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Milena Radeva, Fiber Art, Textiles, Costume, Sewing, Draping, Corsetry, Millinery, Embroidery, Quilting, Weaving, Knitting, Crochet, Macramé, Tassels,Tambour, Beading, Trapunto, Fabric Dyeing, Shibori, Batic, Painting, Dolls, Crafts, Fashion, Mola,Theater de la Mode, Illustration, Fine Art, Photography, Paper Dresses

Here are some summer inspirations! Around here, July means the Queen Anne's Lace and Fireweed are both in full bloom. I'm in love with this gorgeous embroidery by Jo Van Kampen that really captures the delicateness of Queen Anne's Lace. And the beads add great texture! Hoffman released a beautiful Fireweed fabric a couple of years ago - a quick Google search shows it's still available in a few internet stores. I really like the depth it has! And these two summer themed quilts are fun! The watermelon quilt is on Jane Allen Quevedo's blog - what a good way to use up red and green scraps. A Day At The Beach, by Cindy Grisdela can be seen here. It has great free motion quilting! Happy Creating! Deborah

As part of my series about sewing details and techniques, today I have ideas for beading and embroidery to get you thinking about embelishing your makes

Broderie : terme désignant l'ornement d'un tissu au moyen de motifs cousus avec des fils de couleurs et de textures variées. Le terme de "broderie" apparaît à la fin du XIIe siècle et désigne tout d'abord les motifs décoratifs ornant les vêtements...

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.

I am so honored to be invited again by the wonderful Agatha from Green Issues by Agy to jump on board her new blogging train: Making Good...

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

Sashiko is a Japanese hand-sewing style that was originally used by working class people as a means to mend used clothing and household items. But it is so much more than that! The even, geometric patterns of sashiko create a beautiful decorative effect, so that they go beyond being purely practical

Also known as: bullion stitch, caterpillar stitch, coil stitch, knot stitch, post stitch, worm stitch, Puerto Rico rose, grub knot This is an interesting stitch used to make simple motifs. I would say that this is an ‘elongated’ knot which can be...

How to embroider knife points? As already mentioned in Schwalm Designs – Knife Points (1) the decoration can be worked in different ways. First the design is transferred to the fabric – here using a DEKA iron transfer pencil. Coral Knot stitches are worked along the circle line. Messerspitzen are made with Satin stitches. This is the easiest way of working knife points. The center axis of each point is marked as a guideline. In a circle design this is easy: The line should run through both the center and the top of the point. All stitches of each point should lie parallel to this guideline. The stitches are placed close together following the design outline exactly. The longest stitch should be distinctly longer than the adjacent stitches. In this way a sharp point can be established. The first and the last stitch of each point should be very short. You want the knife points to be placed exactly next to one another to establish an attractive knife point decoration. Working knife points with Blanket stitches (geschnürte Messerspitzen) is very similar. However, the loops in the Blanket stitches make it impossible to place the Blanket stitches as close together as Satin stitches. A guideline is not necessary to work pointed half-eyelet scallops (Schnürlochspitze) because all Blanket stitches are worked around a center point. For the first stitch, the needle comes up in the middle of the base of a knife point. The first Blanket stitch is worked to the left, and the thread is thightened. In addition, the center hole is widened a little bit with the help of a needle. This will enable all stitches for this knife point to be be placed orderly. To get a sharp point, the longest stitch should be distinctly longer than the adjacentstitches. The three center stitches should be placed as close together as possible; so it is sometimes necessary to push the center stitch a little bit aside to work the next stitch. The pointed half-eyelet scallops establish a nice decoration when the embroidery is washed and the remaining blue colour has disappeared. You will see the result in future posts.

Hello there! One of my favorite embroidery techniques is Kamal Kadai work. My previous attempts at Kamal Kadai, I stitched flower...

stitched and gathered calico

Oggi giornata che farà discutere: col punto rammendo (soprattutto questo un po' strano, che in realtà un rammendo non è) qualche dubbio viene sempre. E, superata la tecnica, già anticipo che sarà necessario prenderci un po' la mano per non accavallare i punti e regolare la tensione. Ma confido che la 375esima splenderà come una madreperla. In foto ho segnato il numero dei filati che ho usato io: tutti e quattro nella conchiglia più grande (DMC 435, 632, 712, 738), i due più chiari in quella più piccola. Ma so che voi avrete la vostra conchiglia ispiratrice dinnanzi agli occhi e che avrete scelto i filati opportuni, anche fosse il verde bottiglia. Il punto da utilizzare è il classico rammendo che si usa nel ragnetto a rammendo all'indietro (in italiano non è chiaro il nome... consiglio di cercare in rete Ribbed Spiderweb stitch, se non vi tornano i movimenti), che ho però modificato nella sua versione lineare (perché non gireremo in tondo). Passo sotto un raggio, torno sui miei passi avvolgendolo (solo movimento dell'ago, senza prendere la stoffa) e passo nuovamente sotto di esso, scivolando questa volta anche sotto il successivo. La schematizzazione già vi racconta che noi, con il lancio alternato dei raggi, abbiamo complicato un po' le cose, dunque seguitemi un attimo... Per iniziare esco ad un lato della punta. Io sono uscita a sinistra. Inspirate, osservate sulla vostra tela... Non tutti i raggi puntano in punta, giusto? Perché li abbiamo fatti cadere alternativamente in punta e un po' più in giù. Niente panico! Lavorerò le prime due o tre righe solo sui raggi a cui ho accesso. Come si vede in foto, passo sotto il primo raggio di cruna, per non pizzicare filo e imbottitura. Torno indietro e passo nuovamente sotto di esso, slittando anche sotto il raggio successivo (quello accessibile, che è quello dopo ancora). E così via... Arrivata alla fine della riga mi porto sul rovescio e torno al punto di partenza, sul profilo opposto. Questa volta non riesco a farvi risparmiare filo sul rovescio... Ho provato a fare rammendi avanti e indietro, ma ho visto che viene molto irregolare e bruttino. Inizio una nuova riga e procedo così finché non si "sbloccano" i raggi interni (dopo due, tre o quattro giri). Poi inizierò semplicemente a lavorare su tutti i raggi. Tecnicamente avremmo detto tutto, se avessimo da ricamare un righello. Noi qui invece abbiamo una conchiglia che ha avuto come ospite un animaletto col vizio di aggiungere ogni anno una o più righe al suo guscio, registrando a colori il suo umore e lasciandoci in eredità la sua storia scritta sulle curve di accrescimento. Curve... Non linee dritte, belle e semplici. E se noi rammendiamo ignari e spensierati, ricameremo strade di pianura, canali da risaia. Ecco dunque che dobbiamo aggiungere una complicazione: dobbiamo raddoppiare i punti al centro, quando perdiamo la curvatura (la linea di controllo è il profilo della conchiglia). Per raddoppiare i punti al centro si passa sotto ad un raggio senza slittare sotto il successivo, così per forza lo si ricoprirà due volte. Chi tra voi sta argutamente pensando che anziché raddoppiare i punti si potrebbe lavorare una riga ridotta al centro... Ha tutta la mia comprensione. Ci ho provato, anche perché sarebbe stato più semplice spiegarlo. Ma fa discontinuità, purtroppo. O almeno io non ce l'ho fatta. Fatemi sapere. Una nota sui colori. Vedo che non ho fatto una foto aggiuntiva, che in effetti poteva tornare utile... Lascio i fili in sospeso, così posso alternare i colori senza continuare a chiudere e riavviare. Cambio i colori un po' a sentimento, un po' guardando le originali. Belle le righe isolate a contrasto. Spero di aver detto tutto. Spero di aver fatto rispolverare qualche ago. Spero anche di essere riuscita ad aggiungere chiarezza al libro, dove il compromesso dello spazio mi aveva impedito vaste gallerie fotografiche. Rimango ovviamente a disposizione per domande e altro, sui social o via mail, ma invito a non abbandonare la nave, perché nei prossimi giorni mostrerò le mie prime due prove con imbottitura a tre e a cinque feltrini. Doveste postare le vostre 375 conchiglie, su Fb o Instagram...Ricordate l'ashtag #letshaveashell, così avremo una bella galleria di riferimento! A prestissimo!

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Webrosen sind gar nicht so schwer zu sticken und super modern. Hier gibt es 4 Anleitungen zum Thema Webrosen und was es an ähnlichen runden Blumen gibt.

This article is not about your typical grandmother-style embroidery. No. It's about pushing the boundaries of what can be done with nothing more than a simple needle and thread.

I’d never heard of huck work before, until I came across this blog over at Sublime Stitching.

This stitch is done with herringbone stitch as the base. The herringbone stitch is tacked down using small straight stitches at the crosses. There are two ways this can be done: one, by using just a single stitch over the crosses. Second, by...

I am so happy that we are really getting into some beautiful fall weather around here! The past month has been a little crazy. I’m busy getting ready for Halloween crafting and planning out my holidays lists. It’s going to … Continued

Due to an overwhelming amount of demand on my social media as I’ve been posting process photos of my new green Spencer, I went ahead and put together a little tutorial on the style of trim I&…

Via Second Street.