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

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

Piecework Christmas Stockings

Goal

 

Inspiration

My eldest aunt was an award-winning quilter and designer.  She made me the red Christmas stocking when I was little.  I used that for the general shape and size.  She also made quilts with the "log cabin" design, including one that was intentionally askew she called the "drunken homesteader."  I used this for my template.  My mother does piecework and has an array of leftover pieces.  This was my first attempt at piecework. 

  

 

Materials

• Large graph paper, pencil, eraser, ruler, pen, and marker for the template
• Scraps of fabrics in reds, greens, holiday fabrics, and a few complementary colors
• Cork board and pins for layout
• Sewing machine and threads in similar colors
• Patience, a seam ripper, and extra pieces

 

Step 1:  Outline the shape with a pencil on a large sheet of graph paper

Plain paper would also work, but graph paper will make the next step easier.

 

Step 2a:  Choose square size

I chose squares not quite as wide as the leg of the stocking, and centered them in the leg, so I'd have two diagonal squares vertically and a total of three whole squares visible.  I considered the size of the pieces I could cut from existing scraps.  I decided each square would have one square center and two rows of "logs".  You may have to adjust your stocking size (and outline).

 

Step 2b:  Determine piece sizes

Don't forget to account for seam allowance.  I chose piece sizes based on what I could cut into squares and logs out of the existing small pieces.  The square size relative to the stocking size may change your piece size, or your piece sizes might determine the number of log rows and square size.

 

Step 2c:  Choose color pattern

Each square alternates a red or green center.  The red centers have a first row of logs surrounding it in green, and the second row of logs around that are red, and vice versa for the green centers.  The color pattern may change the number of log rows you include. 

I also chose a unique "signature" center for each person I was gifting, so they could easily identify their stockings--an orange clownfish and a blue clownfish for each sibling and a silver snowflake on a black background for the parent.  This also indicates the accessory color for each stocking.  The orange clownfish also has magenta douches and the blue clownfish has teal and purple.  The snowflake has black and more earthy reds and greens.

 

Step 3:  Determine number of squares

A stocking is a fairly small item, so I chose to make unique squares for all but the smallest corners of partial squares--those were cut off of other squares.  On larger or more symmetrical items I might use half of each edge square on another side.

 

Step 4: Cut center squares

One center per square, but cut extra in case you need to swap for overall color palette, or in case you damage some.  Choose larger patterns and cut an identifiable piece.

 

Step 5: Calculate rough numbers of logs of each size, and cut extra

Four small logs and four large logs per square.  Roughly half reds and half greens, with some other Christmasy-enough and sparkly fabrics.  Choose smaller patterns, some solids, some tone-on-tone, some vibrantly patterned.  The more variety the better, but you will be repeating some of course.

 

Step 6: Arrange center squares

Array them together and substitute individual centers until the whole array is pleasing.  Lay them out on the template, pinning them to the upright cork board through the paper.

 

Step 7:  Choose four small logs and four large logs for each square

Array them together and substitute individual centers until the whole array is pleasing.  Lay them out on the template, pinning them to the upright cork board through the paper, as in the image on the left.  Then arrange them into squares so you have a rough idea that no two that are too similar will be next to each other, as in the image on the right.  Notice the "stacks" of each size and color 'type' pinned to the sides of each paper.  These have randomized pieces of similar pattern and color.  Each set of four was one solid, one tonal, one patterned, and one 'special', a.k.a. Christmas or glitter.  As you may see, 'solid' sometimes included a simple polka dot or stripe.  Don't be too literal with the categories.

 

 

Step 8:  Step back (or walk away for a while), to see if you like the overall effect

Change out any pieces that seem too obvious or individual.

 

Step 9a:  Sew the first 'ring' of logs

Unpin one center and its small logs so you have a stack of short logs.  Sew the inner logs to the center, sort of in a circle.  (I'm not going to detail this, because I don't have a step-by-step, and it's been too long since I made these.)  Pin each partially finished square back into place.

 

Step 9b:  Iron and trim the squares

Unpin the unfinished squares one-by-one and iron them, then trim each to square.

 

Step 10a:  Sew the first 'ring' of logs

Unpin one center and its large logs so you have a large of short logs.  Sew the outer logs to the inner ones, sort of in a circle.  (I'm not going to detail this, because I don't have a step-by-step, and it's been too long since I made these.)  Pin each finished square back into place.

 

Step 10b:  Iron and trim the squares

Unpin the finished squares one-by-one and iron them, then trim each to square and the size of the squares on your template, plus a seam allowance.

 

Step 11a:  Sew the squares into rows

Unpin one row of squares and stack them, then sew the first two together, and add the third to the second, etc.  Pin the row back into place.

 

Step 11b: Iron and trim the rows

Unpin the finished rows one-by-one and iron them, then trim each so they're all the same width.

 

Step 12a:  Sew the rows into together

Unpin the rows and stack them, then sew the first two together, and add the third to the second, etc.  Pin the whole piece back into place.

 

Step 12b:  Iron and trim the stocking

Unpin the piece and iron it, then trim the stocking to the correct shape, including a seam allowance.

 

Step 13:  Choose and cut batting and backing and/or lining fabrics

The backing fabric should be a complementary large-print Christmas fabric.  Something pleasant, but this will not be seen as much.  The lining fabric should be complementary, but can be plain as it will be inside.  Layer the backing fabric, batting, two layers of lining fabric, and another layer of batting behind the stocking.  Using the stocking as a template, cut the other layers. 

 

Step 14:  Sew the batting to the outer fabric for front and back

 

Step 15:  Sew lining pieces together with 'good sides' facing each other

This hides the seams of the stocking between the batting and the lining.

 

Step 16:  Slide the lining inside the stocking

Turn down the top edges so they're inside and iron them to stay in place.

 

Step 17:  Design and cut the pieces for the trim and the loop

The loop doesn't need batting--it's a strip of folded cloth sewn length-wise inside-out and turned right-side out.  I used a double layer of batting for the cuff, and wrapped a double width piece of white fabric around it so there would not be a seam at the top of the cuff.  Iron it so it has the correct shape.

 

Step 18:  Sew the cuff and loop to the stocking

Slide the unfinished edges of the cuff between the unfinished turned-down edges of the stocking.  Place the loop and tuck it's unfinished edges in the same way.  Pin these edges.  Sew the cuff to the top of the stocking, effectively extending the length of the stocking so you don't cover any of the piecework.

 

Step 19:  Tack the lining to stocking

By hand, in a few places around the edge, conceal tack stitches in the seams, anchoring the inner lining so it doesn't invert when presents are removed.

 

 Results

 

I would repeat this, but I'd make a few adjustments to the pattern.  I'd probably make the stocking taller with less interesting squares at the top, so I could turn the cuff down over them.  I'd worry less about the edge squares being unique as it would be difficult to tell one half from the other when cut apart, since the log fabrics are so varied.  I might change the way I assemble the entire stocking, but I'd have to look at patterns for ideas.  I did this all on-the-fly, as it were, without any pattern but the one that evolved as I went along.