Brick stitch is a way of filling patterns in a brick-like fashion. Shading can be done using this stitch by using a different colored thread for different layers of the stitches. This stitch can be used in place of the satin stitch. What you will need? Any fabric. Embroidery hoop, 15cm (6″) (Bigger if you are...Read More »
Learn how to do a brick stitch and a double brick stitch in this embroidery tutorial. This stitch is great for filling in shapes...
Learn how to do a brick stitch and a double brick stitch in this embroidery tutorial. This stitch is great for filling in shapes...
Learn how to do a brick stitch and a double brick stitch in this embroidery tutorial. This stitch is great for filling in shapes...
La borsina finita: circa 9x11 cm più 3cm di nappine. / The finished purse: 9x11 cm plus 3cm of tassels. Si ritorna al brick stitch, ma stavolta si fa sul serio. Il brick stitch è un ricamo tipicamente tedesco, arrivato anche in altre zone, quali ad esempio Belgio e Svizzera, ma forse anche in Spagna , utilizzato tra il XIV e il XV secolo per decorare borsine, reliquiari e anche manufatti più grandi, quali ad esempio drappi ricamati con scene religiose utilizzati in conventi e chiese. Il punto è di esecuzione piuttosto semplice: si tratta di un tipo di ricamo contato in cui i punti vengono applicati, sempre verticalmente, uno accanto all’altro e permette di realizzare prevalentemente motivi geometrici. In Italia non mi risulta sia attestata la produzione di questo tipo di ricamo o il ritrovamento di qualche reperto, ma non era insolito che piccoli oggetti preziosi venissero importati anche da lontano (come le “burse franzische”, borsette francesi, spesso menzionate negli inventari). Lo schema che ho utilizzato è questo : è stato ricavato da una tappezzeria prodotta probabilmente in Sassonia intorno al 1400. Le dimensioni della mia borsina sono 9 x 11cm circa + 3 cm di nappine e rispecchiano quelle piuttosto ridotte di diversi reperti. L'inizio del ricamo. / The beginning of the embroidery. Materiali utilizzati - Supporto per il lavoro: telaio quadrato di legno. Qui in un mio vecchio post e qui su Historisk Garderob potete trovare qualche attestazione di telai. - Lino per il ricamo contato, con 11-12 fili per centimetro, 2 pezzi di circa 15x15 cm. - Lino azzurro pallido per la fodera: 2 pezzi di circa10x13 cm. - Seta a filamento proveniente da Devere Yarns, 1200 denier (60 fili) per il ricamo e per la copertura decorativa delle cuciture. I colori sono: Midnight (40) per il blu, Beeswax (55) per il giallo e Glace (67) per il rosso. Nel mio caso, sono serviti 2 rocchetti da 25m del colore principale (il blu) per completare la borsa, mentre per gli altri colori è stato sufficiente 1 solo rocchetto. Due parole sulla scelta dei materiali. Non esitate a scegliere la seta per i vostri ricami: su Medieval Silkwork Isis Sturtewagen spiega perché la seta “a filamento”, non ritorta, è il materiale giusto per questo tipo di riproduzione. Il costo dei filati di Devere Yarns non è così alto da spingere a optare per dei ripieghi: 25 metri costano meno di 2,50 euro, i colori sono tantissimi e trovarne di compatibili con i colori documentabili nel medioevo non è difficile. Non avete scuse: il segreto è trovare un’amica rievocatrice che voglia di fare un ordine e dividere con voi le spese di spedizione, e fidatevi, non farete fatica a trovarla! - Filo di lino blu 33/2 per cucire la fodera - Filo di seta giallo molto fine per la copertura decorativa delle cuciture. - Filo da asole di seta 24/3 giallo per intrecciare i cordini e per le nappe gialle - Filo di seta blu 70/3 per le nappine - Tempo: ho calcolato approssimativamente che per l’intero lavoro ho impiegato almeno 45 ore. A questo punto della seconda metà della borsa ho finito il primo rocchetto. / At this point of the second piece of the bag I finished the first 25m of blue silk. Procedimento Dopo aver scelto le dimensioni della borsa, ho tagliato i due pezzi di lino per il ricamo contato e ho messo il primo sul telaio. Ho iniziato il ricamo facendo una piccola prova con tutti i colori, poi ho continuato procedendo sulle linee orizzontali del disegno, cercando di utilizzare fili abbastanza lunghi (la lunghezza di un braccio) per rendere il lavoro più resistente. Una volta ultimati i ricami, ho foderato ogni metà singolarmente con il lino azzurro e le ho poi attaccate con una cucitura “a vista”, che ho poi ricoperto con questa tecnica in cui si utilizzano due fili della stessa tipologia di seta usata per il ricamo (io ho scelto rosso e giallo) e si fanno passare uno dentro l’altro, fissandoli con un terzo filo generalmente più sottile. Questo tipo di finitura è presente anche in alcuni reperti (ad esempio questo): ho eseguito la copertura decorativa sia sulle cuciture laterali che sui bordi inferiori e superiori della borsa. Ho realizzato i laccetti per chiudere la borsa e quello per appenderla alla cintura con un intreccio a due fili e, per concludere, ho realizzato le nappine (qui potete trovare le istruzioni). Siti Utili * MedievalSilkwork: sito fondamentale, utili in questo caso gli articoli sotto le etichette “pouches” e “embroidery” * Wymarc.com: potete leggere qui un articolo sul contesto storico in cui si sviluppa il brick stitch e qui potete trovare qui alcuni schemi per il ricamo e l’analisi dettagliata di alcuni reperti (mi risulta sia l’unico sito ad avere anche schemi sulla struttura complessiva delle borsine.) * Medieval Crafts: potete trovare sotto l’etichetta “brick stitch” numerosi schemi, ricavati non solo dalle borsine esistenti ma anche da alcuni pezzi più grandi, e le immagini di diversi originali e riproduzioni. * Alcune immagini ravvicinate di reperti qui. * La Cotte Simple: articolo sulle borsine “aumoniere” con una panoramica generale sulle diverse tipologie esistenti. Nappine: non hanno un'aria felice? / Tassels: don't they look happy? *** Back to brick stitch, and this time for real. Brick stitch is a German embroidery technique that reached also other territories, like Belgium, Switzerland and maybe also Spain. It was used between 14th and 15th century to decorate purses, relic purses and bigger textiles, like hangings used in convents and churches. The stitch is quite simple in its execution: it’s a counted work where stitches lye vertically one close to the other, to realize geometrical figures. I’m not aware of any finding documenting tge production or the import of this kind of embroidery in Italy, but what I can say is that it wasn’t unusual that small, precious items were imported from far countries (like the “French purses” often mentioned in Italian inventories). The pattern I used is this one: it comes from a hanging probably made in Saxony around the year 1400. The purse is 9x11cm plus 3cm of tassels: its small dimension reflects the size of some findings. My materials - As a working tool: a wooden frame. Here on my previous post and here on Historisk Garderob you can find some more information about medieval frames. - Evenweave linen for counted embroidery, with 11-12 threads/cm, 2 pieces of 15x15cm. - Pale light blue linen for the lining: 2 pieces of 10x13cm. - Filament silk from Devere Yarns, 1200 denier (60 threads) for the embroidery and for the decorative braided seams. The colours I chose are: Midnight (40) for the blue, Beeswax (55) for the yellow and Glace (67) for the red. For my purse I needed more than 25m of the main colour (blue), while 1 bobbin of 25m of lenght was enough for the other colors. A couple of words about the materials. Don’t hesitate to choose silk for your embroideries: here on Medieval Silkwork Isis explains why filament silk is the right choice for this kind of reproductions. Devere Yarn’s threads are actually affordable: 25 meters cost less than 2,50 euros, there’s a lot of beautiful colors that can be searched to find the ones more appropriate for the Middle Ages. You have no excuses: the trick is to find a re-enactor friend who wants to place and order with you and share with you the shipping costs, and trust me, you’ll easily find one! - Blue linen thread 33/2 to sew the lining - Thin silk thread for the decorative braided seams - Yellow buttonhole thread 24/3 to make the strings and for the yellow tassels - Blue silk thread 70/3 for the tassels - Time: it took me approx. at least 45 hours to complete the work. Finitura decorativa sull'apertura. / Decorative braided seam on the opening. Process First I decided the approximate dimensions of the purse, I cut the 2 pieces of linen for the counted embroidery and put the first in the frame. I started the embroidery making a small attempt with all the colors I chose, then I continued working on the horizontal lines of the pattern, trying to use quite long threads (a arm’s lenght) to make the work more resistant. After I finished both pieces, I lined every piece individually with the light blue linen and then I sew the 2 halves with a visible seam. I covered it with this technique: 2 threads of silk (of the same kind you use for the embroidery) are braided one into the other and are sewn to the bag with a thinner thread. This kind of finishing technique is seen also on some findings (like this one): I made the decorative braid on the side seams and on the lower and upper sides of the bag. I made the strings to close the purse and to hang it to the belt with a 2-threads braiding technique and, finally, I cut the tassels and attached them (you can see how to do it here ) Useful websites * Medieval Silkwork: this is a fundamental website, the most useful articles about purses are under the tags “pouches” and “embroidery”. *Wymarc.com: you can find here an article about the historical context of brick stitch and here many embroidery patterns and the detailed analysis of some findings (this is the only place where you will find the details about the construction of the extant pouches, as far as I know) * Medieval Crafts: under the tag “brick stitch” you’ll find many patterns from both extant purses and hangings, together with some pictures of the original findings and reproductions. * Here some detailed close-ups of extant pieces * La Cotte Simple: article about the “aumoniere” pouches with a general introduction about the different extant shapes.
These Van Gogh Starry night inspired earrings are made of high-quality Czech beads and metal components. They are elegant, fashionable, and highly versatile, suitable for everyday wear. Features: Sterling silver hooks Color: 5 shades of blue, 3 shades of yellow, silver. Length: S size - 6,5 cm (2.5 in) M size - 13 cm (5.1 in) L size - 17,5 cm (6.9 in) This item is currently in stock. You must be completely satisfied. If you find merchandise unsatisfactory for any reason, return it within 10 days and your money will be refunded without questions. More beaded earrings http://etsy.me/2ycItdb Gerdan necklaces http://etsy.me/2mihf0J Beaded necklaces http://etsy.me/2Dkf1Fo Crochet necklaces http://etsy.me/2CAPdFc Back to shop https://www.etsy.com/shop/Namystynka
100% Cotton • Hand Spun • Hand Woven • Naturally Dyed • Embroidery DetailCrafted from 100% cotton fibers and natural materials. This Kala Cotton Vest comes in a calm and soothing colour that we call Fire Brick naturally dyed from a host of ingredients ranging from madder root to onion peel.This unisex jacket comes with a round neck and patch pockets. It is adorned with stitch lines running across the surface. These lines not only create the effect of subtle stripes but also breathe life into the otherwise plain fabric, adding depth and texture.It has an adjustable and removable belt as an element of multi-functionality involving the wearer in the process of choice and interchangeability.Type of Button used: Mother of Pearls Buttons
Description This simple box is covered with German Brick Stitch embroidery. Generally found in the area of Germany the 14th to 15th centuries, the particular example this box was based on is dated to the end of the 13th century. According to Master Richard Wymarc’s article, “A Stitch Out of Time,” most of the examples are on an evenweave linen, using mostly silk embroidery threads (on occasion linen), and consist of vertical stitches over 2, 4 or 6 threads. Occasionally, other length stitches are seen depending on the pattern. There are examples of pouches made from this technique in the Victoria & Albert Museum such as this one from the 14th century. (14th C. German Bag © Victoria & Albert Museum, London) There are also examples of boxes covered with fabric or the embroidery. The following box is from the 14th to 15th century in Wesphalia and is a corporal box which was used to hold the corporal, the linen altar cloth for the paten and chalice (Miller). It is covered with brick stitch embroidery. (Miller) These two pyxes, boxes for carrying communion wafers, were illustrated in The Treasury of Basel Cathedral, found through Kathy Stormberg’s blog, Medieval Arts and Crafts, and are from the 15th century. They are covered with silk velvet and using different embroidery techniques, applique and other decorations. (Stormberg, 2010) The box my reproduction is based on is from the end of the 13th century found in the book Ferne Welten – Freie Stadt: Dortmund in Mittelalter also found through Medieval Arts and Crafts, and is a reliquary box, 3.5 cm high and 6 cm in diameter. It is covered on the side with brick stitch embroidery and on the lid with what appears to be a piece of cut down tapestry or brocade. (Stormberg, 2008) Materials & Tools · Papier mache box and cardboard. · Cotton evenweave fabric, 28 count: Linen would be preferable. · Cotton DMC embroidery floss: Silk would be preferable, some examples of linen and wool. · White linen fabric for the lining. · Cotton DMC size 3 cotton perle: Silk, linen or wool preferable. · White linen sewing thread. Skills & Methods German brick stitch is not that far different from counted cross stitch or needlepoint. It is, essentially, a counted satin stitch that is worked vertically on the fabric. The stitch is taken over 2, 4 or 6 threads, though stitches of 1 thread or other sizes can be used depending on the need of the pattern. In this pattern, there are several 1 and 3 sized stitches at the edges to make the pattern fit. Most of the stitches in this project were done by bringing the needle up at the bottom of the stitch and down at the top of the stitch, though variations occurred depending on the placement of the stitch and how much floss I had left at that moment. According to Mast Wymarc’s article, stitches were done in different manners, so there is no one way to do so. On the 28 count fabric, I used 3 strands of embroidery floss, which several patterns and examples suggested, and that seemed to fill in the fabric nicely. Typically I would fill in one color first, then the next, and so on. The patterns for the top and side of the box came, again, from Kathe Stormberg’s blog Medieval Arts and Crafts. She has done a great deal of work on charting out different patterns based on period examples. The pattern for the top was part of a motif on a reliquary box from Cologne in the 13th century and the side pattern came from a German hanging from around 1300 and can be seen at the end of this write-up. I used a slightly lighter blue then she did in her example, and used the same blue, red, and gold, on both parts. For the side, I decided to use gold instead of white to tie it in with the top and because I found that the gold made the red and blue seem richer, where the white made it seem very bright. As I was embroidering the long band for the side of the box, I noticed that it was shrinking down from my original measurements by about ¼”, most likely due to tension issues. For a pouch this would not be an issue, but for a box with very defined measurements, it is a problem. Unfortunately, I was not able to stretch the side band out enough to cover the box, so I had to trim the box to make it fit. In the future, I will probably add an extra row at the top and bottom just to be sure that there is enough. The box was assembled using the example provided by Courtney Pritchard (Elen verch Phellip) on her blog Opus Elenae. I toyed with several different ways of attaching the fabric and the lining, but in the end her method made the most sense. Her article, “German Brickwork Reliquary Box” goes into much more detail, but in essence, the top and bottom circles were cut from the box and lid, covered in white linen that would then end up sandwiched between layers of either more linen or the embroidery. Everything is then whip stitched together and many of the edges covered by period braided edging such as demonstrated in Isis Sturtewagen’s blog Medieval Silkwork and in the video “Embroidered Braid Tutorial Part 1” on YouTube by Rachel C.. A thicker linen or perhaps silk would have been lovely as the lining of the box, but I was trying to work with what I had and so used the white linen. See the In Progress Photos for more detail on the assembly process. The lid is held closed by a loop of braided embroidery floss and a button. A simple tassel adorns the loop as well as a brass holly charm which is my badge and adds a personal stamp to the project.. I attempted to fingerloop braid the loop but was unsuccessful (it was my first try at fingerloop braiding). The tassel could also be done with a Turk’s head which I hope to attempt on a future project. Patterns Used Both patterns were from Kathy Stromberg's blog, Medieval Art and Craft. http://medievalartcraft.blogspot.com.au
Followers of this blog know I have an ongoing fascination with brick stitch embroidery, and used a motif found in Burgundian roof tile as a pattern for one of my embroideries. Last summer we visited the Burgandy region of France, including the medieval walled city of Beause. Oenophiles are familiar with Beaune (and Burgandy) for its excellent wine. We drank as much of it as we could, and also visited the hospice museum (!). L’Hôtel-Dieu was founded in 1443 by Nicholas Rolin and his wife Guigone Salins. Rolin was the chancellor of the Duke of Burgandy, and his and his wife's initials are featured in some of the interior artwork. Much of the interior is restored to its original glory, and is well worth a visit. I just wish I was a better photographer. Interior of the main hospice building, showing the painted ceiling, carved and painted roof supports, a wooden bench, and the painted walls of the altar area (because of course the patient care area is also set up to hold Mass - no excuses for not making it to church!): Last but not least, one of my favorite parts of the exhibit - a display on the traditional Burgundian roof tile, up close:
So my newest favorite thing is creating counted thread embroidery patterns. I have an Excel spreadsheet set up for satin and brick stitch as well as long-arm cross stitch. When I'm bored or not busy (which is, admittedly, rare these days), I'll fire up that file and start seeing what I can come up with. Pre-established patterns, like the ones on WYMARC.com, are great for learning, but I've found that I understand and appreciate the period motifs and patterns better by playing around with what's possible. I also feel, as an artist, there's really only so long you can copy other people's work, even if that work is several hundred years old and therefore not copyrighted. After finishing up the embroidered purse (which was another original pattern derived from a fragment at the V&A), I decided that I wanted the challenge of coming up with an entirely new pattern. I also wanted something that looked more French. That's not to say that the German counted thread techniques were used in France- just that I wanted something that might better, visually, suit my persona. I also didn't want to go overboard. I wanted the challenge to be the uniqueness of the piece- not the scope of the work. Before even opening up my file, I knew I wanted to see if brick stitch could produce a fleur-de-lys motif, and allow it to still actually look like fleur-de-lys. I also knew that I wanted to create a flower motif that was not necessarily rote-copied from another pattern. Here's what I came up with: The lozenge layout happened pretty organically. Brick stitch lends itself very well to a field of diamonds. Inspired by this piece, I'd been wanting to create a pattern that used simple, graphic elements, so on this one I included stripes and chevrons to create the neutral base for the gold and white lozenges. I was originally going to include red in the pattern, but when I set that up in Excel I hated it. The inclusion of a lighter blue came about instead. The next challenge I decided to set forth for myself was to complete this project with silk. I have had very little experience with embroidering large pieces with silk. Brick stitch is such a good "beginner" method that I don't have to worry about battling the silk learning curve while trying a more complex technique. Materials and colors picked out, I jotted down some ideas for how the whole bag might go together: Then I chose a size of 10"x7.5". I'll be working these as two separate panels, rather than a continuous piece, so that I have a seam at the bottom to muck around with tassels in. I went to my local embroidery shop and picked up cards of Splendor silk from Rainbow Gallery. You can also get that online (from Nordic Needle, for example). This is a 12-strand thread that is divisible. I'm using 4 strands for the 32-count linen ground. Before starting the work, I made sure to finish the edges of my linen to keep it from disintegrating on me as I work. You could also use masking tape or even secure bias tape to accomplish this same thing. Then I measured out my two panels and used a running stitch in maroon thread to outline the panels so that I didn't have to worry about where my edges were when I got going. I also made sure to find my center point to begin the embroidery so that, unlike my previous embroidery, the pattern sits symmetrically on the panel. Unfortunately, I forgot to move down the panel a bit to leave room for the eventual drawstring area. Luckily, though, the embroidery I had done before I realized that could be flipped upside down and still work. So I'm working bottom up now. I got started and snapped this picture to share with my friends on Facebook: As I looked at it, it started to bother me that the blue lozenges weren't as sharp looking as I envisioned when reduced down to actual stitch size. As I stared at it, I realized that the borders I'd included around those were probably unnecessary, and were making the stripes and chevrons look crowded. I also realized that the top and bottom shapes of the flowers weren't really appealing to me and could really just use an extra stitch. So I revised the pattern: I decided that I wasn't going to rip out what I had already done. It would have wasted the silk, for starters, but there's also precedent in medieval patterned embroideries for changes in the design that really look like someone changed their mind more than just made a mistake. They often occur on the edges of the patterns, just like in my case. Since the overall structure of the lozenge pattern hasn't changed, these few that I've already completed aren't getting in the way of the altered pattern. I haven't gotten to work on it too much since making that change, but here's what the piece looks like now: Bonus: Thank you for making it to the end of this post. Because you stuck it out, I'm making my Excel file available to you to download! You will need Excel 2010 or later. Instructions are on the first sheet, then there are sheets for the three techniques. The template is provided as is. I will not be performing troubleshooting or lessons on how to use it beyond the instructions provided within. You can download it here. Have fun with it. Be fearless with your experiments! If you ruin it, just came back and download it again! (If you use the template and publish the patterns you create with it on your own blog, I would appreciate it if you would mention that I created the template, and provide a link to this post. Thanks!)
You are purchasing an odd count peyote digital pattern....NOT THE ITEMS IN THE PHOTO!! Knowledge of odd count peyote is needed as no instructions for this stitch are given within the pattern. I am in love with the Japanese Sashiko embroidery! Sashiko embroidery has been used in Japan for centuries, dating back to the Edo era of the 1600's to the 1800's. The Japanese word Sashiko means "little stabs" and refers to the small stitches used in this form of needlework. Back in the day, they stitcher would use dark blue fabric with white or off white thread. The patterns they created in Sashiko are stunning and were truly my inspiration for this design. I have taken those "little stabs" to my beading tray! I hope you like my SASHIKO GARDENS Bracelet! I have used Miyuki size 11/0 DELICA beads; 4lb Fire Line fishing line and a long beading needle to stitch with a toggle bar and ring for the closure. For the optional PICOT trim, I used size 15/0 Miyuki round seeds in OPAQUE RED, #15-408 and GALVANIZED SILVER, #15-1051. I used 8 different DELICA bead colors for a total of 1853 beads! There are 19 columns and 195 rows. The finished size of SASHIKO GARDENS is 6 5/8 inches by 1 1/8 inches which includes the trim. If you need to lengthen your bracelet, continue to work the stripes at each end, until you have reached your desired length. I have a bit to go on my Sashiko stitching but I am getting there. I hope you enjoy stitching this design! ********************************************** Within the pattern you will find full color photos of the finished piece; a DELICA bead legend (listing of colors used); a view of the pattern in REAL TIME; a full color graph large enough to read easily and a WORD CHART of the bracelet pattern. Photo of trim placement! Ten SASHIKO pages await you in this pdf download. This pattern is in the form of a PDF file, a digital pattern, that will be readily available to you once your payment is received. I don't mind if you make these bracelets to sell, but please give me the credit for the design within your listing of your finished piece. I would greatly appreciate it. There are NO REFUNDS on digital files. All photos, design and content copyrighted by JULIE ANN SMITH, 1998 to present. ALL RIGHTS RESERVED!!
Miyuki 11/0 Delica - DB543 - Violet Gold Iris Palladium Plated AB - 5 grams 11/0 Miyuki Delica Beads - 5 grams in a resealable bag or tube 11/0 Delica beads are 1.6mm x 1.5mm with a hole size of 0.8mm Each 5 gram bag has approx. 1,000 Beads. There are 17-22 Delica beads per linear inch One square inch of flat woven beads would be approximately 285 beads, or about 1 1/2 grams. Great for Peyote patterns, Brick Stitch patterns, Bead Weaving, and Bead Embroidery!
Silk embroidered linen bag with geometric pattern and pelican, gammadion and letter M in gold.
The model was stitched on 36 ct. Patriot's Brew linen with the following hand-dyed embroidery floss: Weeks Dye Works - https://www.etsy.com/shop/thecottageneedle?section_id=24143490 Grits Havana Loden Mountain Misty Red Rocks Schneckley Classic Colorworks - https://www.etsy.com/shop/thecottageneedle?section_id=24154917 Poblano Pepper Tennessee Red Clay Nature Trail DMC: 841 Lady Dot Creates: Vintage Rick Rack Brick House Pom Pom :: stitch count: 83w x 79h SUPPLIES CAN BE FOUND HERE: :: Fabrics/Trims/Boxes: https://www.etsy.com/shop/thecottageneedle?section_id=15906369 :: Classic Colorworks/Belle Soie Floss: https://www.etsy.com/shop/thecottageneedle?section_id=24154917 :: Gentle Art Floss: https://www.etsy.com/shop/thecottageneedle?section_id=18892165 :: Weeks Dye Works Floss: https://www.etsy.com/shop/thecottageneedle?section_id=24143490 :: Needle Minders/Notions: https://www.etsy.com/shop/thecottageneedle?section_id=34538121 WHAT'S NEW AT TCN: :: Instagram: #thecottageneedle :: Facebook: thecottageneedle :: Pinterest: cottageneedle ✄ Happy Stitching!
From the same site as the Embroidered Box I also found an Embroidered Cushion. Isn't that marvelous? A 14th - 15th century Embroidered Cushion from Westphalia (Germany) The pictures and descriptions are small enough, I figured I might as well copy and paste so as not to loose them to the vagarities of the internet web page spider monkeys. This cushion is described in A Pictorial History of Western Embroidery, by Marie Schuette and Sigrid Mueller-Christiansen (1963) Frederick A. Praeger, New York, Item Number 178. The caption states: "CUSHION. Westphalia, 14th to 15th century. Berlin, Schloss Charlottenburg, Kunstgewerbemuseum (88.663). 28 x 40 cm. Grey linen canvas. Embroidered with untwisted floss silk in brick stitch. Colors: green, yellow, red, white. On the underside, striped Spanish silk. From the Treasury of Enger. Acquired from the Dionysianisches Kapitel der Johanneskirche in Herford." The Kunstgewerbemuseum is no longer located in the Charlottenburg Palace, but is now in the Kulturforum in Berlin. The colors listed are incorrect. They should be green (DMC 989), blue (DMC 312), red (DMC 3777), and white (DMC Ecru or Brut). In Kreinik Au Ver a Soie colors, these are equivalent to green 233, blue 1446 or 1424, red 946 and Brut or Creme. The front of the cushion is completely covered with brick stitch, and is still very bright and colorful. There is almost no lost stitching. The "striped Spanish silk" back is a surprisingly modern-looking pattern of wide (~1/2") golden-yellow stripes separated by narrow black and white stripes. It is very thin, and is falling apart, and I'm still kicking myself for neglecting to take a photograph of it. The cushion itself is plump and well-stuffed, and not at all flattened. I was told that the stuffing was original, and it appears to be fine hay, or something similar. The embroidery ground is a grey tabby-woven linen, and each brick stitch covers four threads. After charting the overall pattern, I found that the entire pillow is 395 threads across, and 326 threads tall. Divided into the actual breadth and height of the pillow, I get a ground fabric of 25 tpi (threads per inch) across, and 29-30 tpi tall. Although the overall pattern is composed of only 4 different types of medallions, almost all of the medallions of a given type were different from each other. Some of the differences are merely "off register" variants, caused by starting a design element off one thread, so that a bird runs into a plant, or a medallion ends up losing a row of stitches. Some variants are caused by running out of one color thread, and replacing it with a different color. Interestingly, it is always white that is being replaced by either red or green. I made my own recreation of this cushion, based on the[ following ]se charts. I used linen with a thread count of about 26 x 28, and it ended up being 39.37 x 29.85 cm. It took about 86 hours of stitching time, spaced over 2 years and 8 months. It isn't actually finished, strictly speaking, because I haven't found appropriate material for the back side, nor a good stuffing. T = Tree Medallion, and 10 variants, B = Bird Medallion, and 1 variant, S = Striped Medallion, F = Flake Medallion, and 7 variants. View or download all charts.
Så blev jeg endeligt færdig med min mobiltaske i tysk briksyning. Efter jeg fik syet tasken færdig kan jeg godt forstå, at tasker af denne art har overlevet i 600 år, for tasken virker meget gedigen og robust. Også selv om min er kraftigere end originalerne, da jeg har broderet med bomuldsgarn og ikke silke som på originalerne. Kvasterne har jeg improviseret en smule. De skulle have været lavet med tyrkiske knuder som man gjorde i middelalderen, men den perlegarn jeg bruger egnede sig ikke til den slags knuder. Det blev bare noget rod at se på, så jeg valgte i stedet at omvikle kvasterne med noget guldtråd, hvilket også kom til at virke ganske godt.
New leftover stock from our former brick & mortar retail bead shop, this issue of Bead & Button Magazine contains instructions for 15 projects ranging from: necklaces, earrings, pendants, rings, beaded beads, collar, beaded brooch, French beaded flowers, pendants, cuff and more! Techniques include: stringing, square stitch, wirework, bead embroidery, Ndebele Herringbone, peyote, brick stitch, wire coiling, Dutch Spiral, RAW/Fringe Method, ladder stitch and more! My favorite is the "Gather Together" bracelet on page 90 by Christy Krainess; perfect for all that lampwork in my stash! Whether you're just filling in gaps in your bead magazine collection or a bit old school like me & enjoy flipping pages & making notes, you'll enjoy 178 pages of beading fun for less than 0.70 per project!! See Contents/Projects above in Picture 2 & 3 for more information. Sorry, books & magazines are not returnable. Don't forget to double click on any picture for an enlarged image. Media Mail shipping rate is available & less expensive but slower shipping than USPS Ground Advantage. Media Mail does include tracking but can only be used for magazines & books; no additional supplies can be enclosed. Please message me to use Media Mail & I will refund the difference between MM and USPS Ground Advantage. Bliss carries a fantastic selection of Japanese seed beads, semi-precious strands, Swarovski Crystal, pendants & focals, Czech 2 Hole Beads, tools and storage, needles and Fireline and supplies, charms, books and magazines, metal findings and much more! Bliss was a brick & mortar retail bead shop for over 16 years so we know our beading supplies! Much of our inventory is yet to be listed but I'm working on it! Let me know if I can assist in your search. Thanks for stopping by! Always Follow Your Bliss!
We have been working away in the background on a really exciting and different class and kit that we hope you are going to love and we will be ready to share it with you next week! (Friday 23rd April)
So much for posting more Wienhausen images next. I was going through my files and found something I had forgotten: Here is another photo find. It is a reliquary from the end of the 13th Century (Maasland?), 3.5cm high, 6cm diameter. The image is from a book called Ferne Welten - Freie Stadt: Dortmund im Mittelalter (Distant Worlds - Free City: Dortmund in the Middle Ages), ISBN-10: 3-89534-617-9, ISBN-13: 978-3-89534-617-0, published 2006. I found this book in the library; it is catalog of many varied items and only a few textiles, one of which is this charming box. It is counted satin stitch, in color, and has a turk's head tassel! It must be fine stitching for such a small box! The box top looks like part of a tapestry or something that was cut down to make the box lid, perhaps something that was partly damaged? It is sad to think about how many wonderful examples of textile artistry are gone forever, yet how many more still exist but are not known to many? I love finding and posting pics like this because I feel that the more people see them, the better.
Burden Stitch is exactly that, a burden to stitch but I think that Burden is meant to be a noun and not an adjective. Barbara Lee Johnson's recent post on August 13, 2013 of the Couched Oak Leaf is a good example of Burden Stitch stitched on canvas. It is a stitch that can be used either very simply or you can set yourself a challenge. It really is a technique and not a stitch. In a nutshell, this is a canvas work stitch called Trammed Upright Gobelin Bricking (Canvas Work by Jennifer Gray, pages 53 - 55). Worked on canvas or on even weave linen is the simplest way to use this stitch. It produces a solid ground cover or an interesting texture. Barbara Lee's example is an excellent sample of this. When used on other fabrics, both planing and experimenting in stitch size and spacing is essential. Number One Hint is to get organized. Back your fabric with a suitable weight of cotton fabric. This helps keep the tensions of your piece of work stable while you stitch and afterwards. It is also handy to for ending threads. I used Japanese Gold thread Number 12 with DMC Floss four threads which I stranded. Reading Mary Corbet's Blog, I see that it is called Striping. I have never heard this referred to by name and used Stranding instead. By either or both names, separate the six strands of floss thread into single strands and then put them back together. You can mix shades and create your own colours or, this time, use four threads of pure colour: DMC Blue 825. Having marked your design on the background fabric, Hint Number Two: Baste in some horizontal and vertical lines to create an accurate grid that will help you keep your stitching accurate. This is specially necessary when working on a fabric where threads are not countable. This piece of fabric proved to be even count linen but even in this fabric, the threads vary in size. Hint Number Three: Make a decision on the spacing of the couched thread (gold) and the length of the couching stitch. The gold thread is held in place by the spaces between the gold thread and the vertical couching stitches. I made the decision on this demonstration piece to place my vertical stitches four fabric threads apart. The second row of vertical stitches is centred between the previous row; that is, two threads on either side. Leave a tail of gold thread 1" or even 1 1/2" at each end of every row. This is necessary for sinking the ends of the gold thread. Any less length will cause you problems. Hint Number Four: Use the blank, reverse side of a business card. Mark the spacing on the edges with a sharp pencil which will help give you the most accurate of templates. A ruler is OK but you will find your self constantly having to not read most of the marks on it. The blank card is a simpler solution. Mark: a) the spacing between the horizontal gold threads and b) the length of the vertical couching threads. Mark this spacing on two different edges of the card. Use it on every row to set the spacing and length of the stitches. This is essential. The straight edge is handy for checking the alignment of your stitches. Hint Number Five: Using a length of dressmaking thread, anchor the ends of the gold thread out in another part of the design with some small stitches. This does not have to be totally accurate but it serves to anchor the gold thread leaving you free to focus on the stitching. The waves in the gold will disappear during the completion of this stitch. The gold thread that I used was from someone's stash. It had been wound on a small spool which made it exceptionally wavy. Japanese Gold Thread usually comes wound on a largish reel like dressmaking thread or as a hank. In this form, it is fairly straight. Hint Number Six: Start in the centre of the widest point of the area being stitched. Work to the circumference in one direction and then return and stitch the other half of that row. The first line is by far the hardest to stitch. After that, you just have to follow your planned spacing and keep it all accurate. Use as small a needle as you are able to thread comfortably and insert it into the fabric vertically to establish an accurate stitch as possible. A needle entering the fabric at a slant will not give you the accuracy you need for this stitch. Notice that on the right side, my stitches were off by one thread and I had to take them out. Hint Number Seven: It is necessary to concentrate on what you are doing. It is totally easy to make an error in stitch placement and it shows up unbelievably clearly. Keep checking yourself and reverse stitch to where you went off course and correct it. Remember to stitch the necessary half and quarter length stitches. And lastly, a quick look at an example of Burden Stitch in this piece of embroidery that I stitched a few years ago. The shading is not that satisfactory but I wanted to try it. Notice the different spacing and threads. That looks to be two strands of DMC Floss. Burden Stitch would look totally special if stitched with silk thread. It would gleam and not retreat into the background as a texture. It depends on the look you want to achieve as to what threads and spacing you use. You can use different threads to achieve the result you require. A coloured Perle thread would work well instead of the gold and the couching thread can be anything you choose. You could choose to use beads as the couching thread but be wary. Beads can have a mind of their own and not lie as accurately as you would wish. You may discard a lot of beads in the process. Another possibility is to use Metallic Gilt and cut it into the desired lengths for the vertical stitches. Now that is a way of using this technique that will add grey hairs to your head for sure. That is all for today. I will complete this demonstration piece in my next Blog Entry.
100% Cotton • Hand Spun • Hand Woven • Naturally Dyed • Embroidery DetailCrafted from 100% cotton fibers and natural materials. This Kala Cotton Vest comes in a calm and soothing colour that we call Fire Brick naturally dyed from a host of ingredients ranging from madder root to onion peel.This unisex jacket comes with a round neck and patch pockets. It is adorned with stitch lines running across the surface. These lines not only create the effect of subtle stripes but also breathe life into the otherwise plain fabric, adding depth and texture.It has an adjustable and removable belt as an element of multi-functionality involving the wearer in the process of choice and interchangeability.Type of Button used: Mother of Pearls Buttons
Learn three essential embroidery stitches and learn about a clever method for using lace as a backing to embroider on crochet fabric.
Join the knitting motif craze Interweave Knits presents 5 Accessory Patterns for Knitting Motifs features favorite motif knitting patterns including the all new Ojo De Dios Chunky. Learn a variety of motif knitting techniques and become a master of motifs
One of the more fascinating and beautiful pieces of the Blekinge folk costume is the Luvtallrik. It is a piece of headwear that was worn under the scarves, or by itself if you were a youngster. It …
I've been rather busy of late - busy marking student teachers' assignments (a task made less tedious by finishing off the Christmas chocolate biscuits!), busy creating printable teaching resources to go with our story animations on The Treasure Tree and busy creating an embroidered seascape. To start with I embellished (with the embellishing machine) various merino wool tops, silk bricks, ribbons and yarns onto a washed babywipe. This is it at that stage: The waves at the top are the microwaved dyed wensleydale fleece from here. Then I hand embroidered more yarns and silks on (mainly using lazy daisys, fly stitches and french knots) before adding beads to all represent the fish and seaweed. (I think I may be addicted to french knots!). This is it finished: It "grew" quite alot during the embellishing and is about 50cm x 20cm. Below are some close-ups of some of the detail (if you click on any of the images they'll enlarge - the occasional cat hairs are added extras not visible except through the camera lens!) It's been many years since I've done any embroidery so I did quite alot of unpicking along the way, but I enjoyed doing it and am quite pleased with how it's turned out especially as I had no real plan when I started - I think planning is something I need to work on! Now I'd like spring to come so I can get busy in the garden.
Hello everyone! It’s a bright and sunshiny day and I am in such a mood to do some spring...
DIY beads
JUNE 2021 - This Collection was Midsommar inspired and included some incredibly special hat pieces from milliner Celina Kane based in Minneapolis, Mn. Sensational florals by wild thyme floral Photos by Rubinski Visual
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