Creative Stitchery Embroidery

Transcription

1 Prior to Presenting: Creative Stitchery Embroidery Facilitator Script and Notes Note to facilitator: Presentation: Using a laser pointer with this lesson is helpful when showing how each stitch is made. Slide 1: Note to facilitator: Introductions: Ensure that participants have signed in and provided /mailing addresses. Have participants introduce themselves and share their experiences with embroidery good or bad. Note to facilitator: Housekeeping Items: Explain to participants how the program will flow. Tell locations for restrooms and refreshments (if available), turn down cell phones and any other details. Slide 2: Note to facilitator: Icebreaker: Ask the following questions to determine ability level of participants and as an introduction to the program. Have participants find a partner and share their thoughts. Allow about 5 minutes for conversation, and about 5 minutes for group sharing. Facilitator script the following questions are also noted on slide 3 of the PowerPoint: Do you have any heirloom needlework projects in your family? Do those items share anything about your family history? Have you ever embroidered? Cross-stitched? Hand-sewn? Are there any family members who are the stitchers or crafters in your family? Have they offered or tried to teach you how to embroider? Slide 3: Note to facilitator: Remember to allow participants to share their thoughts on the questions. This will give you an idea of their prior experience with creative stitchery. Slide 4: Note to facilitator: Program Objectives: Outline the program objectives and answer participant questions. Slide 5: What is creative stitchery? It is just another name for embroidery. This program was developed as part of the 4-H needlework curriculum. Slide 6: From the earliest time, embroidery on clothing has been used to show beauty and wealth. Most people only had the time or money to make functional clothing.

2 Embroidered clothing was only for the wealthy, as it was time consuming to create and materials such as silk thread were expensive. Historically, we have found earlier versions of clothing embellishment, such as Native American clothing decorated with feathers, shells and pebbles. Needles made of bones and bronze have been found in ancient tombs of Egypt. Embellishing items with embroidery allows us to customize it to our own likes. This curriculum is helpful to beginners of any age. It is recommended that youth begin to learn the art of embroidery around the age of 9. Embroidery helps reinforce fine motor skills, following directions, passing on of heritage skills and can also be a good way to teach math skills. Note to facilitator: Refer back to the icebreaker activity connecting the historical significance of embroidery and family connections. Slide 7: Note to facilitator: This slide (slide 7) and the following slide (slide 8) go along with the matching exercise. Distribute the matching exercise and provide about 5 minutes or so for participants to complete the matching exercise. Next, review the correct match with needlework type, and show fabric/embroidery sample with each of the stitch types. An answer key is provided for facilitator use, as part of this curriculum. Slide 8: Swedish weaving is stitched the same as huck embroidery (huck towels), except it is stitched on monk s cloth and yarn is used instead of embroidery floss. Slide 9: Do any of you embroider on your jeans or chambray shirt the way many of us did in the 70s? You can embroider on almost any type of fabric. Note to facilitator: Show the fabric samples for the different types of embroidery. As each fabric is shown, discuss the characteristics and use for a particular type of embroidery. The use of waste canvas enables stitching charted designs on knit fabrics or other fabric lacking a gridded structure. Explain which fabric needs stamping and which use the fabric structure to create the embroidery. Plain weave muslin some linens burlap gingham Even weave Other Aida Monk s cloth felt denim huck toweling 2

3 waste canvas Slide 10: Note to facilitator: Show the different type of hoops and demonstrate how to insert the fabric sampler piece into the hoop. Note to facilitator: Remind participants to loosen the tension on the hoop if they stop working for more than a few days. Hoops left on fabric for an extended amount of time can leave a permanent mark or cause permanent stretching. Slide 11: Note to facilitator: Show the different types of thread as you share information about each type. There are many options with regard to threads for embroidery. Traditional embroidery floss comes in a skein and is made of cotton. Floss can also be made of rayon or metallic. These threads have a sheen or shine, but are more difficult to stitch with than the cotton as they may shred and tangle more easily. Floss has six strands which is generally divided and combined to produce different effects. There is a new type of embroidery thread wound on a spool that is equivalent to two strands of traditional embroidery floss. Persian yarn is used for heavier fabrics. Pearl cotton comes in three different weights. It is heavier and has a more sheen than traditional embroidery floss. Slide 12: Note to facilitator: Show different sizes of scissors in comparison to a pair of small, sharp pointed scissors designed for embroidery. Scissors Best for embroidery work are small, sharp pointed Store in a separate container to avoid poking Thimble Used to protect your finger during stitching Usually made of plastic, metal or leather It should fit comfortably on the middle finger of the hand with which you stitch Slide 13: Note to facilitator: Review and show the different needle types. Basically, embroidery needles are the same as general stitching needles, but have a larger eye for easier threading. They have sharp points that enable the needle to pass through fabric smoothly. Traditionally, tapestry needles have had a blunt point. However, today needles labeled as tapestry needles may have a sharp or a blunt point. Those with sharp points are 3

4 used for ribbon embroidery and those with blunt points are used for counted work such as cross stitch on Aida cloth or Swedish weaving on huck toweling or monk s cloth. Chenille needles have sharp points and longer, larger eyes for heavier threads and yarns used for crewel embroidery. Sharps, darners and betweens are general purpose needles, used for hand finishing and basting. Darners are extra-long and betweens are short. Darners are often used for English smocking. Hand needle numbering the larger the number, the smaller the needle. (A size 6 needle is larger than a size 24.) Slide 14: Prewashing is very important, as many fabrics will shrink. Use caution with monk s cloth, as it can shrink 4 to 6 inches per yard. Preshrinking monk s cloth will make it more difficult to stitch under the floats. However, it is better to wash and preshrink monk s cloth if the finished project is going to need to be washed. Waiting to wash a project when it is finished can result in threads and yarn becoming loopy, since threads and yarns are unlikely to shrink. All fabric edges should be finished before you begin stitching. Edges may ravel or catch. Unfortunately, most of us take longer to complete our embroidery projects than we think we will, so this is very important. You may choose to serge or zigzag around edges. However, for this class we will use masking tape. Note to facilitator: This takes about 10 minutes, so if you can have this done before the program begins, it saves valuable class time. Pass out 12-inch square of muslin with stitches traced, or have each person trace the stitch chart on their own muslin with a regular pencil. Have each participant apply masking tape around all four corners of fabric square. Slide 15: If you need to transfer your own design, always follow the manufacturer s instructions. Designs may be iron-on or trace-on. If transferring yourself, tape pattern to a window with strong light, then place your fabric on top. Trace design lightly with transfer crayons, water-soluble pens, air-soluble pens or a light lead pencil. A light box also works well to transfer designs. Note to facilitator: You may want to have a variety of transfer mediums available for participants to examine. Slide 16: Facilitator note: Pass out a hoop to each participant and have them hoop their fabric sampler piece so that the stitches are easy to form. Slide 17: An 18-inch of thread is recommended as it is easy to use. Longer threads tend to tangle more often. Award winning embroidery looks as pretty on the wrong side as the right, so try to knot as little as needed. Instead weave thread ends under previously stitched areas. For this sampler, knot the beginning and end of each stitch sample. 4

5 Special note: You may need to spend extra time with some participants showing them how to knot neatly. Another class participant or assistant is helpful in this situation. Note to facilitator: Demonstrate how to separate thread strands. Cut a length of floss approximately 18 inches or according to the directions in the project or kit. Flatten the strands at one end of the floss. Gently pull one strand out while lightly holding the top of the other strands. Repeat until you have the number of strands needed for the work. Put the strands together to thread the needle. Next, demonstrate how to thread the needle. Slide 18: The close up pictures in the following slides show pictures of stitches worked on Aida cloth which is generally used for charted or counted cross stitch projects. The larger squares on this particular type of fabric makes it easy to see the individual stitches and easier to show how each stitch is formed. This particular fabric has been used for demonstration purposes only. Remember, embroidery can be completed on almost any type of fabric. The first three stitches are the running, back and stem stitches. They can be used to outline your work and also used to stitch initials or name of the person who embroidered the project. Note to facilitator: Give each participant an embroidery needle and some thread. Have needle threaders and scissors available. Have each participant thread about 18 inches of thread on their needle. We will use two strands of thread, so knot one end. Using at least 2 strands of embroidery floss will be easier to show the stitches unless you are using a heavier thread like pearl cotton. Slide 19: Note to facilitator: Demonstrate how to insert the thread in the back of the fabric, and hold the end of the floss as you secure the first stitches. Slide 20: Almost all of the following stitches are described and illustrated in the Beginning Creative Stitchery publication. The running stitch is worked from right to left. Bring thread up from the bottom to the top. You can either stab each stitch, or make a continuous running stitch. The goal is to form each stitch the same size on the top as the bottom. This stitch can be used as an outline or connector stitch for your embroidery. After you complete each row on your stitch sampler, knot end close to the fabric and cut the thread. Slide 21-23: The backstitch is also worked from the right to the left. It has more fill than the running stitch, and is great for signing your embroidery work. Again, try to keep stitch length consistent. Note, when making this stitch, you are actually stitching backwards and actually making each stitch to just meet the previous one. 5

6 Slide 24: The stem stitch is formed from left to right opposite of the previous two. Note that you will come up from underneath at point A, down at point B and up at point C (which is located halfway between points A and B). You are working your stitch backwards. Proceed to the right, down at point B and up at point C. Slide 25: The next stitches, the cross, arrowhead and the fly, are easy to do. Slide 26: The cross stitch can be stitched on pre-stamped fabric, gingham or on even weave fabric using a chart. As you can see, the order that you make the stitches DOES make a difference. One other option, however, is to make a row of A+B stitches, then stitch all the C+D stitches. All cross stitches should be crossed in the same direction. Slide 27: The arrowhead stitch is easily formed by coming up at point A and down at point B. Then come up at point C, then down again at point B. Slide 28: The fly stitch will result in the same stitch look as the arrowhead stitch. However it can be completed in one movement. It is formed in the same way as the lazy daisy stitch. The lazy daisy stitch will be completed later in this sample. Come up at point A, then down at point B, being sure to keep a loop of thread on top (do not pull the loop tight or you will get a straight line stitch.) Come up at point C, with the thread loop under the needle. Pull tight and you will have a V shape. Push needle down to the underside of the fabric close to where you came up at point C, but on the other side of the thread to secure. This is the only stitch that is not found in the Beginning Creative Stitchery publication. It can be found in the Advanced Creative Stitchery publication. Slide 29: The buttonhole and satin stitches are also two commonly used stitches. Slide 30: The buttonhole stitch is a finishing stitch, often done over the edge of the fabric. It may also be referred to as the blanket stitch, although the blanket stitch is wider. Both may feature stitches that are the same size, or have a long/short stitch variation. It is worked from the left to the right. Be sure to keep a loop of thread on top before pulling tight or you will get a straight line. The goal is to keep all stitches equal in size. Slide 31: The satin stitch is used as a fill stitch. You may want to double your thread when trying this stitch. 6

7 You will get a nicer looking finished sample if you outline your design before you begin satin stitching. Outline by using the split stitch (same as the stem stitch, except split the thread with your needle when coming back up from underneath.) Complete the satin stitch by stitching over the outlined stitching area. The goal is to completely fill the area so none of the background shows through on the front. Slide 32: French knots and lazy daisy stitches can be used to make flowers. French knots add texture to flower centers. Slide 33: The French knot can be wrapped one, two or three times around the needle, depending on how large you want the knot to be. Hold thread firmly when forming this stitch. You may want to knot underneath each French knot so it stands tall and firm. Slide 34: The lazy daisy stitch is tear drop shaped. When five to seven are stitched in a circle, they create a daisy like flower. Nicer looking stitches result when the first point coming up from underneath is close to the point going down underneath. Add a French knot to the center to complete the flower. Slide 35: After completing your embroidery work, it may need careful cleaningespecially if it is a delicate piece. Wash is cool or warm water with a mild detergent. Rinse and roll in a towel to remove excess moisture. To press, use a fluffy terry cloth towel to cover the pressing surface. Place embroidery face down on the towel and using a press cloth, press with a warm iron. Slide 36: Note to facilitator: Ask participants if they can identify the stitches learned during this session on the stitch sampler. Each time you click the advance arrow, a new stitch will be identified. All ten stitches will be identified in the order in which they were presented in this session. Slide 37: Note to facilitator: If you have time, you can review these final three slides that more fully discuss redwork, chicken scratch and huck embroidery. There are leaflets for each of these stitches available if you wish to distribute. Redwork or turkey redwork was brought to America from Europe before the Civil War. Poor and middle class people could afford to do it because it used inexpensive cotton thread. Slide 38: Chicken scratch is also known as snowflake embroidery, depression lace, or gingham lace. It is completed on gingham fabric, generally ⅛ or ¼-inch checks. 7

8 Slide 39: Huck embroidery (huckaback) - Embroidery type that creates a surface design by weaving floss under raised floats on the fabric Floats are threads that lie on top of the even weave fabric Pattern designs are created by weaving under the threads or floats with needle and floss Also known as Swedish weaving when completed on monk s cloth with yarn or other heavier thread Slide 40: Note to facilitator: Program Objectives: Review the program objectives and answer participant questions. Slide 41: Note to facilitator: Distribute and collect evaluations. Remind participants to return supplies and tools before leaving. Distribute information for future programs. Thank you for your attention and participation. I hope you have been inspired to work on more embroidery projects and share this knowledge with others. Please complete the End of Program Evaluation and leave it with me today. Educational programs of Kentucky Cooperative Extension serve all people regardless of race, color, age, sex, religion, disability, or national origin. 8