It is easy to just pick colours at random, stitch them out and then be unhappy with the result, just as it is commonplace to add too many colours to an embroidery design and spoil its beauty. I have been stitching out samples of my new bridal design which comes as a simple crazy quilt block, and have been discovering the dramatic differences the right colours make.
One might think that if part of a design collection is purchased, considering the “theme” of the collection is the same, that a single set will suffice. And, I must say, from some digitizers, that axiom is true because their collections are all designed for a single type of usage, such as quilt blocks or linen corners.
When I enter a fabric store I always head for the silk and the embroidered fabrics. Usually I am disappointed about the lack of choices, so I have always loved the idea of creating my own embroidered fabric, as is allows me to make my own very unique fabric. It is very easy to do and works much like a jigsaw puzzle….
I have to admit that it is a frequent occurrence for me not to be completely happy with my stitch outs, so I have to ask if it possible to have a perfectly stitched out embroidery design. The larger the design and the more colour changes increase the possibility of this happening, and non more so than embroidering out my new Antique sewing machine. The reason for some of these mistakes and errors are not always obvious, like selecting the wrong thread colour. One of the common errors in embroidery can be a misalignment of outlines. Those nasty little gaps need to be filled but how?
With the launch of my new website, I have been planning the release of my best design set ever, comprising an antique sewing machine with pretty scroll work, perfectly beautiful fuchsia flowers, delightful roses, along with some outstanding blending of threads. This very special set has been a great labour of love over several months, not only for the actual digitising where I have tried to incorporate new fills some of which are blended, but also in the choice of colours. Continue reading
This gallery contains 14 photos.
Ever since I visited Hampton Court Palace in London with my friend, Pamela, to attend an exhibition on white work by the Royal School of Needlework, and we also went to Jane Austen’s home at Chawton, Hampshire, which also had … Continue reading
Back last year Pamela wrote this fascinating blog about the use of the Grace font which is being released today. This is what she wrote:
I am so excited, and for several different reasons!
First, and foremost, I know and appreciate the quality that each Graceful Embroidery element offers.
The challenge I set myself this year for my sister’s birthday card was to create a textured coat with an astrakhan type collar on one of Kate Greenaway’s little children.
Before releasing the final set in the Arabella Bullion collection for 12″ x 8″ I would like to take you through a stitch out of one of the panels, GFE-ARB-5-14, to explain what I did and why, as well as the observations I made and the lessons I made from the mistakes that occurred. This panel is a horizontal panel which holds vertical pleats so it could be used on the yoke of a baby’s dress.
I love taking small embroidery designs and combining them into interesting shapes, especially in squares (quilt blocks) oval and circular ones. Most of my collections feature some type of edging or border, but as I add a border I am aware that I create a problem. Tiny circles, leaves and buds on the edge of the border mean that the design cannot be given the normal scalloped edge treatment where the underlay is embroidered and the fabric carefully trimmed away before satin stitches are added to finish off the design.