Embroidered Boxes E-Book

Emma Broughton

• Herausgeber: Crowood
• Kategorie: Lebensstil
• Sprache: Englisch

Veröffentlichungsjahr: 2019

Beschreibung

Boxes are a special way to display embroidery and to present and store treasured pieces. This beautiful book brings the traditional craft of box making right up to date with the latest construction techniques and modern designs. It starts with projects suitable for beginners, and then introduces further techniques so readers can design and construct their own boxes. It includes help and advice on materials, construction methods and techniques; ten step-by-step guides with photographs on how to construct different styles and shapes of boxes, and how to insert more complex decorative and functional elements; instructions for creating the embroideries from the boxes with photographs, and help on how to mount the sections; advice on how to design and construct your own boxes, as well as how to adapt the boxes for your own use. With over 650 colour photographs as well as stunning examples of embroidery techniques and designs, it is sure to delight and inspire every embroiderer and craft enthusiast. Emma Broughton is a graduate of the Royal School of Needlework and teaches embroidery and box making classes.

Leseprobe

EMBROIDERED BOXES

Emma Broughton

CROWOOD

First published in 2019 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR

www.crowood.com

This e-book first published in 2019

© Emma Broughton 2019

All rights reserved. This e-book is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights, and those responsible may be liable in law accordingly.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 78500 564 0

Frontispiece: close-up of the crewelwork embroidery on the charm box from Chapter 4.

This book is dedicated to my mother, Janet Batten (1958–2015); without her unfaltering belief this book would not have been possible.

CONTENTS

Preface

Introduction

CHAPTER 1 Materials and Equipment

CHAPTER 2 Basic Concepts of Construction

CHAPTER 3 Lid Styles

CHAPTER 4 Trays, Drawers, Stacking Boxes and Dividers

CHAPTER 5 Boxes with Open Sides – Etui Boxes

CHAPTER 6 Shaped Boxes

CHAPTER 7 Advanced Construction

CHAPTER 8 Embroidery Projects from the Boxes

CHAPTER 9 Advanced Projects with Multiple Levels and Larger Boxes

CHAPTER 10 Designing Your Own Boxes

Stitch Glossary

Glossary

Acknowledgements

Further Reading

Suppliers

Index

PREFACE

I have had a passion for boxes ever since I completed my large box project during my apprenticeship at the Royal School of Needlework. Although box-making has fallen out of fashion in recent years it is my aim with this book to bring it to the forefront of craft making. By using traditional techniques with contemporary designs and methods I hope that you will find constructing a box as fascinating and rewarding as I do. For me, embroidery (along with many other crafts) has been a lifelong love, starting with learning to make lace at the age of five.

I used to dream about spending all day stitching or working on other craft projects (probably from watching too many period dramas) and during my apprenticeship I was able to do so; now I am fortunate enough to have my own studio and the time to do just that. More and more people are now picking up the needle and are excited to learn the skills that I have gained during my apprenticeship and beyond, and it is a privilege to share my knowledge through teaching and by writing this book.

Close-up of the pulled work white rabbit and white ribbonwork roses from Chapter 7.

This guide will take you through the methods of box construction from basic to more advanced techniques in the form of projects with clear step-by-step illustrations and text, which can be adapted for your own use. I have provided illustrations for the stitches used in the embroideries and a working order; however, it was beyond the scope of this book to provide full step-by-step instructions for all the embroidery stitches due to the number of techniques I have used. Hints and tips have been included where necessary to help you in the construction of your box and stitching of the embroidery for it. I have also provided alternative design ideas in each of the chapters to help start you off on your box-making journey; I have included as many different variations as the scope of this book allows, but of course there are many more possibilities. Finally, I have included the suppliers from whom I purchase many of my materials, a stitch glossary, and a list defining more general terms.

I hope that the designs I have created will inspire you to create your own themed boxes, which can be a graceful or elaborate work of art and may even become an heirloom treasured by generations to come.

ABOUT THE AUTHOR

For as long as I can remember I have been practising one form of craft or another, whether it has been embroidery, painting, beading, quilting, patchwork, crochet or lace making; I usually have a project on the go, ready and waiting to be continued during any spare time. My mother was my most influential teacher; when I was growing up she was always working on several projects at once and taught me a lot of the crafts that I still use today. Learning just one craft is never enough and even now I still like to learn as much as possible and try my hand at new crafts.

Large box from my apprenticeship with goldwork, stumpwork and silk shading.

After taking a class in Goldwork Embroidery with Royal School of Needlework graduate Shelley Cox during the school holidays, my passion for embroidery really took off. Little did I know she would later be one of my teachers. It was through Shelley that I found out about the RSN three-year apprenticeship, and was able to progress my skills and become a master of my craft.

I started teaching during my apprenticeship and was given the opportunity to continue teaching day classes while studying for my degree. I had to stop teaching while I concentrated on finishing my degree in Textiles for Fashion and Interiors, specializing in printed textiles, and then worked in Closs and Hamblin fabric shop till I had our son.

For me the joy in box-making is seeing your design become a reality. It is different from stitching an embroidery design because you have to really think about how each box is going to be constructed from start to finish: making one mistake can affect the whole box. While I love every form of embroidery that I studied during my apprenticeship – and each has its own unique challenges – box-making was definitely one subject in which I challenged myself further: I wanted to include not one but two working locks within my design, which was based on a box from my favourite fantasy book series by Katharine Kerr.

The box opens to reveal the two lockable lids and a false bottom.

Once you have mastered the basics of box-making I hope that the instructions in this book will encourage you to design and construct your own boxes. It is vital to complete a detailed design plan, take your time and don’t worry if you make a mistake because it can be corrected. You don’t have to include embroidery on the boxes if you don’t want to but I have tried to include as many different techniques as possible to provide you with inspiration. The more boxes you make the more confident you will become in constructing more challenging designs. My aim is to create modern designs that are adaptable and accessible to everyone, whether you are a beginner or an experienced crafter.

INTRODUCTION

Embroidered boxes were traditionally used to hold a variety of objects, such as jewellery, scent bottles, needlework tools, silver pins and threads, and were often designed for use as writing cabinets. The embroidery on these boxes was originally worked on linen or silk and completed as separate panels for the sides, top and edgings of the lid. The inside panels decorating the drawers were often worked in a flat long stitch with silk floss thread. These panels would usually have a geometric design or stylized flowers and leaves; occasionally they would also have figures and/or animals.

Close-up of the ribbonwork and goldwork embroidery from the large jewellery box in Chapter 9.

The completed panels would then be sent away to a cabinet-maker who would mount and fit the panels to the chosen box shape. The style of the cabinets varied and many of the later ones were much more elaborate in design than their earlier counterparts, some of which were simply rectangular boxes with a plain lid, like a miniature chest. The later, more complex boxes contained flaps or doors and some inevitably had ‘secret’ compartments to hide away treasures. Some had sloping sides, rising steeply like the roof of a house; others had little trays inside, divided up into small compartments to hold tiny objects. The trays would then lift out to leave a large storage space for bigger items. Handles and four ball feet were also attached to some, along with working locks. The trays and drawers were lined with silk, usually in red, pink or blue, which was not used until after 1650. Paper, either patterned or marbled, was used to cover the base and sometimes the inside of the lid if a mirror was mounted inside.

Borders of braid or gimp were stitched onto the outside edges and these varied from a simple neat band to a more complicated lacy trimming of gold thread. The style of figures used on the panels was often similar to those in pictures and complete stories might unfold as different scenes were depicted on each side and on top of the box. The embroiderer would occasionally include in the work a date and initials.

Two famous examples worked by Martha Edlin and Hannah Smith can be found in the Victoria & Albert Museum in London and the Whitworth Art Gallery in Manchester. The panels embroidered by Martha Edlin for her casket, by the time she was 11 years old, took two years to complete (dated 1671). The top panel is embroidered with the figure of Music playing a lute, while the front and lower sides are representations of the seven virtues: Faith, Hope and Charity, Justice and Temperance, and Fortune and Prudence. They are embroidered on panels of silk satin with tend stitch in silk threads and decorated further with metal threads and purl, silk cord and raised work such as detached buttonhole stitch. The sloping sides at the top are embroidered with a variety of animals including a camel and a unicorn, while the back includes a squirrel between two birds. The casket created by Hannah Smith was made ten years earlier and is in a similar style but the biblical scenes are divided up into scenes of autumn and winter worked in silk, gilt and silver metal on silk satin and canvas. Another beautiful example, worked by soldiers in 1920–30 and now housed at the Museum of New Zealand Te Papa Tongarewa, has blackwork and goldwork embroidered grapes and leaves worked on all of the silk exterior panels.

Boxes made in the late twentieth and early twenty-first century have taken box-making to a new level, although because of progress in technology and manufacturing, it is becoming a rare skill. Boxes are now usually made from fabric-covered card rather than wood, although wood is still used for larger boxes to make them stronger. Some boxes are plain with very little or no embroidery but instead use patterned fabrics, and are very complex in design and structure. Others are very simple boxes with elaborate embroidery on both the interior and exterior. Modern boxes are gradually becoming more and more complicated in terms of shape – they don’t have to be restricted to squares and rectangles – however, the more complicated the design the more time-consuming it is to create.

WHY MAKE A BOX?

With the wide availability of manufactured boxes you might be wondering why you should take the time to make your own box. The answer is simply that you can make it to your exact requirements: yours will be more practical than a generic shop-bought box, especially if designed for holding jewellery, because it will be to the size and specification you need as well as personalized and unique to your artistic style. And as well as the challenge of turning an idea on paper into a three-dimensional object, creating something by hand for your keepsakes to be stored in is also a great way to honour them.

There is no better way to show someone your appreciation than to spend time making a box for a special gift. I always appreciate it when someone has made something for me, because I know that they have put a lot of time and effort into creating it.

Stumpwork casket made from panels of silk satin, embroidered with silk and metal threads, mounted onto a wooden casket and signed M.E. for Martha Edlin (1671). ©Victoria and Albert Museum, London.

Close up of the embroidery on a box lid from the author’s apprenticeship.

CHAPTER 1

MATERIALS AND EQUIPMENT

Making boxes can require a variety of different materials and equipment; if you are already practising a few different crafts, such as embroidery or card making, then it is likely that you will already have a lot of the necessary equipment. The aim of this chapter is to guide you through all the possible materials and items of equipment that you could need for box-making. It might seem a long list but each box, and the embroidery used to embellish it, varies a great deal. There are only a few set items that will be needed every time you want to make a new box, so the materials and equipment are set out in order of priority with the most important at the beginning. A list of suppliers for most items is available at the back of the book, including those available direct from the author.

Etui box filled with equipment.

CARD

There are several different types of card that are suitable for box-making, all of which have different benefits depending on the type and style of box you are making. Conservation/museum card, millboard and mount card come in varying thicknesses, measured in micrometres (µm). More commonly called microns, 1000µm is equivalent to 1mm. For box-making, the main card needs to be 1800–2200µm to give a stable base to support both plain and embroidered fabrics. This is not a set rule but I would not want to use a card thinner than 1800µm except in certain circumstances (explained later in the book). Thinner card is likely to bend when the fabric is stretched across it, especially when laced, although this is an advantage when making certain shapes. The card used to create the boxes in this book is 2200µm unless stated otherwise.

Types and thicknesses of conservation card and millboard.

CONSERVATION/MUSEUM CARD

Conservation card is acid free, which is likely to make your box last longer than alternatives that are not acid free (if the rest of the materials are also acid free). There are two different types of museum-standard conservation card available: the first has a cotton core, made purely from cotton fibres; the second has a solid core, made from wood fibres that have been chemically purified. Apart from being acid free, the other main advantage of the latter is that is it easy to cut and maintain a smooth, straight edge; it will keep its colour and not turn yellow over time. It is more expensive when compared to other card types, especially the cotton core type, it is not as easy to source as other types of card, and is usually available only in bulk; however, in my opinion the amount of time spent making boxes justifies the cost because you want your masterpiece to last. All of the 2200µm card used in this book is solid core conservation card; because the double-sided tape is not acid free, solid core is perfectly acceptable for the projects in this book. If you were using vintage fabrics or embroidery I would suggest using the cotton core type with acid-free double-sided tape to prolong the life of the fabric.

MILLBOARD

A very dense board made from layers of wood pulp, millboard is often made from recycled or production waste material and is also acid free. Because this board is so densely layered it is slightly harder to cut than other types of board. Millboard is green in colour; it is bleed-proof and light resistant but the downside of this for box-making is that if you are using a thin fabric (which generally is preferable) the colour of the card can affect the colour of the fabric once it is mounted. This card is significantly cheaper than other types of acid-free board, however, so as long as it will not change the fabric colour drastically it is still worth using, particularly if conservation card is unavailable.

MOUNT CARD

This is probably the most readily available type of card, but it is usually available in a standard thickness of 1400µm, is made of wood pulp and tends not to be acid free. This could be used for small boxes in a single layer; two panels can be glued together to create a thicker piece but extra allowances will need to be made for the thickness of the card when cutting the panels. Creating a box with a curve, such as a circle box or chest lid, is best done with this thinner card. If necessary, layers can be carefully removed to make it thinner in order to create the perfect shape.

HARDBOARD/MDF

Both are made from wood fibres, and are either high- or medium-density fibreboard. MDF is the stronger of the two and doesn’t have a rough side like hardboard. These are generally used for very large boxes that need a strong base to keep the box stable, such as a toy box or seat box. Hardboard is generally 3mm thick but MDF is available in varying thicknesses from 3mm to 25mm. If you were to make a toy box or seat a 4–5mm hardboard would be the most suitable as this would be doubled to create the interior and exterior, making the sides between 10 and 12mm thick depending on the fabric used to cover the board.

NEEDLES

CURVED NEEDLES

A curved needle is the next most important item needed in box-making. There are several different types of curved needle available in a variety of sizes: triangular cutting curved needles, mattress curved needles, and beading and tapestry needles. Triangular cutting needles are available in sizes 10 to 18, with either a 16 or 14 being the recommended sizes to use for box-making. Mattress needles tend to be found in larger sizes (2–7 inches); beading needles are one size and usually long, thin and prone to bending or snapping; tapestry needles are smaller, following the same sizes as their straight counterparts and therefore can be found in a variety of gauges (16–24).

For box-making, a triangular cutting curved needle or a smaller-sized mattress needle can be used because they both have sharp tips which make them effective needles to join the fabric-covered card together. They can pierce the fabric much more easily than a curved tapestry needle, but beware of the sharp tips (I recommend using a thimble with the triangular cutting needles in particular). A curved needle is much easier to sew with than a straight one due to the inflexibility of the card. The smaller-sized needles work particularly well for box-making because the smaller curve of the needle makes stitching the fabric-covered card much quicker. Also, because they are finer they are less likely to damage the fabric than larger needles. Using a curved needle can take a bit of getting used to but once you have the knack you will be stitching quickly in no time. To make the projects in this book a 2-inch mattress needle or a size 16 triangular cutting needle is needed. Supplier information is available at the back of this book.

Curved needles, size 10 and 12 sharps, size 26 and 24 tapestry needles, size 9 embroidery/crewel needle, size 20 chenille needle, bracing needle, needle pricker and a handmade leather thimble.

Hints and tips

It is important to use the correct size and type of needle for your project. Ideally you will want to use the smallest needle possible to prevent damaging the fabric with too large an eye, but it is also important to make sure that the thread will not be damaged. Ensure that there is enough space available within the eye to allow the thread to pass through it with ease.

NEEDLES FOR EMBROIDERY

There are several different types of needles that are used for embroidery, including sharps, embroidery/crewel, tapestry, chenille and beading. These are all available in a range of sizes; as a general rule of thumb, the higher the number the finer the needle. Several other types of needle are available but these are not relevant for this book. The needle used will depend on the type of embroidery that you are working. Sharps are general embroidery needles and used for most techniques such as silk shading and goldwork; available in sizes 12 to 2, the most common sizes are 10 and 12. Embroidery or crewel needles are used for techniques such as wool crewelwork or stitches that require more than one strand or thicker thread, available in sizes 12 to 1 with the most commonly used being sizes 7 and 9. Tapestry needles are used for several techniques where the threads of the fabric are not pierced but counted and stitched between, such as blackwork, whitework and canvas. Tapestry needles are available in sizes 28 to 13 with the higher numbers being used for finer whitework and blackwork embroideries. Chenille needles have a much larger eye than general sewing needles and a very sharp point which makes them suitable for ribbonwork and crewelwork (the large eye prevents the thread from being damaged as it passes through the fabric). The sharp point makes it easier to stitch through coarse fabrics such as linen and they range in size from 26 to 13 with sizes 20 to 16 being the most commonly used for both techniques.

THIMBLES

It is advisable to use a thimble when using a curved needle, especially with thick and tough fabrics such as leather. I prefer to make my own leather thimbles by cutting out a small rectangle of kid leather, folding in half and over-sewing the edges with a size 12 needle. This allows me to get the perfect fit as I find metal and plastic ones uncomfortable when worn for a few hours and the shop-bought leather thimbles are less flexible.

TAPE AND GLUE

DOUBLE-SIDED TAPE

Available in a variety of widths ranging from 3mm to 25mm and usually not acid free, although there are now some specialist acid-free tapes available. It is only really important to use acid-free tape if you are using a vintage fabric, as this will prolong the life of the fabric. For box-making a 12mm-sized tape is generally the most suitable, as it provides a wider area for the fabric to adhere to and therefore will be more secure than thinner versions. It can also be cut down relatively easily when a thinner strip is required; alternatively the backing tape can be removed and replaced over half of the tape to reduce the thickness on smaller panels of card when a double layer would otherwise be needed to secure both opposite edges of the fabric.

GLUE

There is a vast range of glues available; any clear drying craft or fabric glue that is suitable for both fabric and card is fine. Glue is not used very often during box-making because of the risk of it spreading to unwanted areas. I would therefore use a brand of craft/fabric glue that you are familiar with, as they are all relatively similar. Generally glue is only used to prevent the fabric from fraying when cut or to secure the thread for bead handles to the back of the card panel.

KNIVES AND COMPASS CUTTERS

There are a few different types of knives available for cutting card: retractable utility knives, retractable snap-blade knives and craft knives including mount and compass cutters. Because the card used in box-making is much thicker than standard card a retractable utility knife (such as a Stanley knife) is recommended. The other types of knives are much thinner, prone to snapping and will become blunt more quickly due to the number of scores that are needed to cut through the card. The thickness and weight of a utility knife also make it easier to achieve a smooth and straight edge on the cut edge of the card when applying downward pressure as you cut. The only other type of knife you may need to use is a compass knife, which is used to cut circles out of the card. This has to be done slowly and carefully to achieve a perfect circle, cutting only a few centimetres at a time.

Stanley knife, compass cutter, set square, ruler, double-sided tape and cutting mat.

CUTTING MATS

Self-healing cutting mats are perfect for protecting your work surface when cutting the card; they are available in several sizes ranging from A4 to A2 and are a thick but flexible vinyl and plastic mix. They are usually non-slip, making it easier to apply the correct amount of downward pressure on the card without it slipping. They also have guides printed on them, usually in centimetres, which are useful for checking the card is square after cutting.

METAL RULERS, SET SQUARES AND SHAPE TEMPLATES

Metal rulers are needed not only for measuring the panels of card to be cut but also as a guide to press the knife blade against when cutting. There are three types of metal rulers available: flat, for mount cutting, and safety. Mount-cutting rulers have two edge types – the first is a fine edge with a ruler for accurate measuring; the other has an upward curve before the cutting edge, to protect fingers, followed by a groove for using a mount cutter as well as an anti-slip rubber strip underneath. Safety metal rulers also have anti-slip strips and are designed with a central recess to protect fingers when cutting. While it is possible to use a flat metal ruler it is best to use either a mount or safety ruler when cutting the thick card because of the anti-slip strips and finger protection.

A set square is another vital piece of equipment in box-making – it is important that each panel is square in order for all the pieces to fit together properly. These can be plastic or metal as they are only used to check that the panel is square before and after cutting rather than as a guide for cutting.

Paper or card templates can be used as a guide for tracing shapes to be cut out, especially those with multiple sides other than squares. Plastic templates usually used for quilting are also perfect to use instead of paper templates for shaped boxes as they are easy to draw around, can be used more than a couple of times and each shape is available in a variety of sizes.

EMBROIDERY TOOLS

SCISSORS

Ideally you will need fabric, embroidery and paper scissors for box-making; there isn’t a set number of scissors that you need and if you are an avid crafter you will probably have several pairs. It can be helpful to have two sizes of fabric scissors available; the larger pair (5 inches or longer) can be used to cut the fabric for each panel and the smaller pair (1½–2 inches) can be used for trimming the fabric when covering the panels. Having more than one type of embroidery scissors is also useful – straight, curved or angled – so that you can always cut the thread as close as possible to the fabric-covered panels.

Fabric and embroidery scissors. The red-handled pair is used solely for goldwork.

MELLOR

A mellor, traditionally used in goldwork, is a flat metal tool used to help lay the threads into place without damaging them, but it also has many other uses. It has a flat handle and a tapered rounded point at one end. It is particularly useful in box-making as it can be used to help unpick the stitches when necessary without damaging the fabric. It is used during both lacing and traditional mounting for pulling the stitches tight, as well as for ribbonwork to prevent damaging the fragile silk ribbons.

STILETTO

Traditionally used in the creation of eyelets in whitework, a stiletto can be used for any project in which a circular hole is needed. In box-making it is a useful tool to create holes in the card for attaching handles, either a series of beads threaded onto sewing thread which is then passed through to the back of the card, or for screws from small handles. The stiletto is made from metal with varying handle designs; it is tapered to a fine but slightly rounded point (much like a tapestry needle) and is used to separate the fabric threads without damaging them.

PLIERS

When sewing with leather or other stiffer fabrics, pliers are essential to save your fingers. Round-nose pliers are preferable as they are gentler on the needle than flat-headed pliers but still provide a good level of grip to help guide the needle through the fabric. If you have only flat pliers available, just be careful that the jagged inside edge doesn’t damage the needle as a lot of pressure will be applied to the needle especially when sewing leather.

TWEEZERS

Tweezers are particularly helpful if you have to carefully remove a whole panel from a box or a large section of embroidery and need to remove the cut threads from the fabric without damaging it with the use of scissors. Tweezers with a very long fine point are best, especially when working on smaller boxes, as they will help with hard-to-reach areas and they can also be used to help unpick stitches without damaging the fabric. They are also used when removing tissue paper from fabric during the design transfer process (see Chapter 8 for instructions).

Tweezers, stiletto, pliers and mellor.

Hints and tips

It is usually advisable to designate pairs of scissors for particular tasks in order to avoid them becoming blunt too quickly or damaging threads, when cutting goldwork threads or paper, for example. Having a small scissor sharpener as part of your embroidery toolkit is also helpful to maintain the blades. Keeping them as sharp as possible avoids having small tufts of unwanted thread sticking out from the sides of your box.

EMBROIDERY FRAMES AND SUPPORTS

Ideally all embroidery (with the exception of smocking) should be worked in some form of frame if the embroidery is going to be mounted onto card, whether it is used for a box or as a piece to be framed. Working embroidery in a frame means that the fabric is worked under the same tension throughout; otherwise the fabric could be distorted by the stitching, causing ripples or bubbles in the fabric when mounted. The type of frame you use will depend partly on what type of embroidery you are doing – the type of fabric, the size of the design, and how long it is likely to remain in the frame. If you wish to use just one particular type of frame (maybe because it is all you have available or you do not have space to work a larger frame) then it is best to plan and design the embroidery around the size of your frame. There should be an inch or more left between all edges of the design and the edge of the frame, firstly because it is difficult to stitch right up to the edge of the frame and secondly because the frame could damage the threads/materials used if you have to adjust the tension while the embroidery is still being worked.

As all types of embroidery can be worked and mounted for box-making there are lots of different types of frames that you can use. I prefer to use a ring frame with either a seat or table clamp; embroideries for box-making tend to be small and a ring frame is quicker to prepare. It also allows me to work on the sofa or, as I prefer, in a chair with the clamp attached to the desk in my home studio. This enables me to work with both of my hands free and have all of my equipment and materials available on my desk stored safely in my workbox. It may take a bit of practice to get used to working with both hands; I tend to have my dominant hand under the frame and the other above. This makes it easier to be more accurate with my less dominant hand as I can see what I am doing and rely more on instinct with my dominant hand. Using this technique will help increase the speed at which you stitch as you can pass the needle through the fabric to the hand below and viceversa – much more efficient than working with a single hand.

The fabric can be damaged and creased by leaving it in the frame for too long, and if left uncovered you can also end up with a slight halo where the fabric sandwiched between the two pieces of frame has not been affected by dust and sunlight. There will be some instances where you will not want to remove the fabric from the frame, for instance if you are working whitework with eyelets or drawn thread work, as sometimes removing the fabric (especially if partly completed) can cause more damage or distort the work you have already completed more than keeping it in the frame. Instructions on how to prepare frames for embroidery can be found in Chapter 8 along with the instructions for the embroidery projects.

Hints and tips

Acid-free tissue paper should be used to protect your work between stitching sessions; it can be pinned to both roller bars at the back of a slate frame and folded over the roller bars to protect the front and back of the frame. If you are using a ring frame and only leaving your work for a short amount of time tissue paper can be wrapped around the frame, but if you will be leaving it for a long time it is best practice to remove the fabric from the frame and keep it flat, using tissue paper to encase the fabric.

HANDHELD RING FRAME

Handheld ring frames are made up of two thin wooden hoops. The smaller one fits inside the larger, which has a break in the circle for a screw tightening mechanism. Handheld frames do have some advantages as they can fit in a tote bag; this is extremely useful if you wish to take your embroidery away from the house. However, the speed at which your embroidery is completed will be slower than with a hands-free frame and if you are using it for a long time your hand may start to cramp from the effort of holding the frame steady as you stitch. Handheld ring frames are available in a wide range of sizes, 4–12 inches, and also have the advantage that they can be used for mounting embroideries.

8-inch ring frame, slate frame, table clamp and seat support.

SEAT FRAME

Ring frames for seat frames are similar to handheld frames but are made up of two thick wooden hoops; the smaller hoop has a hinged dowel attached, which can then be fitted into an upright pillar attached to a shaped base to sit on. The height of the ring frame can be adjusted by moving the dowel up or down within the support pillar, and the angle of the frame can also be adjusted. The base of the seat frame is small enough to fit on most chairs and because the pillar can be removed from the base it is also portable. The pillar can be placed centred or to either side of your legs depending on what is the most comfortable; often once you get used to the frame you won’t notice it is there. The ring frames are only available in a small range of sizes (8 inch, 10 inch and 12 inch); however, an adapter clamp with dowel is also available for use with any handheld ring frame in any of the frame supports.

TABLE CLAMP

This is a barrel-shaped wooden clamp with a cut-out section in one half. This is slotted over the edge of a desk or table with a wooden screw handle to secure it to the table. There is a hole through the other half of the clamp for the dowel on the ring frame (as described for use with seat frames) with a small plastic screw to hold the dowel in place at the desired height. Depending on the depth of the surface you are attaching it to it is advisable to either use a cutting or protection mat on the top of the table or cover the top inside edge of the clamp with a felt pad, cut to size if needed, to protect the surface. It is always good practice to pack away the frame and clamp once you have finished stitching even if the project isn’t completed. If you are working in a dedicated room and will be continuing later or the next day then by all means just remove the fabric but make sure that the embroidery is protected by tissue paper until you are able to continue working on it.

FLOOR STAND

Floor stands come in a variety of different styles, some of which hold the dowel-type ring frames as described above; others have a clamp style fixing to hold either a small slate frame, handheld or dowel-style ring frame. They are either adjustable in height and angle or only height adjustable depending on what type of frame they support. These styles of frame supports are very comfortable to use when adjusted to the correct height and angle as well as having the advantage of being stable enough to be left for a few minutes (the seat frames tend to fall over if left unattended). The other advantage is that they can be left set up ready for any spare moments without having to do anything more than set up the fabric or frame again. If you are leaving your work for more than an hour or so it is best to take off the fabric in order to avoid damage, either from the pressure of the frame or from other things falling on it, even with tissue paper covering it. If you are using a slate frame on the stand I would recommend removing it from the clamp and leaning it against something, preferably in a specially made bag (from PVC tablecloth fabric), rather than leaving it attached to the stand in case it gets knocked into another piece of furniture.

SLATE FRAMES

Slate frames are larger wooden frames, usually rectangular. They are available in a variety of sizes (18 and 24 inch are the most popular sizes) and tensioning styles but will always have two roller and two stretcher arms. The two roller arms will have webbing stapled to them for the top and bottom of the fabric to be stitched to. Some types have a hole at each end for the stretcher arms to slot through; others have bolts for the stretcher arms to fit onto or will have peg-like grooves with two positioning holes cut for the stretcher arms. The stretcher arms will either have two sets of holes drilled in a brick pattern on each arm, or they will have a single series of holes for the bolts at each end of the roller arms to be threaded through and tightened with a wing nut. Alternatively they will have a peg-like clip, possibly with two holes to vary the height of the fabric; wing nuts and bolts are then used to keep the roller bars at the correct tension. The latter two styles of frame are slightly less accurate to tension than the first.

All types of slate frame take a long time to set up compared to a ring frame, so are best saved for projects that will take a long time or need to be kept at a set tension. If you will be spending many hours working on a project a slate frame will give you the best final outcome, as the fabric is less distorted by stitches when kept at the correct tension. This is particularly true if you are planning on working more than one design or a very long design that extends beyond the length of the stretcher bars on the same piece of fabric. This can only be done with certain techniques and only where at least one of the embroideries is worked in a flat stitch such as blackwork, which once completed can then be rolled safely around the roller bars without causing damage. By working two designs on the same fabric at the same time you are able to cut out some of the framing-up process; only the webbing on the sides of the fabric will need to be repositioned when the fabric position is changed. The other advantage of a slate frame over a ring frame is that if you are working a large design you might not be able to reach the middle of your work comfortably, in which case it is useful to be able to roll the fabric around the arms so that a smaller central section of the design can be reached and then rolled out each side until the whole of the design has been worked. I would never recommend moving a ring frame around the fabric to complete a larger design, as the sides of a ring frame will crease, distort and squash any stitches that have already been worked. Instructions for setting up a slate frame can be found in Chapter 8 with the embroidery projects.

PENS, PENCILS AND PAINTS

PENS

Pens can be used to transfer designs onto fabric; they must be permanent, especially if you are likely to need to wash the fabric before mounting onto a box panel or in a frame. It is always a good idea to test the pen on a small piece of the fabric you will be using, both to check that it is indeed permanent (some can still run) and to check that the line drawn does not spread more than expected and distort the design to be worked. Using a pen with a very fine tip will help with this but even these can spread, especially if you press slightly harder than intended against the fabric.

There are permanent fabric pens available specifically for use on textiles; if you are used to crafting with fabrics then you will probably have used pens which are either water soluble, disappear over time or can be ironed away. These are not ideal for this purpose, as the drawing can either last longer than expected or disappear before you are finished, if it is a particularly large design. The use of iron-away pens very much depends on what type of embroidery you are working on – the last thing you want to do is flatten or damage the stitches when ironing close to the embroidery. With water-soluble pens you will need to test your threads and fabric to ensure that they are colourfast; while most modern threads are colourfast this is not always guaranteed with older threads.

PENCILS

For marking the cutting lines I would use an HB propelling pencil: they don’t have to be sharpened to maintain a fine point and the line won’t distort as you draw. The cutting lines need to be as thin and accurate as possible. Either a 0.8mm or 0.5mm pencil lead will give you the most accurate cutting line.

To mark a design on fabric there are permanent pencils available. For whitework I would definitely use a light blue permanent pencil rather than a pen, as it is less likely to show between or through the stitches. It is also possible to buy a propelling pencil with leads specifically designed for use on fabric. The ceramic leads are available in white, yellow, green, black and pink; they can be changed and used exactly the same as a standard lead propelling pencil. Like other propelling pencils they also come with a rubber to use should you make a mistake. Personally I prefer to use pencils rather than pens (except on canvas) because a lighter line is produced which is more forgiving than pen. You may find that the pencil lines will fade slightly as you work but as it is a pencil it is possible to go over the lines again while stitching without risking the colour bleeding onto the stitches already worked or having to wait for it to dry completely.

PAINT

For very dark fabrics or designs that will take a long time to embroider, paint is the best medium to use for transferring the design. Because darker fabrics are harder to see through when using a lightbox, a more accurate method is the prick and pounce method with ground-up cuttlefish (instructions in Chapter 8) followed by painting with gouache. Using a very fine brush (size 0000), a thin line of gouache is painted straight onto the fabric. Do not use any water, as this would cause the paint to bleed. Once dry any thicker parts of the paint can be carefully picked off with a needle as you stitch.

Fabric pencils, paintbrush and permanent pen.

Hints and tips

To test if a thread is colourfast, sandwich small amounts of the threads in a piece of pure white kitchen towel and wet the paper completely. Place a waterproof item, like a glass tile, on top to weight the paper down and leave until fully dry. Only once the paper is completely dry will you be able to see if any colour has run onto the paper.

LIGHTBOXES, LIGHTING AND MAGNIFICATION

LIGHTBOX

Lightboxes were originally boxes with a piece of glass or plastic on the top with a light placed behind to enable designs to be copied either onto paper or fabric. Most lightboxes available for purchase nowadays tend to be ultra-slim: two flat pieces of plastic glued together, like a computer tablet. This makes them more portable and saves space as they can be tucked away in a drawer when not in use and are available to fit A4 and A3 paper. While it is unlikely that a beginner in box-making would be working larger than A4, it is entirely possible to create larger boxes. I have found the A4 lightbox size to be quite generous and unless you are working right to the edges on an A3 piece of paper it would easily be big enough to work with larger designs. Instructions for design transfer can be found in Chapter 8.

DAYLIGHT LAMPS

When stitching an embroidery or joining together box panels, it is very important to have good lighting in the room you are working in, in order to protect your eyes and to see what you are working on in fine detail. Daylight lamps are very useful and come in a variety of styles – small table lamps, tall floor lamps, clip-on, clamp style – and are also available as single bulbs that can be fitted into existing lamps and ceiling lights. Artificial lights can sometimes affect how our eyes see the colour of threads and fabrics, because they emit yellow rather than white light, so it is important for the overall finish of the embroidery to make sure that the correct lighting is in place, as it may look very different in daylight if only artificial lighting is used. Using daylight bulbs also ensures that no matter what time of day you stitch in most, you will always have the same level of light to work in.

The style of lamp that you choose will depend on where you spend the majority of your time stitching or crafting, but I would recommend researching them first to see what will best fit your needs. Ideally for box-making you will need a work desk in order to cut out the panels of card and to support the panels as you join them together. I have three different lamps on my desk because it gives me the best lighting possible, even on a dull day. Two of them are smaller desk lamps with clamp adapters and a flexi-tube for maximum adjustment; the other can either be a floor lamp or clamped to a desk with various (but slightly more limited) levels of adjustment. I also have daylight bulbs in my ceiling light to make my work more accurate and because I find that any artificial light will affect the colour of what I am working on. There used to be only one type of daylight bulb available, which was relatively expensive, but there is now a much wider range of bulbs available in many shops, and at a more reasonable price; just ensure that ‘daylight’ rather than just ‘white light’ is specified on the box.

MAGNIFICATION

For very fine embroidery techniques, such as blackwork or whitework, you may need a magnifying glass to help with the accuracy of counting threads or for viewing intricate stitches more closely. As well as small, handheld versions, magnifying glasses for embroidery are available with a clamp attached to secure to the frame; they also come attached to daylight lamps. It can take some practice to get used to using a magnifying glass and some people prefer not to use them while they are stitching but just occasionally for checking work. In this case a handheld glass can be more useful as it is less likely to get in the way. Do not place the glass too close, either to the fabric or your eyes, and take regular breaks to rest your eyes by looking at objects further away. Getting up to make a drink is a good way to have a break away from your work and will allow you to relax for a good amount of time before continuing. If you find that you are having difficulty seeing stitches when working close to the fabric – with or without a magnifying glass – it is worth booking an eye test, to check that there isn’t an underlying issue that you might not otherwise be aware of.

While you will want to ensure that you have the best light possible when using a magnifying glass, working close to a window perhaps, it is important to make sure that the magnifying glass is not placed in direct sunlight (whether or not it is in use), as a magnifying glass in direct sunlight could cause the fabric to catch fire.

Light pad, clamp and handheld magnifying glass.

THREADS AND EMBROIDERY MATERIALS

MACHINE SEWING THREADS AND BUTTONHOLE THREAD

The box panels are stitched together using a mixture of machine sewing threads and buttonhole thread, also known as top-stitch thread. These threads are mainly made from polyester because it is a stronger and longer-lasting thread than cotton (although cotton machine threads are available I would only use it if you cannot find a close enough colour in polyester). Various machine sewing thread brands are available on the high street and come in a vast array of colours, although craft stores are likely to stock a selection from the entire range. Buttonhole thread is usually available in a slightly more limited colour range and is a heavyweight thread, thicker than general machine sewing thread. While it is slightly elastic it is tear- and abrasion-resistant which makes it perfect for lacing, mounting and for box hinges or cupboard doors that have a lot of weight or use. It therefore shouldn’t break when placed under the tension needed for lacing and mounting, or snap from overuse or the weight from a lid or cupboard door that has a lock mounted within it.

It is important to try and choose a colour of machine sewing thread as close to that of the fabric you will be working with as possible – although your stitches should not be visible when using ladder stitch. Buttonhole thread to be used for lacing can be any colour but I generally tend to use a white or cream colour. When a perfect match of machine sewing thread is not available it is a matter of personal judgement; it is usually better to go with a thread that is slightly lighter in colour rather than darker. If the fabric has multiple colours it is best to choose a thread that is sympathetic to all of the colours in the fabric. For instance, if the fabric were a mix of yellow, light and dark green (like the drawer in Chapter 4) then I would go with a thread to match the light green as it should not be too noticeable on the yellow or dark green. If you have trouble choosing between several options then a little trick is to place the number of strands you will be using, usually only one or two, on the fabric you will be using. Hold them roughly at half arm’s length and squint your eyes slightly; whichever is the least visible is the one you should go with.

Buttonhole and machine threads.

STRANDED COTTONS

Made from 100 per cent cotton, stranded cottons are probably the most used thread for embroidery because they are so versatile; they come in hundreds of different shades and are easy to work with. There are several different brands available, each with a slightly different range but they are always produced in a 6-ply or 6-strand skein (6 separate strands twisted together), usually 8m in length. There are no rules dictating how many strands you can use in the needle at a time, but it is important to use the correct-sized needle for the number of strands you wish to use in order to avoid causing wear on the thread. It is generally advisable to separate the strands and then group them back together prior to use, in order for them to lie flat and not have loops where individual strands have shifted as you work. (There may be an odd occasion where this rule needs to be broken in order to maintain the twist on the thread rather than using individual strands.) I find ‘stranding’ is easiest to do when holding the six strands securely between thumb and forefinger of your less dominant hand; use your dominant hand to pull the strands one at a time from the group. This should be done using only the short length of thread you will be stitching with, usually 20–30cm. This way they will not become tangled and you can also just separate the number of strands you need for the thickness of stitch you require while keeping the rest together. I also prefer to wind the cotton around card bobbins to avoid tangles and for ease of storage, with different brands stored in separate boxes.

Stranded cottons stored by brand and colour type.

PERLÉ AND COTON FLOCHE

Also made from 100 per cent cotton, perlé is a silky single strand 2-ply twisted thread, used straight from the skein. Perlé is available in a variety of different thicknesses and colours and is a lovely thread to work with. Care must be taken not to use too long a length (no longer than 30cm) because the thread can start to untwist as you work. Replace as soon as it starts to look worn, especially if working with more than one length on canvas; this is because the density of the stitches will make the thread wear more quickly than if worked individually though a different fabric.

Coton floche is a 5-ply mercerized cotton thread, worked straight from the skein. It is usually used in whitework designs or embroidery when a thicker single thread is required. It can be used as a surface thread or as padding underneath satin stitches or thicker sections of trailing. Because it usually comes in a 10g skein it is advisable to plait the skein and cut the loops at one end so that the threads are a workable length when pulled out; this will make them easier to remove and avoid tangles.

WOOL

There are various sizes of wool, all of which come in a wide variety of colours. Crewel wool is the most used type for fine embroidery, and the 2-ply thread is also used straight from the skein. Due to its delicate nature care needs to be taken to check for wear on the thread, as the more it is passed through the fabric the weaker it will become. Again it is important to keep the lengths short and replace as soon as any damage or thinning is visible. Wools have fallen out of fashion in recent years and so therefore may not be readily available in high-street craft shops but there are several brands available for purchase online.

GOLDWORK THREADS

Gold or metal embroidery threads are available in such a wide range of styles and colours now that there are too many to list them all. Traditional forms of the threads, and arguably the best quality, are produced solely in the UK by a few small companies. It is even possible to buy threads made of real gold but these are very expensive and can tarnish more quickly than gilt threads. Due to the nature of the materials and the processes used to make them, metal threads are relatively expensive and therefore it is important to plan your embroidery carefully to make sure that you can purchase enough of the types you need. The threads are very delicate and can be easily damaged so it is important to store them properly. They should be sold in acid-free bags so it is important that they remain in these. This is another way of telling the quality of the thread; those sold in plastic packets or boxes, while still perfectly usable, are usually of lower quality.

The threads can be divided into three types. The first and second are pure metal threads, either hollow (pearl purl, check and purl) or flat (spangles and plate). Depending on the type, the securing thread is either invisibly couched between the twists or the needle is passed through the hole like a bead and stitched into place. The third type of thread consists of metallic paper wrapped around a cotton core (Japanese, rococo, passing, check or twist); this is couched into place either singly or in pairs with a sympathetic colour of sewing thread or a contrasting one. Goldwork is different from other types of embroidery in that the threads are laid on top of the fabric and secured with a separate waxed sewing thread that ideally you do not want to see. With couching techniques it is not possible for the thread to be hidden as it is passed over the gold threads to secure them; to make them less noticeable, choose a thread colour as close as possible to the colour of the metal. There is a form of goldwork called or nué which uses different coloured threads, sometimes silk, to create an image or shading within the gold threads. The couched threads then need to be finished off neatly by ‘plunging’ them through the fabric one at a time and then securing to the back by oversewing a small length (roughly 1cm) of the thread with a waxed piece of the sewing thread.

Goldwork is probably one of my favourite techniques to work; the range of thread types and techniques is so vast that the embroidery possibilities are almost endless. Some techniques are more difficult to master than others, however, and because the threads are unlike any others they are less forgiving. It is therefore advisable to practise with them before working on the final design. Always use a separate pair of scissors kept specifically for cutting metal threads for goldwork because they can cause damage and make them blunt. It is also important to make sure that the sewing thread used is adequately waxed by drawing it through a piece of pure beeswax several times (so that it squeaks when pulled between your fingers) to help prevent the metal from snagging and damaging the threads. As with other types of embroidery it is very important to keep the sewing thread length short and replace as soon as it looks worn; it is far easier to replace a slightly worn thread than a snapped thread that could risk damaging the work you have already completed. For more information about goldwork materials please see the Further Reading section at the back of this book.

Goldwork thread materials, including blue rough, gilt bright check, leathers, beeswax, yellow string, velvet board, rococo, gold and silver spangles.

Ribbon supports for box hinges, tags on lids and to secure items in place on sides can be made using any type of ribbon: satin, grosgrain ribbon or ric-rac will provide the best level of support as they are far stronger and less delicate than silk or organza ribbons. The width of ribbon that you choose will depend on the size of the box you are making; most likely you will only need a smaller size, 4–13mm.

Hints and tips

Goldwork threads can be stored in tin foil or acid-free paper if the original bags become damaged. I would also recommend storing the bags in a separate plastic box to avoid the threads being squashed by any other equipment. Velvet boards (velvet-covered card) or small flat velvet cushions can be used to cut the threads on; the pile on the velvet holds them in place when cutting and prevents them from rolling onto the floor while they are waiting to be stitched.

RIBBONS