Mini Stitched Collages with StencilGirl® Stencils

This is an Instant Download PDF Cross Stitch Pattern NO physical item will be shipped to you. This pattern was created during the 2020 Colorful Critters Stitch Along and has 16 tiny Colourful Bugs for you to enjoy! Example stitched on DMC Aida 14ct Ecru [PATTERN CONTENT] Your instant PDF download, that will be available once your payment is confirmed, includes: - Detailed pattern with symbols Black and White & Color (3 different color schemes & Patterns: Natural / Powder Pastel / Celestial Sky) - American & British Spelling - Thread legend (DMC floss numbers) - 'How to Cross Stitch' You will receive a PDF document of the pattern for which you will need a PDF viewer. If you do not currently have one installed, you can get Adobe Reader for FREE at http://www.adobe.com/products/reader.html [THE PATTERN CLUB] Want to enjoy a new cross stitch pattern every day and get instant access to hundreds of original Stitchonomy patterns? For only 8$ a month you can join The Pattern Club via: https://www.thepatternclub.com Sign up now and get access to: All previously posted patterns One new cross stitch pattern every day Early access to all Stitch Alongs Vote on features and improvements 10% off on all Stitchonomy items Join now at: https://www.thepatternclub.com [POLICY] Shop policy: www.etsy.com/shop/stitchonomy/policy Browse my shop: stitchonomy.etsy.com [LET'S BE SOCIAL] I would love to see your finished work! Share your pictures on Instagram or Twitter using #Stitchonomy or mention @Stitchonomy If you have any questions or need a special chart (larger print/color) don’t hesitate to convo me! [COPYRIGHT] Stitchonomy patterns are for personal use only and may not be resold or distributed in any way. You may give the finished product as gifts but you may not sell it for profit. All PDF patterns and the designs for those patterns are protected by copyright. © Alyssa Westhoek 2015-2019 Please keep in mind that monitors may not accurately represent actual thread color.

Shaun Kardinal is a mixed-media artist from Seattle, USA, whose embroidery work on postcards reconstructs nostalgia, giving it a fresh perspective and a modern twist while retaining the spirit of the age.

Jumper knitted in a plain jersey stitch from cotton. A crew-neck style with rib-knitted details. Regular fit.

Hi..it is Marsha from coolquilting again...with a shorter post than last week!! So, if you want more detailed info on the stitching and dyeing processes, check out last Saturday's post. Most of my curved stitched shibori for this week is based on the traditional Japanese larch or Karamatsu design. This traditional design is stitched on single folds in the fabric to produce alternating rows of concentric circles. When doing the stitching for the larch design, the threads can be either tied off after each set of concentric semicircles, or the threads can be carried across the entire width. My first modified "larch" design was on a long and narrow piece of silk habotai with blue colorhue dye. For this design I added a single semi-circle in between for fun and only did 1 row of circles: Because of the extra semi-circle, I decided to tie off the threads separately for the 2 sets of concentric circles. An extra twist with my design is that I folded over the habotai many times so the stitching was being done through 8 layers of silk at once...this lead to large differences in dye penetration. The advantage of the 8 layer stitching was that it made for very easy stitching and fast results. The middle photo was taken when the dye was still wet and the scarf is still folded in 2 and the bottom photo shows the dried silk opened up. A few years ago I did a larch design on cotton with indigo dye(a pre-reduced indigo dye kit from Jacquard). This design was stitched through 4 layers of fabric. For some reason I just can't follow the traditional instructions and do the stitching just through a single fold!! The bottom photo in the collage shows the detail of one of the circles. I like the way the indigo is many shades. If I had done 2 separate stitchings on 2 separate folds there would have been much more even dyeing of the center areas of the fabric. In Janice Gunner's "Shibori for Textile Artists" book, she showed a slightly different larch design which I wanted to try. The design was in semi-circles instead of whole circles, so it had to be stitched on a single layer. I wasn't sure how I should stitch this... to do each semicircle independently or to carry the threads across the width of the fabric. So I tried it both ways: 18 short threads tied off on the top stitch set or just 3 long continuous threads tied off in the bottom set: You can see that the upper set with 18 threads did not tie up as tightly as the lower set with just 3 threads. There was much greater/nicer resisting in the lower set with 3 continuous threads and I am happy about that since it is way easier to do. This first attempt was done on silk habotai with colorhue dye and I want to continue practicing to make the design more consistent. I also tried some freehand doodling for curved stitches. However, I guessed that the rows were probably too far apart and wouldn't resist very well, so I decided to layer 2 fabrics. I used silk habotai and silk gauze...pinned together for stitching, but ultimately they would be 2 separate pieces: The design is a bit weird since my doodling skills are very minimal. But what I found most interesting was how differently the 2 fabrics dyed!The habotai dyed purple while the gauze dyed blue...I used a blend of blue and red colorhue dyes for this. I also wanted to try the curved stitching on raw silk. My first piece was a spiral doodle...simply stitched in 2 curved lines on a single layer of fabric and dyed with a very bright yellow/green colorhue dye: For my last piece I wanted to see what would happen if I did a tight series of concentric circles. This would essentially be a combination of mokume(which is traditionally done with a series of straight lines) and a larch design. I did some curved stitching on a single fold, each "semi-circle" being about 1/4 inch apart: This gave a result very similar to mokume wood grain, except the pattern radiates from the center. I really liked this effect! I can see myself doing a large piece with lots of these radiating mokume. That is it for me! See you next week with parallel stitching on a fold.

Collage Quilter

Hey, guys! I'm excited to share with y'all the finished product of many an art class: Second Grade's Landscape Collages! Here's some things we learned along the way (with more detail in a hot minute): * How to create textured papers. I borrowed heavily from my buddy Laura's blog Painted Paper because Laura is my art teacher super hero. Suriously. Her students work is amazin'. * How to create a landscape with a fore-, middle- and background. * How to create an origami house. Some kids got really into this, creating multiple houses for their landscape. * How to embellish with puffy paint...selectively. Oh, lawd, y'all. You've heard of the book If You Give a Mouse a Cookie, right? Well, If You Give a Second Grader Puffy Paint was not about to be the sequel in my art room. I was the Puffy Paint Nazi. One false move and it was NO PUFFY PAINT FOR YOU! * How to create a whip-stitched boarder. So I thought this would be totes elementary for these guys. Turns out kids don't know how to sew anymore and this was ROCKET SCIENCE. Note to self: Have more stitched projects...for the sub to do (haha, I kid. Kinda.) Now that you know the gist, lemme back up a lil bit and give you the full story. The lessons started with an intro to Mexico and Latin America. You can find my prezi (remember my prezi addiction?) here. After that prezi and a quick chat, we spent our first 30 minutes (my first and second grade have 30 minutes of art, twice every six days) creating textured paper with a sponge and tan paint. We chatted about the texture of the Andes mountains in Chile and used that as our inspiration. The following 30 minutes were spent learning more painting techniques. We learned how to use cardboard to print flowers or plants, use a texture comb to create textured papers (see the sun below) and how to create a plaid pattern with a dry brush technique. Yes, all that in 30. Sometimes I question my sanity. The following class, we chatted about arpilleras. You can see my prezi on those lovelies here. After that, we began tearing our textured papers and gluing them to a 12" X 12" construction paper background of our choosing. The key to doing this without having gaps in the landscape is to have the kids begin with the background piece and proceed gluing pieces toward the foreground. The next art class, I had the kids immediately grab a piece of origami paper as they entered and meet me on the floor for a origami house demo on the document camera. Before I had a doc camera, I would have simply done an origami demo on a GIANT sheet of paper so they could see all of the steps. With the cam, we all worked together. If time allowed, the kids created more houses or used thin Sharpies to decorate their homes. Initials were written on the back and these wee ones were saved for the following art class. The next day, I told the kids that they had four goals to reach BEFORE they entered Puffy Paint Town: glue houses to landscape keeping perspective in mind (or not), add clouds/stars/whateverness to the sky, create a sun or moon and add their name at the bottom. If all of these goals were met, they could begin to add puffy paint in dots only on their land. I actually have a couple of these beauties that I've found at the thrift store over the years. I love having the real thing to share with the kids instead of just a photo from the 'net. Many of the kids didn't reach their goals all in 30 minutes so they needed an extra day to puffy paint. The deal with puffy paint is that it has this habit of sneezing all over art work. So I had the kids use a piece of practice paper to practice dot making before doing it on their masterpiece. The deal with kids is that they get carried away on their practice paper (really? You needed to fill the whole paper with dots? Because now the bottle is empty, dude.) so I started to limit them to 3 practice dots. Next up was the stitching. Oh boy. I did go ahead and hole punch the sides of their artwork for them prior to art class. Hate me if you wanna but I just didn't want to spend an additional 30 minutes watching the kids struggle and possibly tear their work as they punched through (sometimes) 3 pieces of construction paper. Added bonus: I now have super big muscles in the right hand. Just what I've always wanted! Once the stitching was complete, so was the masterpiece! I absolutely love how these beauties turned out and the kids are just as thrilled. I decided to hang them in the hall by paper clipping them together because it's my new fave way to display. Speaking of faves, collage landscapes are also my favorite means of teaching about landscapes. For more lessons, you can check out these Collaged Parisian Pictures, Egyptian Landscape Pieces, and these Tube Castle Landscapes. What's your fave landscape lesson? I needs to know! Until next time, y'all, use that puffy paint the way your art teacher done showed ya!

Los bordados cachondos de Alaina Varrone

Love textiles, fibre art and contemporary portraiture? Here is our list of 10 Textile Portrait Artists You HAVE to follow.

Paul de Longpré [French flower painter 1855-1911] Born in France, he worked mainly in the United States and was entirely self-taught. Oil on canvas laid to board Short Biography: en.wikipedia.org/wiki/Paul_de_Longpr%C3%A9

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Before starting your fabric collage pet portrait, discover what you need to know about colour value. It's the secret to great pet portraits.

A couple of weeks ago I had progressed my collage using the momigami paper samples to the point where I was ready to stick it down using thinned wallpaper paste on a plastic sheet. After adding some more purple serviette pieces, this was where I had got to. I followed Cas Holmes' advice in her book, The Found Object in Textile Art, and scraped away some of the paper layers with a blade to reveal the ones underneath. Next I wanted to add some machine embroidery. First I experimented with a blindingly obvious idea from her book to bond a design already printed on some fabric onto the back of your work and stitch over it. I chose this flower on some curtain fabric. I bonded it to some calico, on top of which I had bonded a square of green sheeting, a square of patterned furnishing fabric and a strip of shot satin. I stitched over the design with free machine embroidery as best I could. I started off with cream thread and then swapped to black half-way through. This was the result on the front using a thicker variegated rayon thread in the bobbin. It's quite good but I think I actually prefer the black thread on the original design on the back! I then tried a free-hand drawing using a sketch of a branch sticking out of our hedge. I drew the outline in pencil on the back and then stitched over it. This time I had brown thread in the top and bottom. Here is the front - I really like this. However, I decided to keep experimenting and got out my Inktense pencils to colour in the leaves. I like this too. I used cheap fusible adhesive to stick the layers of my sample together which comes in a diamond pattern and this has showed through when I applied the pencil. A happy accident that looks quite interesting! I coloured in the flower just to see if that made it any more interesting. It just shows how versatile the Inktense pencils are, as you can add water to make a wash. So learning from my experiments I chose to stitch the branch design in a larger size on the back of my collage. When I turned it over you could hardly see it! Because the background was already busy I didn't think that colouring the leaves in with the ink pencils would help much. However, where the stitches were so small it almost looked like the paper had been perforated so I had the idea to scrape out the centres of each leaf instead. I took all the layers of paper away so I was back to the calico backing. Because I had used wallpaper paste, which is not that strong I could do this fairly easily and cleanly. I am pleased with this as it gives an effect that would be difficult to achieve any other way - I was also lucky that I had stitched over layers of paper, rather than fabric or a mixture. I know that I could cut the fabric away, in the style of reverse applique, but it would have been too fiddly to get into the pointed ends of the leaves cleanly. The other elements I added were: a leaf printed onto Bondaweb, with a piece of organza bonded over the top and then free-machined with a black and white variegated thread. another version of the branch drawn on the front in gel pen and then a piece of organza bonded over the top part. Note the black around the corner where the iron went over the old till receipt - I wasn't expecting that and it will be interesting to see if it stays or fades. I coloured in some of the flowers in the illustration with ink pencils and added pieces of organza. I stitched some smocking stitch over a square of orange chiffon to echo my earlier 'wasteland daisies' piece I cut some strips off my green serviette stitched in a random grid and partly washed away and noticed to my delight that they looked like ferns so I pasted these down with wallpaper paste. (They would also make good seaweed in a marine type piece!) Finally I pasted down some threads of rayon frayed from the edge of some shiny furnishing fabric It is maybe a tad busy overall but I have really enjoyed trying out all these different techniques and I have especially enjoyed the ease of combining paper and fabric. I will definitely be doing more. Final tip - you can keep made up wallpaper paste for months in a well sealed ice cream container - a tip learned from my Mom, who was a primary school teacher and had a tub of paste made up under the kitchen sink for most of my childhood, which she used to mount her kids' artwork into brilliant displays!

Australian artist Meredith Woolnough creates elaborate embroideries that mimic delicate forms of nature like leaves and coral. “I have been collecting skeletonized leaves for as long as I can remember,” says the artist, whose “traceries” capture the beauty and fragility of nature. Woolnough uses a special embroidery technique that involves a domestic sewing machine and a base cloth that dissolves in water after the piece is complete leaving just the skeleton. In a way, her process also mimics the natural process of leaves dying and drying up which, in turn, become the subject of her work. More

"In Bloom" es una serie de fotografías antiguas intervenidas por la artista Maite Ortega, con elementos vegetales, a través del bordado y el collage.

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Perché non cedere allo sfizio di indossare una borsa alla moda quando potete farla con le vostre mani?

Chilean artist Jose Romussi adds embroidery to paper photographs to extracts a third dimension, and thus a nascent personality, out of an otherwise flat image. By doing so, Romussi opens space for alternative interpretations and methods of viewing a staged image. The artist refers to his work as an "intervention," and in many ways, his intentions are similar to other contemporary artists who use yarn as a method of interrupting the norm. Like "Yarn Bombing," which is often performed as a softer act of graffiti in public places, Romussi's compositions attempt to re-define notions of beauty while simultaneously drawing attention to social issues, such as the re-appropriation of African patterns and other non-Western traditions in high fashion.

Learn how Melissa Averinos uses these appliqué techniques and design wall tips in making her quilts.