Blackwork. beginner's. bycarol Lea!er

Transcription

1 Blackwork for beginner's bycarol Lea!er

2 Copyright 2001 by Carol Leather Printed in England First printing August 2001 Published by X-Calibre, 9 West Bank, Old Weston, Huntingdon, Cambridgeshire, PE28 5LJ All rights reserved. No part of this publication may be reproduced or used in any form or by any means, graphic, electronic or mechanical, including photocopying or scanning without permission, in writing, from the author. Cover and book design, page layout and all illustrations by the author. Page 2

3 Acknowledgements Many people have helped in getting this book off the ground and I would like to take this opportunity to thank them. First I would like to express my thanks to my husband Roger, for keeping the house and family running while I was at the computer. My daughter Becky also played her part, by stitching the leaf border designs and helping me with the journey plans for these two designs. I must also thank my mother, Shirley, for volunteering to test out some of the journey plans when all she had stitched before was cross stitch. She delighted me by telephoning to say how easy they were to follow and how she was now addicted to blackwork. My friend Sherry Symes-Meineck deserves my appreciation for seeing a gap in the market where blackwork was concerned and pushing me to produce both my kits and this book. She was always at the other end of the phone to answer queries and make suggestions, whatever time of the day or night! I mustn't forget my friend Liz Bartlett who had confidence in my ability to see this project through and for giving me insight into the world of writing and publishing. Due to time constraints I would never have managed to stitch all the pieces in the book so I have to thank Angie Bradshaw and Julie Caisey for their nimble fingers. I must also thank Shirley Bates, Scilla Stephenson, Margaret Compton, Karen Enderby and Sherry Symes-Meineck for their help with proofreading and checking the layout of the book. Colin Fulford, who designed Easy Cross, had his part to pay in this project. Without his program I could not have achieved the diagrams or charts. Special thanks are in order for his patience when my computer crashed the day before publication! He kindly sent me the program files by so that I could reinstall them and therefore complete the book. Lastly I must say thank you to all my students who encouraged me to write the book. I know you have been waiting patiently and I hope it was worth while! Page 3

4 So What is blackwork? 5 Part 1: Materials and Equipment 6 Threads 6 Fabric 7 Needles 8 Other Equipment 9 Part 2: Techniques 11 Starting and Finishing threads 11 Outlining 11 Fill patterns 13 Pattern tone and size 14 Using metallic threads 17 Shading 19 Using Over-dyed threads 20 Part 3: Simple Projects 21 Lesson 1: Outlining and basic fills 22 Lesson 2: Shading 24 Celtic Diamond 27 Leaf border 1 29 Leaf border 2 30 Diamond flower bed 31 Sailing boat 32 Lion 33 Page 4

5 Let us start with some of the questions which I am often asked at workshops and exhibitions. Is it embroidery worked in black thread? Yes, but not always... it was traditionally stitched with black silk on white linen. But you do not have to stick with black, any colour can be used. The best effect is achieved, however, if there is a strong contrast between the colour of the thread and fabric. Is it a counted thread technique? Yes, but not always... blackwork patterns are usually worked on an evenly woven fabric by counting the fabric threads. However, the design can be transferred onto the fabric, and surface embroidery stitches can be used (mainly for the outlines). Is it reversible? Yes, but not always... many patterns can be stitched in double running stitch so that the front and back of the work look the same. This is only possible for patterns that have a continuous line. For others backstitch is normally used. Is it geometric? Yes, the fill patterns are geometric but the overall design does not have to be. Even in Elizabethan times subjects such as flowers, fruit and leaves were represented. You will find both samplers and pictures in my range of designs. Is it wearable? Yes, in the past blackwork was almost exclusively stitched on clothing. It is not easy nowadays to obtain the very fine linens that were once used for decorated shirts and coifs but waste canvas (see page 9) can be utilised to allow blackwork to be added to non-evenweave fabrics such as sweatshirts. Is it versatile? Yes, modern blackwork is suitable for many different items: pictures, samplers, cushions, workbox accessories, tablecloths, ornaments, greetings cards, bookmarks, coasters... the list could go on and on. Is it quick to stitch? Yes, blackwork can be completed in less time than a cross stitch design of the same size. As the whole design is not filled in with stitches going in both directions, in fact, some areas are left entirely empty, results are achieved quickly. Is it easy? Yes... if you can do running stitch you can do blackwork. Other stitches are often included but they are all simple. Page 5

6 Any thread that creates a sharp, clean stitch can be used for blackwork. Steer clear of fuzzy fibres. Traditionally black silk was used, but although wonderful to stitch with, this can be a little expensive. The most common fibre used today is cotton. Threads of different thickness can be used in the same piece of work. Blackwork was once known as poor man s lace and the use of a fine thread helps to keep this lace-like appearance. Here are some of the threads I have tried: 6 stranded cotton (floss) Very versatile as you can use a single strand or combine them to get a thicker thread. I, generally, use two or three strands for outlines and a single strand for the fill patterns. Flower thread This non-divisible cotton thread is similar in thickness to two strands of floss. It is lovely to work with but is only available in a limited range of colours. Cotton a broder This delightful thread is a smooth, mercerised cotton that comes in different weights... 30, 25, 20, 16, and 12. I find 16 very useful for outlines. It is tightly twisted and, again, nondivisible. Eterna Silk An economical thread, Eterna comes in two forms, stranded and mini twist. As with all silk it is important to have smooth fingernails and no rough skin to avoid damage to the fibres. Space-dyed threads This is a broad term for a thread that has different coloured dyes dropped on it, creating an exciting random mix of colours or tones along its length. Due to the nature of their manufacture these threads are not always colourfast and it is best to test a small length to make sure it does not run before risking a completed project. There are many companies who manufacture these threads including Caron, House of Embroidery, Needle Necessities, Oliver Twists, Rainbow Gallery and Stef Francis. Lacemaking threads Fine threads normally used for tatting or making bobbin lace (pillow lace), such as fil á dentelles, are wonderful for blackwork. Metallic threads Many blackwork designs incorporate metallic threads. There are a great variety of threads and manufacturers to choose from including Anchor, DMC, Kreinik and Madeira. They come in many different forms, from fine blending filament to chunky braids. With any metallic thread it is advisable to use short lengths to prevent breaking, splitting or wearing of the fibre. Page 6

7 Marlitt Marlitt is a shiny rayon thread made by Anchor. If you can cope with this slippery thread it gives a lovely effect. Dampening each length before you stitch can help to tame it! Blackwork is normally worked on fabric which has an equal number of horizontal and vertical threads to an inch. The count of a particular fabric is determined by this figure. Fabrics with 14 to 36 threads to the inch are most commonly used today. The higher the count the closer the threads are together, smaller the individual stitches and the smaller the overall design size. If you choose your fabric count carefully you can ensure that the finished work will fit in a particular size of frame or mount. The table below gives some examples. Design size Stitch count 14 count Aida (or 28 count over 2 threads) 18 count Aida (or 36 count over 2 threads) 2 x 3 28 x x 54 4 x 6 56 x x x x x 180 Aida Aida is available in 11, 14, 16 and 18 count. It is known as a block weave fabric. Bunches of fabric threads are grouped together with clearly defined holes showing in the corners of each block. This makes it an ideal fabric for beginners to use. One drawback to Aida is the obvious blocks that are visible in the background of a design. It can also be difficult to pierce the centre of a block, if necessary, for a particular fill pattern. Hardanger Another cotton block weave, this fabric is also known as Oslo. It has 22 threads to the inch and can be worked over either 1 or 2 blocks. Davosa If you prefer to work over one fabric thread, Davosa is an 18 count evenweave that makes an excellent substitute for Aida. This fabric is 100% cotton. Linda 100% cotton fibres are used for this closely woven 27 count single thread fabric. It is possible to work over a single fabric thread to create a fine piece of work but it is more usual to stitch over 2 or more to prevent the stitches moving around. Jobelan My favourite "single thread" fabric, Jobelan is made from 51% cotton/49% modal. Jobelan is suitable for stitching table linens or cushions (pillows) as it hangs well and is easy to wash. Jobelan is available in both 28 and 32 counts. Linen Pure linen is a tough, durable single thread fabric woven from flax. Due to the nature of the fibre, linen fabrics can have bumps or slubs which make them more difficult to work on. Some linens are quite loosely woven, causing threads carried across the back of the work to be easily visible from the front. Some of the most well known linens are Dublin (25 count), Glenshee (29), Belfast (32) and Edinburgh (36). Page 7

8 Waste Canvas Blackwork can be worked on a non-evenweave fabric (such as sweatshirt material) by using waste canvas. This is tacked into place and used as a temporary grid through which the stitches are worked. When the project is complete the canvas is dampened and removed, thread by thread, with tweezers. Waste canvas is available in various counts but if you want to do finer work you could substitute a piece of linen or evenweave, however, this may not be as simple to remove afterwards! Check for a lesson in using waste canvas Quaker Cloth Woven from 55% linen and 45% cotton this 28 count single weave fabric gives you the best of both worlds. It has the feel of linen but with few slubs or uneven threads. Tapestry I use a tapestry needle for working blackwork fill patterns. These long-eyed needles are blunt, making them less likely to split the fabric threads. Try to choose the correct size needle. Too large and the needle will distort the fabric as it passes through too small and it will wear out the thread. The table below is a guide to the best needle to use for the fabric and thread. Fabric Count Needle Size No. of strands or or (over 2 threads) 24 or (over 2 threads) (over 2 threads) 26 or 28 1 Crewel Sharp-pointed crewel needles are often used for outlines worked in surface embroidery stitches. They are also used if you back your evenweave fabric with a fine fabric for support. The stitches are then worked through both layers and the sharp point makes this easier. Beading For some designs you may need a beading needle. These are very fine with a tiny eye that will pass through the centre of a seed bead. Short beading needles are the easiest to use for sewing beads onto fabric. The very long beading needles can be difficult to handle and are best suited for other bead crafts. Page 8

9 Blackwork can be adorned with beads. The most commonly used beads are known as seed beads and are available in an enormous range of colours and finishes. Some are clear, some metallic and some pearly. Cylindrical bugle beads can also be useful. After collecting together the basic materials, (fabric, threads and needle) there are some extra items of equipment that you may find helpful to have. One necessity is a sharp pair of scissors, preferably not used for anything but needlework as cutting paper or fingernails can blunt them very quickly! A needle threader may be useful for when your eyes are tired. Cheap wire varieties are more liable to break. My favourite type is a flat piece of metal that you slide through the eye of the needle. The thread is laid across a hook at the end and then pulled back through the eye. Easy! Another aid for eyes that are not as good as they could be, is a magnifier. There are many types available: a simple magnifying bar that you lay on your chart a magnifier with a string attached to both sides that you support on your chest a clip on device that sits on top of your existing spectacles (glasses) a magnifier/light combination unit My favourite magnifier looks like a headband with a visor extending beyond it. A rectangular magnifying glass fits into the front of the visor and is worn in front of the eyes, moving when you do, and therefore always keeps the work in focus and enlarged. A hoop or embroidery frame can help to keep your fabric taut. A wooden embroidery hoop consists of an inner and outer ring. It is a good idea to bind the inside ring of your hoop with bias binding or a finger bandage to prevent any discolouring or snagging of your fabric. When holding the hoop, position the screw at the 10 o clock position if you are right handed or 2 o clock if you are left handed. This will help to prevent the thread tangling around the screw. There are many types of frames available. The classic type has canvas strips at top and bottom, to which you can sew or pin your fabric. However, many of the more modern frames eliminate this step by inserting the fabric into slots, which are then gripped by a thin wooden dowel. Another type of frame consists of 4 pieces of plastic tubing that fit together by means of corner sections. The fabric is laid over the frame and snap-on covers hold it in position. Whichever type of hoop or frame you use it is good practice to loosen the work at the end of a stitching session to avoid over stretching the fabric. A floor stand can be useful as it saves you holding the frame or hoop and leaves both hands free for stitching. Your stand can be made from wood or metal but needs to be sturdy. Some stands have places where you can attach a lamp, magnifier and chart holder. I attach a magnet to my frame, which acts as a temporary parking area for my needle or scissors. You can sandwich your chart and fabric between two magnets to keep the section you are working on close at hand. Page 9

10 If you wish to transfer an outline to your fabric rather than counting it, you will require thin paper, special pens or an iron-on transfer. After drawing your outline you can tack through the paper to temporarily mark the fabric. Transfers can be bought or drawn with a transfer pen. They create a permanent line that will not wash out and therefore needs covering completely with stitches. A more temporary line can be made with a disappearing ink pen, but these do not always disappear totally! Some are supposed to fade with time while others need wetting for the line to vanish. Page 10

11 As in all types of embroidery, starting a length of thread by tying a knot at the end is the least satisfactory method. Knots can cause unsightly bumps that are visible when the work is framed. They can also come undone! It is, however, fine to tie a knot that will be cut off later, known as a waste knot. Position this knot on the side of the fabric, where it will be covered by future stitches. This eliminates the risk of marks showing on unstitched areas. Work up to the knot, securing the thread on the back by working over it, then cut it off. If you prefer to leave your thread unknotted, leave a tail when you begin and work your first few stitches over it to secure it. You can start the next piece of thread by anchoring it under stitches already in place. If you are stitching with an even number of strands of thread it is possible to use the loop method. Cut a length of thread twice as long as you like to stitch with. Fold it in half and thread the cut ends through the needle. When you take your first stitch do not pull the thread right through the fabric but leave a loop on the back. Take your first stitch and pass the needle back through the fabric, then turn your work over. Push the point of the needle through the thread loop and pull gently, but firmly, until the thread is anchored. Unfortunately if you later find that you have made a mistake you may have to undo a substantial amount of work if you have started in this manner. If, however, you have left a tail it is easier to undo the mistake from the beginning and leave any correct stitching in place. To fasten off a thread, the easiest way is to thread it through the back of about 4 stitches. When I near the end of my length of thread I would rather fasten off under an existing outline rather than risk running out half way across an area of pattern where it is more difficult to finish tidily. Another method of finishing a thread is to take minute running stitches underneath a row of outline stitches by pushing the existing stitches to one side. This can be fiddly but is almost invisible. A number of different stitches can be used for outlining areas which will later be filled with a repeating "fill pattern". The two that are used most often are backstitch and double running stitch or Holbein (see illustration on following page). Other surface embroidery stitches can be utilized such as chain, stem, coral knot and couching. A thicker thread (or multiple strands of a thinner one) is often used to make the outlines more visible. Whipping the outline can also make it prominent as well as disguising the joins where stitches meet. This is worked after the outline, by slipping the needle behind each stitch without going through the fabric. The whipping can be worked with the same thread used for the outline or in a metallic thread for an interesting effect. Page 11

12 When working on fine fabrics, backstitch can cause unsightly threads to show through from the back whenever you turn a corner (diagram top right). To eliminate this problem you can use a variation known as running back stitch (diagram, centre left). However, the stitch that gives the neatest appearance on the back of the work is double running stitch (diagram bottom right). Double running stitch is worked in two journeys, making a dashed line on the first trip and filling in the gaps to make a solid line on the return. On the return journey it is best to insert your needle slightly above or below the existing stitches rather than splitting them. Although splitting the thread can give a slightly smoother line it can make the work almost impossible to undo if you find you have made a counting error. It is useful to begin by working the outlines of a design. Start by finding the centre and count out to the nearest outline. It is not necessary to complete the outline of the whole design before starting the fill patterns, just the section on which you want to work. However, not all blackwork designs need outlines. Sometimes a fill pattern "suggests" the outline. In the example (left) your eye follows the edges of the patterned areas and automatically puts in an outline, even though it is not there. You can find the chart for this design on page 31. Page 12

13 In this next photograph the shape of the front sail is the same but the pattern used leaves gaps making the outline difficult to visualize. Another method of working blackwork without outlines is to reverse the position of the pattern fills. Similar to Assisi work the design itself is left empty and the stitching is worked outside. When using this technique it is important to choose a suitable pattern. In the photograph (left) a larger, more open pattern would have obscured the dog's shape. I have used this assisi technique for my blackwork cats, dogs, and swan kits. Backstitch and double running stitch (Holbein) are the most commonly used stitches for working blackwork fill patterns. The diagrams in the pattern library show how to use Holbein stitch where possible. Planning a route for a pattern worked in this way can be challenging and fun. Significantly less thread is used for Holbein stitch than backstitch. However, it is only possible to use this method where the pattern is made up of a continuous line. Many stitchers are mistakenly led to believe that all blackwork should be reversible and must be worked this way! Sometimes it is necessary to use a combination of stitches to complete a fill pattern. The basis of the pattern can be worked in Holbein with cross stitches, running stitches or back stitched squares added later. There is a method of working isolated cross stitches so that trailing threads are not carried across unstitched areas on the back. If the cross stitch is to be worked in 2 strands, thread the needle with just a single strand of thread, leave a long tail, then work each leg of the cross twice. Cut the thread leaving another long tail then tie the two tails together across the back of the stitch before trimming close to the work. Because you are only using a single strand the knot will be to small to be a problem but it will hold the stitch more securely than if you threaded it through the back of the work. Page 13

14 Compensating stitches (Part patterns) Some fill patterns do not fit exactly into an area of a design. Often there are part repeats next to the edges where compensating stitches will have to be made as illustrated in the photograph left. It is best to start stitching where the longest complete row can be established, so that you can get into a rhythm before reaching an outline that disrupts the pattern. I frequently leave these compensating stitches until later, preferring to continue the pattern sequence without interruption. As most blackwork tends to be monochromatic, tonal contrast is essential. Using the right tones can make or break a design. You could compare blackwork with a pen and ink drawing where tones are built up with lines and cross-hatching. The darkest areas of a drawing may, even be, solidly inked in; an effect that can be imitated in a blackwork design by using cross stitch. The lightest areas, by comparison, can be left completely empty. Generally if the stitches in a pattern are close together it will appear darker than one where the stitches are spaced apart. Some patterns need to be used in a large area for the full effect to be seen whilst others would take a long time to stitch if used for anything other than a small section of a design. Page 14

15 The fill patterns chosen for the lion shown above do not work for a number of reasons. Firstly, you would expect that the legs furthest away would be in shadow and therefore appear darker. The pattern used here is much too light. The body has been filled with a very dark pattern, which would take a long time to stitch. The mane appears to be lighter than the body and the design may look better if these tones were reversed. Our second lion (above) is still not right. The main mistake here has been choosing a pattern for the body that is too large and open. However, the shadowed legs look better now that they have a darker fill. This lion appears to have a blonde mane, which could have worked if the body pattern had been darker. Page 15

16 Our third attempt (above) is no better! The body is darker but would take a long time to stitch. The patterns chosen are not appropriate. The sprigged pattern used in his mane is more suitable for an area of foliage. The distant legs are not wide enough to allow enough of the chosen pattern to show, and once again they are too light in tone. This is the best lion in the pride! The tonal contrast is good and patterns of appropriate size have been picked. The two main patterns (body and mane) are both related. The basic octagon shape is repeated throughout with additional stitches added to the mane pattern to make it appear darker (see the section on Shading, on page 20). Where the two patterns meet I have been careful to line up the octagons. If these were offset the design would still look wrong. When choosing fill patterns for your own designs try to keep the following in mind: Small shapes need small patterns Large shapes can carry a larger, bolder pattern Diagonal shapes look best filled with diagonal patterns "Pictorial " patterns, those with flower or animal motifs in them, are best used for matching areas. Scales on a bird would look as silly as a fish with a feathered pattern! Page 16

17 Using metallic threads in a blackwork design can make an effective contrast. Too much, however, could spoil a design, also using it in the wrong place. Taking our lion as an illustration I have shown various ways in which gold could be added to the design. Gold can be used in relatively small areas, as it tends to draw the eye. On the lion above it serves to highlight the wrong part of the design! The shadowed legs are supposed to stay in the background, not catch the eye. A lion s mane is his most distinctive feature and is often a different colour to his body therefore using the gold to highlight this area works well. Page 17

18 Lastly, I have added gold crosses to the pattern in the lion s body. This technique is used a lot in blackwork, adding a touch of sparkle without emphasizing an area too much. You may prefer either of the last two examples, neither is wrong; it just depends on the effect you are trying to achieve. You will find the chart for this design on page 32. Page 18

19 There are many ways to add shading and dimension to blackwork Variations of simple fill patterns can help to create the illusion of highlights and shadows. The clever use of thread and colour can also give added impact to a design. Thread colour I try to use colour variation sparingly in blackwork, maybe just using two different shades of the same colour, as for the pansy petals in the photograph left. Thread weight Varying the thread is a useful method of adding shading (or highlights). The pansy is stitched entirely with stranded cotton but I changed the number of strands used from 1 to 2 as I worked into the centre of the flower. The photograph, right, shows how using a thicker thread can make blackwork appear darker. From left to right I have used: Sylko sewing cotton, 1 strand DMC stranded cotton, Special dentelles 80 (tatting thread), flower thread, Pipers 40/3 silk gimp and DMC cotton a broder 16. The fabric used was Aida 14 count. Added stitches My favourite way to shade a design is to add extra stitches to a pattern. To achieve the darkest tones in the middle of the pansy vertical and horizontal rows were worked on top of the existing diagonal lines. Some patterns can be built up in a number of steps to produce many tones, as in the photograph right. Others are limited in the amount of extra stitches that can be added. For examples of shaded blackwork designs check the following web pages. Rhino and elephant - these designs use the fill patterns shown in the photograph above. Coral - a 1930's period lady who's skirt uses shading techniques Blackwork flowers - all the flowers on this page involve shading Page 19

20 Over-dyed threads are difficult to describe as each one consists of a unique blend of colours and tones randomly dispersed throughout the skein. The photograph, left, shows a few examples from various companies. You may also find these hand-dyed threads referred to as space-dyed or hand painted. Variegated threads differ, in that they are machine dyed and have measured blocks of colour changing from dark to light along their length. Over-dyed threads are wonderful to work with but there are some points to bear in mind when using them for blackwork. Threads with large differences in tone can cause problems: if you are working on light fabrics the light sections of a thread can disappear and if the background is dark it is difficult to see the dark sections. Because the colours and tones change randomly it is best to use backstitch rather than double running stitch. The chances are that if you use the latter, the colour will have altered by the time you make the return journey giving a spotty, disjointed effect as seen in the top row of the photograph right. Space-dyed threads are dyed by hand which can result in differences between one skein and another of the same make. You may wish to purchase enough thread from the same dye lot to complete a project and avoid the problems of trying to match it later. Lastly, as I mentioned in the section on threads, not all space-dyed threads are colourfast. Therefore it is best not to use them for items that will need regular washing, such as napkins or tablecloths. A good way to test if the colour is going to run is to wet the thread and place it on a paper towel. If it bleeds onto the towel, try to use it on a project that will not need washing. Keeping your hands clean whilst stitching can help to avoid the necessity of washing the work when it is completed. I used an over-dyed thread in the tail of my mermaid design, Marina. Page 20

21 After practising some of the patterns in the pattern library it is time to use them in the context of a design. In this section you will find stitch-by-stitch instructions for the first two designs which will guide you through outlining, fill patterns and simple shading. After these introductory lessons I will still be holding your hand for the following designs until you gain confidence to tackle something on your own. Where I have used fill patterns I have given their names so that you can refer back to the diagrams in the pattern library for assistance. The first six designs could be mounted into coasters. Just remove the plastic back from the coaster, position it over the design and use it as a template to draw around. Cut the work, just inside the drawn line, and then slip it into the coaster. The backing plastic then pushes into place to hold the fabric securely. To enlarge the leaf borders just add extra repeats along each side. Alternatively you could make a bookmark by working one repeat along the top and bottom and as many as required down the sides. The Celtic Diamond could be repeated and used on a cushion (pillow). Lastly I have included the patterns for the sailing boat and lion used as illustrations earlier in the book. You could also stitch the outline of the lion and choose your own fill patterns. I would love to see the results of your experiments. Page 21

22 Materials 6" (15.25 cm) square Aida 14 or Jobelan 28 DMC stranded cotton Size 24 tapestry needle Design size: 2.7 x 2.7" (6.85 x 6.85 cm) Step 1. Outline The outline can be worked in either backstitch or double running stitch. Separate the cotton into 2 strands and following the chart outline the petals. To work these in double running stitch work the red stitches on the outline of the petal first, then make a return journey to fill in the gaps. One petal of each shape is shown with a red dashed outline. As this is a symmetrical design you can turn it round to line up the guide petals so that they lay next to a petal you have completed, this helps to avoid unnecessary counting. Step 2. Zigzag fill pattern Using a single strand of cotton work this fill pattern in the vertical and horizontal petals. Work two of these petals in double running stitch as shown in the photograph (right). Start in the centre of a petal and work each zigzag row in 2 stages leaving gaps on the outward journey (red stitches on top petal on your chart) and filling them in on your return. In this way the pattern on the back of your petal will look the same as that on the front. The photograph (left) shows how the needle will travel to complete the second journey of each row. (Please note that the photographs show the needle being used in a sewing position, however, blackwork is best stitched by using a stab stitch technique when working on a hoop.) Work the remaining rows to fill the petal. The photograph (left) shows how the needle will travel to complete the second journey of each row. (Please note that the photographs show the needle being used in a sewing position, however, blackwork is best stitched by using a stab stitch technique when working on a hoop.) Work the remaining rows to fill the petal. To see the difference, work the remaining two petals in backstitch. This will not give a reversible piece of work, instead rows of straight stitches will be visible on the back (see photograph right). Page 22

23 Step 3. Chain link fill pattern Next we will move on to the diagonal petals. We will use double running stitch again for these. Working clockwise, the photograph (left) shows the four stages in completing a row of this pattern. Starting with the petal shown in the top left of your chart, work the first journey missing gaps as before. Fill in the gaps on your return journey as in the top right petal in the photograph. Next work the red stitches in the bottom right petal on your chart to begin the third stage of this pattern. Again fill in the gaps to complete the row on the way back. Page 23

24 Materials 6" (15.25 cm) square Aida 14 or Jobelan 28 DMC stranded cottons, 209 (lavender), 550 (purple), 3346 (green) DMC stranded metallic thread, 5282 (gold) or gold seed beads Size 24 tapestry needle Design Size 3 x 3" (7.62 x 7.62 cm) Step 1. Outline The outline can be worked in either backstitch or double running stitch. Separate the purple cotton into 2 strands and follow chart 1 on the previous page. The red stitches on the lower petal can act as a guide if you wish to work in double running stitch. The black stitches are filled in on the return journey. Page 24

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26 Step 2. Lightest tone Using a single strand of lavender cotton start by working the diagonal lines in either backstitch or double running stitch, following the thin mauve lines on chart 2. Then work the diagonal lines in the other direction to form the lightest toned fill pattern. See photograph (left).. Step 3. Medium tone Next we will begin to add depth to our pansy petals. For this lesson we are using two strands of the purple stranded cotton but the same effect would be achieved if you used one strand of a thicker thread. Leaving the square in the centre of the flower empty, fill in the rest of the petals using the same method as in Step 2. Both the colour and thread thickness help to make these parts of the petals look darker, as can be seen in the photograph right. Step 4. Darkest tone To make the middle of our pansy look even darker we will, this time, add extra stitches to those already worked. Using 2 strands of the purple, work horizontal then vertical rows where shown in orange on chart 2. The centre of your pansy is stitched in cross stitch using 2 strands of the gold metallic thread. Alternatively you could attach gold seed beads in this area. Step 5. Leaves Our last job is to work the leaves using the green thread. Outline with two strands in either backstitch or double running stitch. The light toned pattern is worked in a single strand using running stitch. No shading has been used on the leaves to give a contrast to the flower. If you wish you could stitch the centre row of each leaf in two strands to form the illusion of a vein. Summary We have used three methods to achieve the shading on this design: varying the thread colour, varying the thickness of the thread and varying the pattern itself. Using all three techniques in one design is perhaps rare but this lesson gives you the chance to see how each is worked. Page 26

27 Materials 6" (15.25 cm) square Aida 14 or Jobelan 28 DMC Stranded cotton, 1 skein 310 (black) DMC stranded metallic, 1 skein 5282 (gold) Size 24 tapestry needle Design size 3.7 x 3.7" (9.39 x 9.39 cm) Page 27

28 Just outlines for this design. The coloured lines once again show the journey to take if you wish to use double running stitch. Start at the pink dot by counting up 18 Aida blocks from the centre of your fabric and then 2 to the left. Following the arrows on the pink lines outline the knots taking side paths (coloured blue and green) where indicated. The green dots show where you will reverse direction to fill in the gaps on the side paths before rejoining the main route. The bottom section of the chart shows the return journey to fill in the gaps and work the crossover sections in the middle of the knot. Start at the large black dot this time and follow the blue lines. You will have to stop two stitches below the pink dot on the top section of the chart as the next stitch is already in place! Rejoin your thread and work the yellow stitches to complete the knot. Where the knots meet skip the stitches that have been completed when stitching a previous knot. The side knots are drawn fully in black and can be followed if you prefer to use backstitch for your outlines. The final step is to work the gold metallic accent lines down the middle of each knot. This time I have left the path for you to work out. You may find it helps if you take a highlighter pen and mark in the dotted lines for yourself if you wish to stitch these in double running stitch. Page 28

29 Leaf border 1 Materials 6" (15.25 cm) square Aida 14 or Jobelan 28 DMC Stranded cotton, 1 skein 310 (black) Size 24 tapestry needle Design size: 3.4 x 3.4" (8.63 x 8.63 cm) Use 1 strand of cotton throughout. The guidelines show how to work this design in double running stitch. Start by working the pink lines in a clockwise direction around the leaves. When you reach the dot bring the needle back up in the centre to work the last two pink lines. Reversing direction, work the blue lines around the leaves until you reach the centre again. Each vein is worked by stitching the yellow line first then the green. Move on to the next cluster of leaves leaving the trailing stems to be completed on the last return journey. Page 29

30 Materials 6" (15.25 cm) square Aida 14 or Jobelan 28 DMC Stranded cotton, 1 skein 310 (black) Size 24 tapestry needle Design size: 2.9" x 2.9" (7.36 x 7.36) Use 1 strand of cotton throughout. The guidelines show how to work this design in double running stitch. Work the pink lines first completing each leaf as you come to it, leave the main stem until the return journey. Work the inside border last. Page 30

31 You will need: 6" (15.25 cm) square Aida 14 or Jobelan 28 DMC Stranded cotton, 1 skein 310 (black) Size 24 tapestry needle Design size: 3.4 x 3.4" (8.63 x 8.63 cm) Use 1 strand of cotton throughout. No outlines here, just dive straight into the patterns! Start in the centre and stitch the Flower and Lozenge pattern. Add the backstitched X s in the spaces left. Page 31

32 You will need: 7.5 x 8" (19 x cm) Aida 14 or Jobelan 28 DMC Stranded cotton, 1 skein 310 (black) Size 24 tapestry needle Design size: 3.6" x 3.9" (9.14 x 10 cm) No outlining here again. Work all fill patterns in 1 strand. The mast is worked in 2 strands. Page 32

33 Materials x 9" (26 x 23 cm) Aida 14 or Jobelan 28 DMC Stranded cotton, 1 skein 310 (black) DMC stranded metallic, 1 skein 5282 (gold) Size 24 tapestry needle Design size: 4.7 x 3" (12 x 7.62 cm) Use 2 strands for the outlines and 1 strand for the fill patterns. Page 33