HACER BORDADO DE FLORES MUY FÁCIL :Aprenda a bordar inmediatamente. Algunas cosas, incluidas las antiguas, las nuevas, las prestadas y ....

One of the most interesting aspects of drawn thread embroidery is the way the remaining threads are grouped together for decorative effects. There are heaps of ways to group together threads! And I’m not even sure all books agree on the names of the techniques. On one drawn thread area on my whitework techniques sampler, ...

Explore Rafa Sanahuja's 253 photos on Flickr!

«El bordado mallorquin, o «punto mallorquín», es característico de las Islas Baleares y nos recuerda más a los realizados al otro lado del Mediterráneo, a los de Persia o la India, que a otros geog…

Hoy toca visitar la casa de tu madre o de tu abuela o de esa tía soltera que siempre tiene el piso impecable decorado con reliquias de un pasado mejor y remover cómodas, cajones, armarios y baúles porque en el post de hoy os propongo un tutorial de lo más sencillo: hacer un camino de mesa de crochet o de ganchillo (que viene a ser lo mismo). Si sois de las afortunadas que tienen esos tesoros en la familia pues genial y, si no es así, no os preocupéis porque podéis encontrar tapetes de ganchillo en tiendas de antigüedades, de artesanía local o en mercerías especializadas. Quedarán ideales en bodas

Tenemos dos novedades en libros que acaban de llegar a La Casina Roja . Se trata de una nueva colección sobre técnicas de bordado de la Royal School of Needlework y que están publicadas en francés. Broderie Crewel : El Bordado Crewel es una antigua...

Descubre este tipo de bordado mexicano, qué representa y para qué se usa

Decorar tela con bordados es una hermosa forma de expresar la creatividad; pero, para muchos, la costura es una labor de las abuelitas y no les llama la atención aprender. Si tú eres uno de ellos, presta atención a estos increíbles trabajos porque seguramente van a hacer que cambies de opinión y cor

Die gefaltete Erbslochkante habe ich schon an vielen verschiedenen Stickereien gesehen. Da ich sie reizvoll fand, versuchte ich sie nachzuarbeiten Mit dem ersten Ergebnis war ich sehr unzufrieden. Nach mehreren Versuchen gelang mir ein besseres Ergebnis, und dies ist, was ich herausfand: Die Löcher des Hohlsaumes müssen größer sein – Bohnen (anstatt Erbsen) sollten zwischen die beiden Reihen von Kästchenstichen passen. Das Zusammenbinden der beiden Bündel sollte nicht mit einer Schlinge oder einem Knoten geschehen, weil dies das Erscheinungsbild beeinträchtigen würde. Außerdem ist ein Knoten hier nicht nötig, denn die Bündel bekommen später zusätzlichen Halt durch nochmaliges Umwickeln. Der Fadenauszug gestaltet sich folgendermaßen: 1 Faden ausziehen 4 Fäden stehen lassen 1 Faden ausziehen 8 Fäden stehen lassen 1 Faden ausziehen 4 Fäden stehen lassen 1 Faden ausziehen Von der Rückseite der Arbeit aus werden Kästchenstiche in gewohnter Weise gestickt. Dann werden gewickelte Erbslöcher gearbeitet. Das erste Bündel eines Erbsloches wird 8 mal von unten nach oben umwickelt. Es ist darauf zu achten, dass die Wicklungen parallel liegen und sich nicht überkreuzen. Das zweite Bündel des Erbsloches wird 3 mal von oben zur Mitte umwickelt. Beide Bündel werden in der Mitte durch 2 Umwicklungen verbunden. Nach der zweiten Wicklung wird der Faden sehr fest angezogen. Je dichter die Bündel zusammen liegen, desto spitzer erscheint das gefaltete Erbsloch später. Das zweite Bündel wird dann noch dreimal nach unten hin umwickelt. Nach Fertigstellung der Reihe werden die Rückseiten der beiden Kästchenstichreihen übereinander gelegt. Kleine Dreiecke erscheinen am Rand. Von der rechten Seite der Arbeit aus und von rechts nach links arbeitend, sticht man in einem Loch zwischen zwei Kästchenstichen aus, das zwischen zwei Dreiecken liegt. Man führt die Nadel gerade nach oben und umwickelt die rechte Seite des Dreiecks einmal, indem man die Nadel von hinten nach vorn durch die Mitte des Dreiecks führt. Um das Einstechen in die Mitte zu vereinfachen, kann man den Erbslochhohlsaum ein wenig auseinander falten. Man umwickelt die rechte Seite des Dreiecks so oft wie nötig, um oberes und unteres Bündel zu vereinen (2 – 3 mal). Man führt den Arbeitsfaden um den Fuß des Bündels nach hinten und kommt mit der Nadel zwischen den Kästchenstichen unterhalb der Mitte des Dreiecks wieder heraus. Man führt die Nadel gerade nach oben, sticht von vorn nach hinten durch die Mitte des Dreiecks und umwickelt die linke Seite des Dreiecks so oft wie nötig, um oberes und unteres Bündel zu vereinen (2 – 3 mal). Man führt den Arbeitsfaden um den Fuß des Bündels nach hinten und kommt mit der Nadel im nächsten Loch zwischen den Kästchenstichen wieder heraus. Man setzt die Arbeit in dieser Weise fort. Falls nötig, kann man die Dreiecke mit Hilfe der Nadel noch etwas in die Länge ziehen. Die Rückseite sieht so aus: Ein hübsche, kleine Kantenverzierung ist entstanden. Hier wurde sie auf 13,5fädigen Leinen mit Vierfachstickgarn Nr. 30 gearbeitet.

En un post anterior (click) os mostraba unas sábanas de lino antiguo, eran demasiado burdas con costuras que unen los paños y las recorr...

These scarves are simple to make, even if you have very little embroidery experience. Best…

The butterfly is the one the most beautiful fly on the earth. They are foreign and almost all of them are very beautiful and attractive. As they have different colours also you can choose any colour and start crocheting now what we have found for you today. Today for you we have a pattern that […]

Créations artistiques autour de la broderie...

Entre las muchas variaciones del #bordado en #puntodecadeneta, las hay con mucho relieve, como las que vamos a ver hoy.

Hoy os traemos un tutorial para que deis un toque especial a vuestros recuerdos. Una foto antigua o una nueva, usa la que quieras. Es un bonito regalo, un recuerdo de un momento especial para decorar

En este contenido conocerás las herramientas, materiales y puntadas básicas para hacer manteles bordados a mano paso a paso, originales y muy hermosos

A mitered corner is an elegant finishing touch, a crisp fold that tucks a hemmed…

Los órganos pelvianos internos (ovarios, trompas y útero) están relacionados con el segundo chakra. Su salud depende de que la mu...

Each month I'm presenting a new tutorial on a medieval skill from various types of textile-related crafts. The purpose is two-fold. First, it will allow me to locate, study, and try a variety of new techniques I might otherwise overlook, and second, it's an easy way to get information out there about skills that other people might be looking for or find helpful. This month, I present Interlaced Herringbone Insertion Stitch. If you've done any studies on the Cap of Saint Birgitta, you've probably been introduced to the fancy technique known as interlaced herringbone stitch. In the case of the SBC, this intricate embroidery method is used to connect the two panels of the cap along the center seam, thus making it not only decorative, but functional as well. Such embroidery falls within the category of an "insertion stitch". The highly woven method used on the SBC rests pretty squarely on the advanced end of the spectrum, but the interlaced herringbone stitch that most modern embroidery dictionaries present is relatively easy. The herringbone that forms the base of the stitch should be worked evenly for best results, so a light mark or other measuring technique needs to be employed to identify the two parallel rows on each side of the gap. It's also a good idea to fix that gap distance by attaching the panels to a base piece temporarily while you're working the decorative stitch. The foundation of the interlaced stitch is a double herringbone stitch that's woven properly to allow the over/under weaving pattern work out correctly. There is an extra step to the herringbone stitch to allow this to happen. To begin, start your stitch on the bottom left by pulling it up from underneath. Then bring the thread diagonally across the gap, and pick up several threads on the top from right to left. Instead of carrying the thread back over the gap like regular herringbone stitch, slide the needle under the first crossing thread. Now complete the right to left pick-up stitch on the bottom of the gap. Bring the thread back across the gap, this time without bringing the needle under any threads. Pick up several threads, going right to left. Slide the needle underneath the crossing thread you just made. Follow that pattern until you reach the end of the gap. The needle passes under the thread as it goes to the bottom, but stays on top as it goes back up to the top. When the row is complete, bring the thread across the gap and up through the fabric from underneath to begin the double herringbone on the return trip. [Note: My example is short, so if I was working with a long seam, like on a huvet, I'd end my thread on the first pass, and start a new length of thread on the second pass. Bring your new thread up from the back in the same location as this- you'll just be missing the crossing thread I created.] Bring the needle diagonally down and underneath the last crossing thread from the first pass. Pick up several threads, now from left to right, on the bottom. Position your pickup stitches between the first pass stitches. Bring the needle back to the top, going under the first thread, and over the second. Pick up several threads, from left to right. Going down, pass over the first thread, and under the second. Continue in that pattern until you are back to the beginning. When going up, go under then over. When going down, go over then under. The third pass will create the top half of the interlacing. If you're going to start a new thread, bring it up from the back on the top, close to where the final herringbone stitch went through the fabric. [Note: At this point, it's best for me to explain the steps using \ , / and V to correspond with the direction of the threads. You'll need to rely on the photos to help you make sense of that.] Slide the needle under the left-most / on the bottom side of the center crossing point. Now bring the needle over the first \ and under the second \. Bring the needle into the first top V, sliding it under the left-hand thread. Now, weave through all three / threads, going over the first and under both the middle and last. Weave through the next set of \ threads going upward, first over, then under. Bring the needle into the top V, again sliding it under the left-hand thread. Now, again, weave through all three / threads, going over the first and under both the middle and last. Repeat the pattern until you reach the end. Now, we will begin the return pass by first sliding the needle under the last / thread on the top side of the center crossing point. Weave through the first set of three \ threads, over the first and under both the middle and last. Bring the needle into the bottom V, this time passing under the right-hand thread. This portion of the interlacing gets tricky. There are four / threads to weave through on the upward cross over. The second of these threads can be hard to get, since it's the thread you just brought under two threads. The pattern going upward is over, under, over, under. Once again, the weaving pattern going back down is over the first, under the middle and last. Bring the needle into the bottom V, sliding under the right-hand thread. And over, under, over, under the four / threads going back up. Repeat back to the beginning. You might find it helpful to switch to a tapestry needle when you work the interlacing, to avoid splitting the threads. You can also turn your needle around and use the more blunt eye end. When you get back to the start, you have a completed interlaced herringbone stitch! A few other points: The distance between herringbone arms and the length of your pickup stitches on either side can greatly affect the end result. Experiment. Keep your threads long to avoid needing to change threads before you reach the end. I don't have any mathematical formula for this, unfortunately, but the weaving does take a fair amount of length. If you do end up needing to change threads midway through, bring the threads to the closer side and hide it behind an existing herringbone thread, through to the back where it can be knotted off. Then, bring your new thread back out in the same location, making sure to treat all three threads in that location as a single thread during the weaving. If you've got this one down and are interesting in trying the more complex interlacing found on the Saint Birgitta's Cap, I recommend checking out Catrijn's Interlacing Diagram.

Q: Why shouldn’t I just take a pair of scissors and hack off all the excess fabric that sticks out behind my wooden embroidery hoop? A: 1) Because you’ve gone to all this trouble to sti…

Bordar, como otras actividades creativas se considera que puede ayudar a la relajación y a liberar el estrés. Sin embargo, también puede permitirnos sacar nuestro lado más creativo con tan solo usar algunos hilos de color, aguja, paciencia y mucha imaginación. Es por eso que algunas personas se sienten orgullosas de compartir los resultados de su esfuerzo.

Each month I'm presenting a new tutorial on a medieval skill from various types of textile-related crafts. The purpose is two-fold. First, it will allow me to locate, study, and try a variety of new techniques I might otherwise overlook, and second, it's an easy way to get information out there about skills that other people might be looking for or find helpful. This month, I present Interlaced Herringbone Insertion Stitch. If you've done any studies on the Cap of Saint Birgitta, you've probably been introduced to the fancy technique known as interlaced herringbone stitch. In the case of the SBC, this intricate embroidery method is used to connect the two panels of the cap along the center seam, thus making it not only decorative, but functional as well. Such embroidery falls within the category of an "insertion stitch". The highly woven method used on the SBC rests pretty squarely on the advanced end of the spectrum, but the interlaced herringbone stitch that most modern embroidery dictionaries present is relatively easy. The herringbone that forms the base of the stitch should be worked evenly for best results, so a light mark or other measuring technique needs to be employed to identify the two parallel rows on each side of the gap. It's also a good idea to fix that gap distance by attaching the panels to a base piece temporarily while you're working the decorative stitch. The foundation of the interlaced stitch is a double herringbone stitch that's woven properly to allow the over/under weaving pattern work out correctly. There is an extra step to the herringbone stitch to allow this to happen. To begin, start your stitch on the bottom left by pulling it up from underneath. Then bring the thread diagonally across the gap, and pick up several threads on the top from right to left. Instead of carrying the thread back over the gap like regular herringbone stitch, slide the needle under the first crossing thread. Now complete the right to left pick-up stitch on the bottom of the gap. Bring the thread back across the gap, this time without bringing the needle under any threads. Pick up several threads, going right to left. Slide the needle underneath the crossing thread you just made. Follow that pattern until you reach the end of the gap. The needle passes under the thread as it goes to the bottom, but stays on top as it goes back up to the top. When the row is complete, bring the thread across the gap and up through the fabric from underneath to begin the double herringbone on the return trip. [Note: My example is short, so if I was working with a long seam, like on a huvet, I'd end my thread on the first pass, and start a new length of thread on the second pass. Bring your new thread up from the back in the same location as this- you'll just be missing the crossing thread I created.] Bring the needle diagonally down and underneath the last crossing thread from the first pass. Pick up several threads, now from left to right, on the bottom. Position your pickup stitches between the first pass stitches. Bring the needle back to the top, going under the first thread, and over the second. Pick up several threads, from left to right. Going down, pass over the first thread, and under the second. Continue in that pattern until you are back to the beginning. When going up, go under then over. When going down, go over then under. The third pass will create the top half of the interlacing. If you're going to start a new thread, bring it up from the back on the top, close to where the final herringbone stitch went through the fabric. [Note: At this point, it's best for me to explain the steps using \ , / and V to correspond with the direction of the threads. You'll need to rely on the photos to help you make sense of that.] Slide the needle under the left-most / on the bottom side of the center crossing point. Now bring the needle over the first \ and under the second \. Bring the needle into the first top V, sliding it under the left-hand thread. Now, weave through all three / threads, going over the first and under both the middle and last. Weave through the next set of \ threads going upward, first over, then under. Bring the needle into the top V, again sliding it under the left-hand thread. Now, again, weave through all three / threads, going over the first and under both the middle and last. Repeat the pattern until you reach the end. Now, we will begin the return pass by first sliding the needle under the last / thread on the top side of the center crossing point. Weave through the first set of three \ threads, over the first and under both the middle and last. Bring the needle into the bottom V, this time passing under the right-hand thread. This portion of the interlacing gets tricky. There are four / threads to weave through on the upward cross over. The second of these threads can be hard to get, since it's the thread you just brought under two threads. The pattern going upward is over, under, over, under. Once again, the weaving pattern going back down is over the first, under the middle and last. Bring the needle into the bottom V, sliding under the right-hand thread. And over, under, over, under the four / threads going back up. Repeat back to the beginning. You might find it helpful to switch to a tapestry needle when you work the interlacing, to avoid splitting the threads. You can also turn your needle around and use the more blunt eye end. When you get back to the start, you have a completed interlaced herringbone stitch! A few other points: The distance between herringbone arms and the length of your pickup stitches on either side can greatly affect the end result. Experiment. Keep your threads long to avoid needing to change threads before you reach the end. I don't have any mathematical formula for this, unfortunately, but the weaving does take a fair amount of length. If you do end up needing to change threads midway through, bring the threads to the closer side and hide it behind an existing herringbone thread, through to the back where it can be knotted off. Then, bring your new thread back out in the same location, making sure to treat all three threads in that location as a single thread during the weaving. If you've got this one down and are interesting in trying the more complex interlacing found on the Saint Birgitta's Cap, I recommend checking out Catrijn's Interlacing Diagram.

Hoy seguimos con las Puntadas bordado para flores (2º parte). De hecho, voy a hablaros de Puntada Picot, Puntada de Tallo y puntada de pluma.

I’ve recently committed myself to a cross stitching project and there’s honestly no turning back now. The idea is to sit and stitch just one flower a day, using Carolyn Manning’s Stitch Along pattern. Despite…

Hola Hace mucho que no tomaba mis blogs, aprovecharé ahora la cuarentena para aprender algo más yo también. Buscando otra cosa di con esta revista y quise compatirla con uds. Es acerca del bordado Ric

Aprende la técnica de bordado ruso con la aguja mágica