mine out and trimmed 1.25" off the top and bottom of the paper with a paper cutter according to the directions in the Inspiration link.  Your pattern size will determine the hoop and fabric size, but you may have some leeway, so you may choose to slightly shrink or enlarge your pattern as you desire.

Embroidery Floss
Choose a pleasing combination of seven different floss colors that will contrast or coordinate with the fabric color you choose.  I think I ended up with ten different colors because some in the box were quite similar.

Hoop
Choose your hoop size so you know how large to cut your fabric square.  I'm not impressed with the tensioning ability of these hoops (I either can't tighten the screw enough by hand, or this fabric is too slippery).  Next time I'll try using a rubber band to help with friction between the hoops, and I'll have to cut the fabric a bit bigger for that.

Needle
The needle needs to be large enough to make threading it easy enough, but I think mine's too large and makes holes in the fabric that allow the knots to pass through, unless I double knot the end of the floss.

Fabric Scissors, Thread Scissors, and Paper Scissors or Paper Cutter
You may need fabric scissors to cut the fabric.  It's easier to have dedicated scissors, but if you're not worried about your edges being rough, it may not matter.  Don't use fabric scissors on paper if you do have a separate pair, or they dull faster.

The thread scissors need to be sharp enough to easily snip the thread and small and pointed enough to snip a stitch if you have to remove some of your work.

You will also need paper scissors or a paper cutter to trim your pattern.

Loop Turner, optional
I used this to re-knot some trimmed work where the knots spontaneously came undone.

Fabric
I've since learned there's cloth that's specifically woven to make such projects easier, called Aida weave.  The fabric I chose is a stiff yet flexible looser weave than most calico, and not well suited to the beginner I think, but it was free and I didn't know any better.

I washed, ironed, and cut several squares of various pastels, and ultimately chose a medium grey and a palette of green threads.  I should have cut them slightly larger than my pattern paper.

Container
I have a small box that fits everything including my current project.  This makes it easy to tidy up without putting everything away.

Writing Utensil
The pattern transfer link (below) discusses several options and how to choose them.  I used a 7H graphite pencil, which in retrospect was a bad choice for a medium grey fabric.  I should have used a light colored pencil or perhaps chalk; I have many options of both.  The other issue with the fabric was that it stretched as I sketched on it.  A softer lead may have distorted the pattern less.

Step 2:  Transfer the pattern.

There are several methods for transferring a pattern.  I taped my paper and fabric to my window on a
sunny day and used a 7H graphite pencil as discussed under Writing Utensil.  I now know I should have chosen differently.  I may also need a brighter light if I'm going to use this medium grey fabric again, or I will somehow have to intensify the pattern printing.

I've added my final version of the pattern to my notebook, shown at right.

Step 3:  Prepare the hoop and fabric. 

I had to search online for more details because the Inspiration guide wasn't sufficient for my hoop and fabric, but I didn't keep that link.

Step 4:  Begin stitching. 

I found the Inspiration link had excellent step-by-step tutorials and followed them.

Step 5:  Continue stitching. 

I accidentally skipped line 7 on the right and would have seven subsequent lines of Running and Back Stitches, I tried French Knots—and later learned that’s one of the hardest stitches.  It was ugly, so I added a modified Back Stitch and tacked down some of the larger knots, and now it looks like some sort of leafy vine.  Not my favorite, but much better without having to remove the work.  French Knots are the worst to remove, at least so far.

I’ll add one more Chain Stitch to finish the right side.

I redid lines 1 & 2 because they were so crooked, and have lost what little of my pattern I could see, so I tried a variation of Back Stitch that allows me to make the stitches more even and in a straighter line.  I try to align my needle with my existing line for the subsequent stitch, and that's been keeping the Back Stitch and Running Stitch lines straighter.  For the Back Stitch itself, I start at A (as shown in the linked Inspiration tutorial, but then insert my needle at B, and poke the tip of the needle through C before I pull the thread through.  This allows me to use A as a midpoint, so my stitch lengths are more even.

I’ve been using up short pieces in some cases, since that’s what my aunt wrapped around the top of some of her cards. That pertains to my star problem. After I finished the Chain Stitch on the left, I noticed two Stars had come undone, as well as some of my top knots, where I’ve tied off at the end of the line.  I don’t know why this is happening, but since I’d already trimmed the thread, it wasn't long enough to rethread the needle and tie it off that way.  Luckily I have a long thin loop turner (pictured above) and figured out a solution. (I can’t find a video and I don’t know how to describe it—maybe I can do pictures later.) So I’ve been leaving my ends longer and using the loop turner to weave the tails back through my work.

Step 6:  Finish stitching. 

I have more lines of stitches than in the original design in order to keep the overall heart shape after the penciled drawing faded to uselessness.

I added some stitches not included in the original because I messed up the order of some of the specialty stitches and didn't want too many of the simpler ones grouped on the outer edge. 

This also allowed me to repeat, and thus to practice, the French Knots and the Threaded Running Stitch.

 

 

Step 7:  Design the piecework pattern. 

My mom has leftover scraps, pre-cut squares and triangles, that she won't use, so I can select from those for free. 

I used a giant sheet of graph paper, from a pad I also picked up for free, and drew grid lines every 2" -- the approximate width of a sewn square.  Using her rotary cutter, mat, and ruler, I used another sheet to cut 2" squares and cut half of those into "half-squares", so called to differentiate these triangles by those called "quarter-squares."  I laid those out until I had a design approximating a heart.

This is a pillow that will be 16"x16", or 8x8 squares.

I used another sheet of graph paper, and transferred one-half of the design to that -- I can mirror the layout this way.  I can make four 4x4 blocks, two upper and two lower, the right ones mirroring the left.  This way I can use the other half of the paper, as well as the other side, for later layouts.

Step 8:  Determine the pieces needed. 

I transferred the design to a grid-dotted notebook (not to scale) for easier reference, and summed how many of each shape I will need in what hues and tones.

I sorted through her thousands of scraps and hundreds of fabrics first by general color, then separated each hue (here, green and grey) roughly by shade and tone.

I tried to choose unique fabrics for each piece; in some cases used a striped piece cut vertically and one on the diagonal; in other cases used the reverse of a fabric if it looked enough like a true print.

There are 94 total pieces in this pattern, and at least 90 unique fabrics for this face.  This is not including the backing that I will quilt the face to, or the background for the embroidery, which I will applique in the center of the piecework, or the back of the pillow itself, which will be one large piece.

 

 Step 9:  Incorporate into piecework. 

Details

Step 10:  Quilt pillow front. 

Details

Step 11:  Finish pillow. 

Details

 

WORK IN PROGRESS