Embroidery in the late 20th century has come a long way from the traditions of the past. However, the basic methods still hold good - without sound technique and favorable materials and tool embroiderers are unlikely to be able to exploit their ideas to originate inspiring and innovative work.
Most habitancy conduct with quite a small basic kit of tools:
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Scissors, pins and needles, tape quantum and embroidery frame, and these, together with an iron and a sewing machine, are all that are needed to make a start.
Needles
It is valuable to choose a needle which suits both the fabric, and thread and the type of embroidery you are undertaking. The needle should pass unquestionably through the fibres of the fabric, and the yarn through the eye of the needle. Needle size is designated by number, with the lowest number in each type signifying the longest and thickest.
Embroidery (or crewel) needles in sizes 1-10 have long eyes which will take embroidery silks, cottons and linens, and fine wools. They are favorable for a wide range of embroidery techniques.
Quilting needles, also known as "betweens", and made in sizes 1-10, are short with small round eyes. They are ideal for making the quick, even stitching needed for techniques such as quilting and hemming in fine thread.
Chenille needles, in sizes 13- 24, have sharp points and large eyes, and will take all types of thick yarn as well as ribbon and raffia.
Tapestry needles are similar to chenille's, and also come in sizes 13-24, but have blunt points which slip in the middle of the threads of canvas or the fibres of even weave linen, making them the definite option for needlepoint and all the counted thread methods. Other expert needles include long, fine beading needles, and leather needles whose triangular points will pierce all types of leather, suede or plastic.
Bodkins are for threading elastic, ribbons and cords, while circular needles are goof for three-dimensional embroidery.
Threads
Good-quality thread and yarns are essential, and they should be prime not only for practical reasons but also for aesthetic ones: colour and texture are both vital factors in embroidery.
There are so many dissimilar types of thread on the store today that the option may at first be overwhelming.
Indeed anything which can be threaded through the eye of a needle can be put to use in an imaginative way for experimental work. Also conventional embroidery threads, knitting and crochet yarns, ribbons and cords are also easily available, while some of the more expert items can be purchased by mail order.
Cotton threads in a range of colours and thicknesses are widely used for all types of embroidery, as they are hard- wearing and washable. Stranded cotton is particularly versatile because the six strands can be divided to yield a number of thicknesses. This makes it favorable for dissimilar effects and techniques, particularly for face stitches. For counted thread work, changes of tone can be achieved by varying the number of strands. In needlepoint, cotton can add lustre to unlikeness with the matt texture of the more usual woollen threads.
Pearl cotton is a shiny, twisted yarn which comes in balls and skeins in three thicknesses -3, 5 and 8. It is favorable for face embroidery and needlepoint as well as coarser types of counted thread work.
Coton a broder has a minute sheen and is of fine twisted construction. It is particularly good for counted thread techniques and smocking as there are no strands to separate.
Soft embroidery thread is a thick cotton yarn with a matt surface; it can be used for needlepoint and work on coarsely woven fabrics.
Embroidery wools come in some qualities and thicknesses. Although some are primarily manufactured for needlepoint, they are favorable for all types of face embroidery such as crewel and laid work.
Tapestry wool is a 4-ply twisted yarn, while crewel wool is 2-ply and can be used singly or some strands at a time. 3-stranded Persian wool is loosely twisted.
In addition to cotton and wool threads, linen and silk are ready in expert shops - linen has a dull, slightly rough face in unlikeness to the beautiful lustre of silk.
Machine threads include commonplace sewing cotton and polyester as well as thicker buttonhole twist. In recent years the range ofembroidery threads has been vastly extended to include metallic-finish and shaded varieties.
Metal threads come in gold, silver, copper and aluminium, fluctuating in type from fine tambour threads favorable for stitching to thicker cords and braids which have to be couched. Nowadays many habitancy use artificial threads for metal thread embroidery.
Fabrics
When selecting fabrics, the practical aspect of the project should be carefully as well as the colour and texture. Wall hangings and embroidered panels gift few practical barriers, whereas garments and household items need a fabric which can be cleaned or washed. For all decorative items, the texture and colour of the background fabric will make a optic impact together with the other materials used.
In addition, it is valuable to choose fabrics which are favorable for the single embroidery technique. embroidery fabrics are ordinarily cotton or linen, which may be intimately woven for face embroidery and cutwork techniques. Evenweave fabrics, which are all the time used for counted thread work, are woven, with from 12 to 32 threads per 2.5 cm (1 in). Some, such as Aida and Hardanger fabrics, are constructed with a double-thread weave.
Dress and furnishing fabrics in both natural and artificial fibres are ready in a wide range of textures and patterns. These may be incorporated in appliqué projects or used as backgrounds.
For needlepoint embroidery, there are two main types of woven canvas, those with single or duplicate threads. Both are ready in assorted widths and gauges (or threads per inch. single (or mono)canvas comes in gauges fluctuating from 10 to 24 threads per 2.5cm (1 in) and is more adaptable for stitching a collection of stitches. duplicate (or Penelope) canvas is generally used for trimming or for fine details. Rug canvas in gauges 3 to 7 is favorable for large-scale work, and a recent innovation in moulded plastic is used for rigid articles such as boxes and tablemats.
There are a number of subsidiary types of fabrics which are used by embroiderers to keep or pad their work.
Wadding is ordinarily made of artificial fibres, but sometimes of silk or cotton. Its main use is for quilting (page 101) or for padding and stuffing three-dimensional shapes. Felt can also act as a firm padding or as an insertion in types of appliqué.
Non-woven iron-on or sew- in interfacings used by dressmakers are also favorable for stiffening fabrics for appliqué or for backing fulfilled, wallhangings; bonding web is extremely useful for fusing fabrics together.
Dissolvable fabrics used for making lacy effects and constructions by machine come in whether hot- or cold- water types.
Other equipment
Two pairs of sharp scissors are needed for embroidery - a large pair for cutting out fabric and a small pair for trimming threads and cutting intricate pieces or holes.
Pinking shears are useful for cutting decorative edges. A stiletto, often found in old workboxes, is used for making eyelets in broderie anglaise.
Using a thimble is largely a matter of personal choice, but will prevent sore fingers when quilting or working in leather. A block of beeswax is useful for techniques such as quilting and metal thread embroidery. The thread is drawn through it, preventing it becoming twisted and helping to give it strength.
Design materials.
Most of the tool needed for designing embroidery is easily at hand. A sketchbook, pencils and some coloured crayons or felt tips are all that are needed for your introductory attempts.
If you prefer to use paint, watercolour, poster and gouache are the most useful. dissimilar types of paper, along with tracing and graph paper, are required for some methods, while coloured and textured papers and card are good for stencils or for trying out bold ideas. Paper scissors, a craft knife and metal ruler are useful implements when working with paper or card. Fabric and paper adhesives, masking tape and geometry instruments can all be purchased as and when the need arises.
Transferring designs.
There are a number of ways of transferring and marking the make on to the background fabric. The method and the type of marker depends on the technique chosen, the fabric and the intricacy of the design. In every case the make should be very lightly marked so that it will not show when the embroidery is complete. Fabric markers include dressmakers' chalk and pencils, water-soluble and air-soluble pens, replacement and permanent pens.
Direct tracing is probably the simplest method for transparent materials. If the fabric is opaque, it can be taped to a window (or a light box) with the make beneath it.
Dressmakers' carbon comes in some colours and works in the same way as commonplace carbon paper.
Pricking and pouncing is one of the oldest methods and is favorable for repeat motifs as only one tracing needs to be made.
Tracing and tacking is best for bold designs. A version of this method is used in machine quilting when the form of the make is stitched directly through the tracing paper.
You should be able to source all of these things from your local haberdashery store, or if you don't have one there are plentifulness of online haberdashery suppliers.
embellishment - making a Start
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