Machine Embroidery E-Book

Claire Fell

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

Seitenzahl: 506

Veröffentlichungsjahr: 2020

Beschreibung

Embroidering with a sewing machine is exciting, immediate and affordable; this practical book shows you how to do it. Packed with encouraging advice, it introduces the sewing machine before explaining how to design, plan and make your own embroideries and turn them into finished items to treasure. Topics covered include: learning how to set up the machine and carry out basic cleaning and maintenance; discovering which thread types, fabrics and mixed media elements are most suitable for machine embroideries; exploring how to use the pressure foot to turn functional utility stitches into exciting surface decoration; working freely with dropped feeder teeth and an embroidery foot, and learning how to alter the tension to create different effects and finally, using soluble film to enhance your pictures, and stitch realistic thread paintings of landscape, animal and bird embroideries. With over 900 colour photographs and illustrations, it is the perfect companion for both those new to machine embroidery and those looking for new ideas and inspiration.

Leseprobe

MACHINEEMBROIDERY

Techniques and projects

MACHINEEMBROIDERY

Techniques and projects

Claire Fell

First published in 2020 byThe Crowood Press LtdRamsbury, MarlboroughWiltshire SN8 2HR

[email protected]

This e-book first published in 2020

© Claire Fell 2020

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

ISBN 978 1 78500 702 6

The book is dedicated to the following people:Mum and Dad – thank you for putting up with my artistic mood swings; Nan, who brightened up rainy days with her button tin;Aunty Rita and Uncle John – I could not have done this without you; and Felicity, for sharing her skills and enthusiasm.

CONTENTS

Introduction

CHAPTER 1 Equipment, Tools and Materials

CHAPTER 2 Setting Up the Machine and Workspace

CHAPTER 3 Designing for Machine Embroidery

CHAPTER 4 Raising the Teeth – Using Set Stitches for Machine Embroidery

CHAPTER 5 Lowering the Teeth – Free Machine Embroidery with an Embroidery Foot

CHAPTER 6 Thread-painting

CHAPTER 7 Using Water-soluble Film

CHAPTER 8 Experimenting with Stitches and Tension

CHAPTER 9 All That Glitters

CHAPTER 10 Embroidering the Landscape

CHAPTER 11 Animals and Birds

CHAPTER 12 Finishing Your Work

Templates

Suppliers

Bibliography

Index

INTRODUCTION

WHAT IS MACHINE EMBROIDERY?

The simplest definition of machine embroidery is to decorate a piece of cloth with stitches using a piece of equipment that has several mechanical moving parts.

Machine embroidery can be created with the feeder teeth up or down, and this can be achieved on a manual or computerized embroidery machine.

Machine Embroidery with the Feeder Teeth Up

Embroidery with the feeder teeth up and presser foot refers to making patterns with set stitches such as straight, honeycomb, zigzag or satin stitch. This type of embroidery relies on the presser foot and feeder teeth to feed the fabric over the needle plate to create the embroidery stitches.

Machine embroidery with the feeder teeth up can be very effective when used to embellish a background fabric. Rows of set pattern stitching can be very decorative when sewn with threads that are variegated or grouped next to one another. Embroidery with the feeder teeth up may also be very useful if the design requires the stitches to be of the same length or width.

Machine Embroidery with the Feeder Teeth Down

Free machine embroidery is produced with the feeder teeth down and a darning or embroidery foot attached. The feeder teeth have been disengaged so the person doing the embroidery has total control over the movement of the fabric and the placement of the stitches.

The machinist must learn how to control the speed of the machine with the foot pedal whilst moving the hooped fabric to create the stitches. The only thing the machine does is respond to the foot control to make the needle go up and down to form the stitch. The only stitches used for free machine embroidery are straight and zigzag; this is because the user moves the hoop to direct the fabric and produce their own stitch pattern. It is much easier to produce free machine embroidery because the fabric can be moved in any direction to create patterns or designs that aren’t governed by the friction of the foot.

Computer Machine Embroidery

Computer embroidery machines do the stitching for you; the machine, foot and hoop are controlled by a computer program. The user chooses the design, sets up the hoop and threads the machine and tells it to start sewing. Digitizing or programming designs from scratch takes time and skill; most users prefer to buy or download free designs. Embroidery machines do have their merits as designs can easily be resized, reproduced and shared, and it’s magical to watch a machine sew by itself.

CHAPTER 1

EQUIPMENT, TOOLS AND MATERIALS

This chapter is about the tools and materials needed for machine embroidery. To learn the basics you need a sewing machine with feeder teeth that lower, a darning or embroidery foot, size 90/14 universal machine needles, plain cotton fabric, good-quality rayon, viscose, polyester or cotton machine threads, fabric scissors, embroidery scissors, embroidery hoop and pencil.

THE SEWING MACHINE

A good-quality sewing machine is essential for machine embroidery; it must have straight and zigzag stitch, plus the ability to drop or cover the feeder teeth. The machine must be sturdy because lightweight models have a tendency to bounce across the table when sewing at speed. Most machines are called free arm, which means they have a removable flat surface or free arm table which is taken away for sewing cuffs or trouser hems. The free arm table is useful for machine embroidery because it provides a stable surface for the hoop.

Dropping the Feeder Teeth for Free Machine Embroidery

Feeder teeth grip the fabric to move it over the needle plate; by contrast dropping the feeder teeth disengages the mechanism so the fabric remains in the same position. The person operating the machine must now move the fabric because the feeder teeth are not touching it. The foot must also be swapped to a darning or embroidery foot because a presser foot would grip onto the needle plate and stop the fabric moving.

You can still do machine embroidery if the feeder teeth can’t be lowered. My beloved Janome JF 1018s does not have drop feed; it came with a plastic clip-on darning plate. I have embroidered many projects with this machine, although it did take a while to get used to using a darning plate because it is slightly raised. I have used lots of other sewing machines and I find that simple machines often give the best results. If you can’t drop the teeth or use a darning plate, you could remove the teeth entirely and solely use the machine for free machine embroidery.

Darning Plate

Darning plates clip over the needle plate to stop the feeder teeth coming into contact with the fabric. I stick my darning plate to the needle plate with double-sided tape to stop it coming loose whilst sewing. Darning plates can cause problems as they narrow the gap between the embroidery foot and the fabric, causing loss of movement or friction. The narrow gap between the embroidery foot and needle plate means the embroidery foot may need to be removed each time an embroidery hoop is put in position; this can be annoying if the fabric needs re-positioning to stitch a large embroidery.

Buying a Second-hand Machine

If you want an ‘old school’-style machine the second-hand market may be your only option. Be careful! I inherited an old machine but when I began sewing the machine made a funny noise and caught fire. I recently bought a Bernina 801 from an online auction site: vintage Berninas are favoured by many textile artists because they are reliable and sturdy. I discovered my purchase had a few blemishes and was in need of a replacement foot pedal and good service. If you buy second-hand, see if you can test the machine before you buy it, then get it serviced by a professional.

Whether your machine is new or old it needs to be a sturdy workhorse. There is a big difference between sewing the odd seam and doing machine embroidery. When sewing a seam the machine is working slowly so it has a chance to cool down and rest: when doing machine embroidery the foot pedal is pressed down for a long time, which means the motor can get hot because it’s working harder.

Basic sewing machines will be used throughout this book. Front: my Janome JF 1018s which has a darning plate to cover the feeder teeth. Rear: my second-hand Bernina 801 with a darning (embroidery) foot attached.

SEWING MACHINE ACCESSORIES

The instruction booklet is the most important machine accessory. It tells you how to thread the machine and wind bobbins and which dials or buttons change the stitch type and length. It explains how to drop the feeder teeth and alter the top and bottom thread tensions. The most useful part of the instruction book is the problem-solving section; if the machine plays up the answer is usually in the manual.

Sometimes these booklets list optional parts: for example, your machine may not come with a darning foot. It is essential to know the make and model of your machine for ordering extra bobbin cases or feet. If you have lost the instruction book it’s easy to download it for free from the internet.

Bobbins

The bottom thread is wound onto a bobbin, which is inserted into a bobbin case and loaded into the machine. Bobbins can be made of metal or plastic; they can be flat, domed or have holes in them. Bobbins should not be wound by hand because this creates uneven tension and stitch problems. A wound bobbin should be neat with no loose threads, lumps or tangles; think of a new reel of thread – this is what a perfectly wound bobbin should look like. Refer to the instruction booklet for more information about winding bobbins for your machine. Bobbins need to be stored carefully because the threads can easily unwind and become knotted; I prefer to use a silicone bobbin ring because the bobbins stay put and do not tangle.

It’s a good idea to invest in a spare bobbin case for loose tension bobbin work or cable stitch because having a spare saves setting-up time.

Bobbin Case

The bobbin case holds the bobbin in position and tensions the thread so the machine can make the stitches. The wound bobbin is inserted into the bobbin case so the thread passes through the tension slot and under the tension spring. The tension spring is a curved piece of metal secured by a tiny screw, which is loosened or tightened to alter the distance between the tension spring and the outside of the bobbin case.

Make sure you are using the right bobbin and bobbin case for the machine as the wrong one could damage the machine, resulting in expensive repairs. I mark my spare bobbin case with a permanent marker or nail polish so I know it’s the spare. Accidentally using the loose bobbin case will cause tension problems and make you think something is wrong with the machine.

Machine accessories. Top, L to R: wound bobbins, buttonhole foot with a large groove for neater satin stitch, standard presser foot for straight stitch. Bottom, L to R: spring needle, darning (embroidery) foot, bobbin case, bobbin.

SEWING MACHINE FEET

The style of sewing machine feet does vary: some feet are attached directly to the machine and others have a long or short shank for clipping on. Individual machine feet have a specific job to do: for example, there is the straight-stitch foot for straight stitch and utility stitches like zigzag or tricot stitch, the zip foot for attaching zips or the darning foot for embroidery.

Darning Foot or Embroidery Foot

The most important foot for free machine embroidery is the darning or embroidery foot. Such feet can be made of metal or a combination of metal and plastic; some have a spring to allow the foot to bounce over the fabric. Embroidery feet don’t come into contact with the needle plate; their function is to stop the fabric lifting up with the needle whilst allowing the fabric to move freely over the needle plate.

Big feet (which may be made of plastic or metal) are available for machine embroidery; these are suitable for those who need accuracy or have vision problems. The foot is bigger to prevent fabric bounce and the large opening in the centre provides clear visibility.

Presser or Straight-stitch Foot

The presser or straight-stitch foot is used for sewing straight and zigzag stitches, plus set utility or patterned stitches. This foot must be used with the feeder teeth up and the stitch length set to a suitable distance because the feeder teeth grip the fabric and move it along. The presser foot can be used for sewing seams when making items up, for tacking (basting) the fabric to show where the edge of a design is, for appliqué with zigzag or satin stitch or for layering patterned utility stitches to make decorative embroidery.

Other Utility Feet

The machine may have other utility feet, perhaps ones for zip or buttonhole insertion, blind hemming or overlocking: these are all used with the teeth up. They are not used for machine embroidery but they may be needed to turn embroideries into finished items like bags or wearable art.

Zip Foot

This foot is used with straight stitch and is essential for sewing zips into garments, bags or cushions. The zip foot has a special shape so that it can be positioned close to the zip without being pushed aside by the zip slider.

Buttonhole Foot

This foot is used with buttonhole stitch, which may be automatic, and it may have a slot to measure the button. Buttonholes can be decorative or functional; I use my buttonhole foot to create tab fastenings for bags and cushions.

Appliqué Foot

This foot has a channel on the base for stitching neat zigzag or satin stitch; the channel helps the foot to glide over the stitches to stop them getting caught on the foot.

Cording Foot

This foot is used for couching or wrapping yarns. It has a metal flap that covers three channels that guide the thread into position as it is stitched with zigzag. This foot can be used to add decoration to abstract machine embroidery.

MACHINE NEEDLES

Always buy good-quality needles: Schmetz, Madeira, Klasse, Organ and Pym are good brands to choose. Any brand of needle will fit your machine because needle sizes are standardized. There are two things to consider when buying needles: size and type. Size refers to the size of material or thread to be sewn and type refers to the job to be done or material to be sewn. Never use overlocker needles in the sewing machine because they are designed for a different job.

Needle Size

Machine needles are numbered by size: the higher the number the larger the needle. Needle size corresponds to the fabric or thread used. No. 60/8 is for fine silks or organza and lightweight threads, 70/10 and 75/11 for lightweight fabrics and threads and 80/12 for mediumweight fabrics and no. 50 thread weight. None of these sizes are suitable for machine embroidery unless using ultra-fine threads. Large sizes such as 110/18 and 120/20 are only suitable for upholstery fabric or very heavy canvas.

The best size for machine embroidery is 90/14 universal needle. This size is suitable for medium to heavy fabrics such as calico or denim, so it’s a perfect choice for machine embroidery. If you are still having problems with thread shredding or needle breakage try moving up to size 100/16, which is used on heavy fabrics like canvas.

Machine needles. From top: sharp size 90/14 universal needle, spring needle, Madeira Lana needle size 110/18, Schmetz 4/80 twin needle for parallel rows of stitch, 90/14 metallic needle with an elongated eye.

Needle Type

The point of the needle is designed for specific jobs: for example, ball point needles have a rounded tip so they do not ladder knitted fabrics, leather needles have a triangular point for piercing tough leather or PVC and universal needles have a point suitable for most woven fabrics. Ball point and leather needles are not suitable for free machine embroidery.

Universal Needle

This is the best needle type for machine embroidery because it’s suitable for all types of woven fabrics including cotton, silk and synthetics. Universal needles are often cheaper than their specialist counterparts.

Jeans Needle

These needles have a sharper point and stronger shaft. They are designed for use with thick materials like denim, canvas or cotton duck. Denim needles can be used for embroidery on thicker materials such as denim or canvas.

Metallic Needle

Metallic threads have a texture that can wear a groove in the eye of the needle, causing the thread to shred or break. Metallic needles have been designed to prevent this: they have a longer eye to help the thread glide through. If you use a lot of metallic threads I recommend investing in some metallic needles because the thread does not break so often.

Quilting Needle

These specialist needles have a point that is designed to pierce multiple layers of fabric without thread breakage. They are suitable for machine embroidery on quilts.

Topstitch Needle

These needles have a large eye to allow thicker decorative threads to be sewn. They can be used to create stitching like the decoration seen on jeans pockets.

Embroidery Needle

The embroidery needle has a larger eye and scarf to help embroidery threads sew without shredding or missing stitches. These needles are suitable for rayon, viscose or cotton. I don’t use them as I find that a universal needle works perfectly fine for standard size no. 40 or 30 threads.

Specialist Thread Needle

Thread manufactures sometimes develop needles to help their threads perform better: for example, Madeira Lana thread is made from a blend of acrylic and wool; it doesn’t perform well when used with a normal needle but it sews beautifully when used with a needle designed for it.

Twin Needles

These stitch two parallel rows of top thread. They have a single shank and two shafts; the distance between the shafts depends on the size of the needle. Twin needles are used with the feeder teeth up; they are not suitable for free machine embroidery because the needles could twist and break with fast hoop movements. These needles are traditionally used for piping or pin tucking, as they sew two rows of topstitch and one row of bottom stitch. Using different thread colours creates a shadow effect that is very decorative when used with patterned utility stitches.

Spring Needle

This type of needle is designed for machine embroidery without a darning or embroidery foot. It has a metal spring round it which is held by plastic at the top; the plastic at the bottom is loose, allowing the spring to move as the needle goes up and down. The tiny parts act like a darning foot, preventing the fabric being pulled up as the needle pulls out.

TOOLS

Tools are essential for fiddly jobs; you may find yourself raiding the toolbox for tools more suited to DIY than embroidery. Keep a set of tools specifically for use with the machine or embroidery because you do not want to transfer oil, paint or dust onto the fabric.

A pastry brush is ideal for cleaning fluff from difficult-to-reach areas, angled tweezers are used to remove caught threads, the little bottle holds machine oil vital for lubrication, and screwdrivers are used to alter bobbin tension and for machine maintenance.

Tweezers

A pair of reverse-action tweezers with curved tips is indispensable for removing thread caught in the machine’s mechanism. Reverse tweezers are easier to use because they are squeezed to open them. Some have grooves near the tips to help them grip better.

Soft Brush

A pastry brush or soft paintbrush is ideal for cleaning fluff from behind the race and from under the feeder teeth. I used to blow the fluff away but I have learnt the hard way that blown lint can navigate around your glasses and end up in your eyes. A brush collects the fluff in its bristles; the bristles can then be cleaned over a bin or washed in soapy water.

Machine Oil

Sewing machine oil keeps the moving parts lubricated and prevents squeaking or grating. Do not use the kind of oil used for oiling bikes or general maintenance. You need to use a light oil formulated for sewing machines; this can be found in haberdashery or sewing machine shops.

Magnet

A telescopic engineer’s magnet is useful when picking up spilled pins or a needle that’s fallen in a hard-to-reach place. Magnets can be troublesome: if you allow them to magnetize your scissors they will pick up stray pins and magnetize those as well.

Screwdriver

A small slotted screwdriver is essential for altering the tension screw on the bobbin case. You will also need a larger slotted screwdriver for tightening the embroidery hoop or needle clamp and removing screws to carry out simple machine maintenance or repairs.

Pliers

Combination pliers are a useful addition to the toolkit. I sometimes over-tighten the needle clamp and can’t undo it. Pliers are great for gripping and pulling needles through tough embroideries or thick fabric. Make sure you pull the needle through at the right angle because you could snap it or break the eye.

Craft Knife

A craft or Stanley knife is essential for cutting the card mount board or paper used in projects. Freestyle hand-held cutters can also be used to cut mount board; they are easier to grip and produce the consistent neat bevel that is required when cutting window apertures in mount board.

Cutting Mat

A self-healing cutting mat will protect your work surface from the blade of your craft knife or rotary cutter. Do not use an iron on your cutting mat because it will melt and warp it.

Metal Ruler

A metal ruler with a raised edge is essential when using a craft knife or rotary cutter. The raised edge prevents the blade slipping and causing unwanted accidents.

SCISSORS

You need a variety of scissors in your toolbox: each pair has a different job to do. Using scissors for the wrong job can permanently dull the blades, rendering them useless.

Dressmaking shears rest on their crazy patchwork case; medium-sized scissors are good for cutting yarns and fabrics. The small embroidery scissors have angled blades to make snipping thread close to the embroidery easier.

Embroidery Scissors

Sharp embroidery scissors are used to trim threads close to the fabric. These scissors can be straight, curved, angled or shaped (traditionally) like a stork. Embroidery scissors must not be used for cutting anything else; cutting fabric with them dulls the blades, making it harder to trim threads neatly.

Large Fabric Scissors

Robust scissors or dressmaking shears are a must because it’s easier to follow the blade of large scissors when cutting long straight lines. It’s better to cut the fabric with scissors rather than tear it: ripping the fabric causes damage to the warp and weft and distorts the weave. However, torn fabric can be useful in some projects as frayed edges can be decorative additions to aged embroideries or folk art-style work.

Medium-size Fabric Scissors

General scissors for snipping fabric or yarns are also useful. These should be medium in size so they don’t cause a sore thumb when used repetitively. Some scissors have gel inserts or soft-touch handles to prevent strain.

Pinking Shears

Pinking shears have serrated blades, and can create a decorative edge to fabric. The zigzag edge may reduce fraying, but will not stop it altogether.

Paper Scissors

These are needed for cutting out patterns or sheets of paper-backed heat-fusible glue, Angelina fibres or metal foils. Paper backings and plastic films dull the blades of fabric scissors and make them blunt: it’s not pleasurable to cut fabric with blunt scissors so keep them separate from your fabric scissors.

The silicone bobbin ring stores bobbins safely; glass-headed pins are good for visibility when machining; watercolour pencils are very useful for marking dark fabrics; the stork scissors are both pretty and functional.

OTHER ESSENTIALS

Rotary Cutter

A rotary cutter is a circular blade housed in an ergonomic handle. Such cutters are great for cutting out projects that need ultra-straight edges. If you struggle cutting straight lines with scissors, use a rotary cutter. The only drawback is that you need to use a cutting mat to prolong the life of the blade and protect the work surface.

Seam Ripper

Quick unpicks or seam rippers make quick work of mistakes. They have a point to pick up the stitch, a sharp blade to cut and a protective plastic tip to prevent rips. Seam rippers can be used on the back of embroideries to remove stray stitches one by one, and can also be used to remove larger areas of stitching. Do be careful when using one because it’s easy to be over-enthusiastic and make a hole in the fabric.

Pins

Pins are vital for pinning seams, keeping soluble film in place or securing yarn snips. Glass-headed pins are best because they’re more visible. Avoid plastic-headed pins, as the heads can melt under the heat of an iron. My worst habit is sewing over pins! Not only do they go with a bang, they can also break the needle and mark the needle plate. Dispose of any bent pins or ones that have nicks out of them as they can mark the fabric or snag it.

HAND-SEWING NEEDLES

You need an assortment of hand-sewing needles for embellishing the surface of embroideries or sewing up finished projects. Buy good-quality needles because you get what you pay for; cheap ones have a tendency to bend or snap.

Hand needles. From top: darners (two shown) are ideal for securing buttons or brooch backs; sharps produce very neat slip-stitch seams; chenille or crewel needles have a sharp point and a large eye which makes threading easier; beading needles are fine and flexible; fine curved needles are good for sewing up seams with invisible slip stitch.

Sharps

Sharps are fine needles with a sharp point, suitable for general seam sewing, lacing up edges or sewing on small press studs. These needles are available in many sizes.

Darners

Long thick darning needles can have a sharp or slightly round point; both types usually have a long eye. Darners can be used to secure buttons or beads with large holes onto fabrics that are stiffened with dense embroidery. They can also be used for lacing thick embroideries over card ready for mounting and framing.

Embroidery Needles

These are sometimes called chenille needles. They have a large eye and a very sharp point, and are usually used for decorative stitching with thicker fancy threads. Embroidery needles can be used for general sewing if you have difficulty threading needles with small eyes.

Beading Needles

These are very thin, long and flexible. The eye is very small and elongated so it can be difficult to thread one with the naked eye. Beading needles are used to sew tiny beads or sequins onto fabric.

Curved Needles

These are tricky to use because they can twist in your fingers. Once you get used to gripping them they are invaluable for sewing up box sides or tricky seams with invisible slip stitches.

IRONS

A good iron is essential for preparing fabric, finishing projects and experimenting. I use a steam iron without the water for pressing embroideries, setting fabric paint and bonding interfacing and heat-fusible glue and for fusing Angelina fibres. The holes in the iron plate can cause uneven heat distribution; the solution is to move the iron over the surface to ensure an even distribution of heat.

It is important to keep the iron clean: I use a sheet of baking parchment to protect the plate of the iron. A dirty iron can be disastrous for a finished embroidery – you don’t want to smear iron gunk over an embroidery during the final press.

I sometimes use a travel iron and baking parchment for bonding Angelina and metallic foil because this iron has lower temperature settings and a Teflon coating for easier cleaning. Other specialist irons are available to the textile artist: the Clover mini-iron looks like a soldering iron; it has a flat triangular head for securing intricate appliqué or ironing hard-to-access places.

Ironing Cloth

Pressing cloths are usually made from cotton muslin or thin white cotton. Using an ironing cloth protects the surface of the fabric from unwanted dirt or shine. A pressing cloth act as a buffer, preventing the embroidery from becoming flattened by the heat and pressure of the ironing process.

It is essential to learn how to use the iron properly since poor ironing skills can cause more wrinkles around an embroidery motif. I prefer dry pressing with a dry cloth to remove handling marks. If the fabric remains creased I use a damp cloth to remove the stubborn wrinkles. Pushing the iron away from the embroidery nudges the wrinkles outwards towards the edge of the fabric.

Stain Removal

When making an embroidery it may become marked or soiled. Vanish soap stain bar can be used to remove stubborn marks left by pen or pencil. Some fabrics or dyes are sensitive to the ingredients of Vanish so test a small area first; do not use varnish on wool or silk.

DRAWING SUPPLIES AND RELATED ITEMS

Office supplies are vital for design work: the crafter’s essentials include plain paper, tracing paper, tissue paper, pencils, ruler, tape measure, set square, eraser, gel pens, ballpoint pens, pencil sharpener, coloured pencils or felt tips and fine-tipped permanent pens.

Paper and Card

Choose a good-quality plain paper for drawing or designing. I use smooth A4 paper for some of my design work because it’s the correct size for scanning or copying. If you like working with geometry or linear patterns it may be worth investing in some squared, triangular or graph paper. Tracing paper is an important addition because it makes copying a design or reversing it easy, especially if you don’t have access to a printer or photocopier. Tissue paper can also be used to trace designs and transfer them onto fabric. Some projects require card, foam or mount board for lacing and framing and mounting work to a professional standard.

Pencils and Crayons

Graphite or coloured pencils can be used for designing or for marking fabric; what you choose is down to personal choice. I prefer to use hard pencils for drawing, designing and marking pale fabric because they don’t leave much graphite behind. Soft graphite or pigments can mark the thread as it passes through the drawn line. Water-soluble artist’s pencils show up well on dark fabrics; they are a cheap alternative to dressmaker’s pencils.

Dressmaker's Chalk Pencil

Chalk pencils are used to mark fabrics for cutting or to make guidelines for dressmaking. Dusty chalk is the ideal medium for marking dark fabric because it can be easily brushed away once work is completed.

Eraser and Pencil Sharpener

A pencil sharpener will be needed to keep the pencils and crayons sharp; they may have one or two holes to accommodate different pencil sizes. I prefer cheap hand-held plastic sharpeners. You need a white artist’s eraser to remove mistakes; keep the eraser clean as a dirty one will leave indelible smudges on the paper. Erasers can be cleaned by rubbing the dirty bit on a scrap of clean paper or fine sandpaper.

Pens and Markers

Pens used for design and design transfer can be permanent, water-based or vanishing. Black permanent or water-based pens can be used to finalize a design on paper or make it dark enough to be traced through the fabric ready for stitching. Biro or ballpoint pens must never be used on fabric because the oil-based ink smudges and marks the threads. Water-soluble film is tricky to draw on but fine-tipped permanent pens work well because the ink dries instantly. Water-based Stabilo Fineliners also work well because they are available in colours to match the thread or fabric used. Vanishing fabric markers are used to mark cloth; these are designed to fade with water or disappear within two days of use.

ACCURATE MEASURING

Tape measure and ruler are essential for accurate measuring. Use either imperial inches or metric centimetres or millimetres, whichever you prefer. I use both, and find myself using inches for one project and centimetres for another. However, they must not be mixed within the same project.

It is easier to take short measurements with a ruler because a ruler is less likely to move or kink like a tape measure. Beware: some imperial tape measures are subdivided into tenths of an inch, others into eighths of an inch; not noticing the slight difference can cause problems with measurements.

Ruler, metal set square, plastic protractor and a pair of compasses are essential tools for accurate design work and measuring.

Geometry Set

A geometry set will provide the tools for accurate drawing and measuring. A simple set will contain a short ruler, two set squares, a protractor and a pair of compasses. Set squares are used to make sure that squares and rectangles have sides at 90-degree angles. A protractor is marked with measurements up to 180 degrees and is used to measure angles other than those given by the set square. If your designs contain circles or curves a pair of compasses will help you to draw them accurately.

PRINTING AND COPYING

Having access to a printer and scanner does save a lot of time: designs can be copied, reduced, reversed or enlarged. If you don’t have access to a scanner or printer you may be able to find one in your local library or office supplies shop. If you have access to a computer this is even better because you can scan your designs, store them or share them electronically.

PAINT AND DYE

Choose the correct paint, thinking about the colour, weight and composition of the fabric. Transparent paints are best for white or pale fabrics whilst opaque paints are more suitable for use on dark fabrics. Silk paints are designed to flow into the weave of delicate silk fabrics; some brands can be used on other finely woven fabrics such as cotton or synthetic silk. Thin paints are more suitable for watercolour wash effects or silk painting with gutta outlines or batik.

Thick fabric paints like Dylon or Lumière sit on the surface of the fabric; such paints work best on cotton, calico or canvas. Some fabric paints can be thinned with water but others may need a translucent extender to thin them. All fabric paints need to be fixed with heat when dry to make them permanent. If painting more than one layer the first must be fixed before applying another: some paints are fixed by ironing, others need to be fixed with steam.

Acrylic paints are suitable for use on most natural cotton fabrics. Acrylic colours are waterproof once dry; do test a sample for compatibility and permanence. Such paints don’t work well on fabrics like polyester, acrylic or natural wool because the fibres repel the paint.

Top, L to R: Dylon fabric paint, Javana silk paint, Chromacolour acrylic paint. Front: round bristle, soft flat and rigger brushes.

BRUSHES

Brushes are numbered according to size: the higher the number the larger the brush head. The brush heads are made of synthetic or natural fibres. Brush shapes for painting details include detail, round and rigger. Small brush sizes are reserved for painting details: use a size 0 or smaller round or detail brush to paint really small details, such as the white of an eye or a pupil.

Mop brushes are suitable for use with silk paints because they are good at picking up large amounts of liquid paint to create watercolour-effect washes. Flat, bright or filbert-shaped brushes have stiffer bristles which are more suitable for use with thicker paints; sizes 10 or 12 are good for painting backgrounds. Stencil brushes are perfect for creating clouds in landscape images or scumbling texture; they can move the paint around in a rough manner without damaging the brush or surface of the fabric.

Wooden or bamboo hoops are easy to use because they grip the fabric better. The largest hoop shown is 25.5cm (10in.) square and the smallest is a 7.5cm (3in.) metal hoop.

HOOPS

Hoops used for machine embroidery are the same as the ones used for hand embroidery, the only difference being that a hoop used for machine embroidery needs to be narrow enough to slip under the embroidery foot. A hoop is essential for machine embroidery because it keeps the fabric taut. The fabric needs to be drum-tight because the tension of the thread pulls the fabric in; this can cause a problem if the tension is altered or the fabric is densely stitched. The edge of the hoop acts like a handle, providing something firm to hold so the fabric can be moved with more control; trying to move bunched-up fabric is not easy. Hoops can be bound with tape or bias binding to help them grip the fabric better; binding a hoop also prevents it marking the fabric.

The best diameter sizes for machine embroidery are 6, 7 or 8 inches. (Note that imperial inch sizing persists despite metrication. While 6 inches equates with 15cm and 8 inches to 20cm, the equivalent to 7 inches may be sold as 17, 17.5 or 18cm.) These sizes hold the fabric firm and there is enough space for a range of movement without having to re-hoop frequently. Small hoops restrict movement, resulting in smaller stitches, whilst large hoops can hold the fabric loosely, rock on the machine or be difficult to set up.

Wooden or bamboo hoops are the best option for machine embroidery. Wooden hoops are also available in a square format; this style is really handy for realistic embroideries. Avoid plastic hoops because they are rigid and do not grip the fabric well. Metal hoops have a gap so they can’t grip the fabric evenly; they have a rim underneath which can catch on the darning plate and also they can spring off when you are sewing if they have not been set up properly.

TOP THREADS

Threads for machine embroidery are available in a variety of fibres and weights. Thread weight or thickness is categorized by numbers: thicker threads have low numbers whilst thin threads have high numbers; for instance, thread no. 12 is very thick and thread no. 60 is very thin. Thread size no. 40 is the most popular for machine embroidery.

Embroidery threads containing viscose, rayon or polyester are most popular because of their sheen and strength. Good-quality threads should have the size indicated on the spool alongside the colour, fibre content and lot number.

Polyester

Polyester is a synthetic fibre made from ethylene, a chemical derived from petroleum. Polyester threads are not as smooth as viscose or rayon, they are spun differently and can feel less flexible; they also have a tendency to loop around themselves. Don’t let this put you off, as polyester threads are very usable and available in lots of colours. Madeira have a range called Polyneon in which there are some wonderful variegated colours ideal for set fancy stitches or patterns stitched with free machine embroidery.

Viscose and Rayon

Viscose and rayon are made from regenerated plant cellulose; these threads have a shiny surface and soft texture whilst offering flexibility and strength. Because of their ability to mimic the luxury of silk, viscose and rayon are the most popular choice for machine embroidery. Madeira Classic no. 40 is probably the most widely recognized brand of viscose thread; it is a firm favourite with textile artists and tutors because of the quality and range of colours available.

Cotton

Cotton is a natural fibre spun from the protective casings of cotton seeds. It is often overlooked by machine embroiderers but it has a lovely matt texture ideal for subdued stitching effects. Cotton fibres are naturally long, strong and non-shedding; the process of mercerization alters the structure of the cotton fibre, giving it more strength and lustre.

Silk

Silk threads are made from the cocoon of the silk moth. Silk machine embroidery threads are very expensive to buy and have limited colour options, so I have never used them in my work.

Wool

Wool threads are spun from the fleece of sheep. Wool-mix threads have a matt fluffy texture and are quite thick so they need a special needle for successful sewing. Wool threads can be distressed with Velcro, once sewn, to tease the fibres out and make them fluffier so extra care must be taken whilst sewing to protect the surface of the embroidery.

Metallic

Metallic threads are a composite of fibres, the inner core being wrapped with a polyester filament or thin metal foil. Some metal threads contain silver or aluminium with a clear polyester coating to prevent tarnishing. Metallic threads feel rough when handled; they should not curl or twist when unwound from the spool. When sewing with metallic threads use a needle designed for metallics because it will have a large eye for the thread to pass through without shredding.

Metallic threads come in a variety of shades: gold, silver and copper are the most popular; bright colours and Astro shades are also available. Gütermann Sulky and Madeira are good-quality brands to choose.

Mylar

Mylar is a manmade polyester film that has been rolled flat and cut to form long filaments which resemble tiny ribbons. These types of thread often perform better in the bobbin. Mylar can also be found in composite metallic threads; it can have iridescent, holographic or metallic finishes.

Invisible Threads

These threads are sometimes called mono filaments; they are available in clear and smoke colours. Such thread is used when you want the stitching to be as unobtrusive as possible: for example, when securing yarn and fabric scraps to a base fabric or using thicker threads on the bobbin where you don’t want the colour affected. Some invisible threads are made of nylon; these may melt if ironed, so if heat is involved use polyester thread instead. Nearly-invisibles are slightly thicker and are made from twisted polyester. Empress Mills produce a nearly-invisible called HT Poly Backing thread; it is very strong and works well as a top thread for loose bobbin techniques.

BOBBIN AND OTHER THREADS

Top and bottom thread unite to form the stitch so don’t skimp on the quality of the bobbin thread. If the tension is set up right you only need white, neutral or black thread for the bobbin. Good-quality overlocking thread can be used on the bobbin; this thread comes on a big cone and is very economical. It must have a polyester content and be the non-fluffy kind. Special thread can be bought for the bobbin which is thinner than top thread so it does not add bulk to the embroidery: a good example is Madeira Bobbinfil which is available in black or white.

Sew-all Thread

Threads for machine embroidery are not suitable for sewing up seams because they are not strong enough. If you are making your embroidery into a finished item use Gütermann Sew-All thread or an equivalent such as Coats Moon for strong seams. These threads are made from polyester so they are suitable for most fabrics.

Strong Thread

Buttonhole or heavy-duty thread is needed to lace the back of embroideries ready for framing. If you don’t have strong thread you can use doubled or quadrupled lengths of Sew-All thread.

HAND EMBROIDERY THREADS

You may need to use decorative threads to hand-finish a machine embroidery. Embellishing the work with hand-sewn embroidery adds more interest, detail or texture. Stranded cotton, silk floss or cotton perle are much thicker than machine embroidery threads: using them ensures that your hand-sewn stitches stand out.

Stranded Cotton

Stranded cotton comes in a skein. It is traditionally used for cross stitch and usually has six strands that can be further divided or colour-mixed to make a finer thread. Stranded cotton is available in plain and variegated shades.

Floss

Floss is a twisted non-divisible thread which is a little thinner than cotton perle; it can be made from a variety of fibres including cotton, silk, rayon or viscose. Cotton embroidery floss is sometimes called pearl cotton.

Cotton Perle

This is a thick twisted cotton with a slightly shiny surface. Available in plain or variegated colours, it works well for hand embroidery and loose tension bobbin work.

THICK THREADS FOR COUCHING AND USE IN THE BOBBIN

Threads used in the bobbin should be smooth and no thicker than double knitting yarn, otherwise they won’t pass through the tension spring. Stranded cotton, floss, cotton perle, knitted chain and thin yarns are suitable for use in the bobbin for under-thread work. Any type of fibre or yarn can be used as long as it is not too fluffy or loopy.

Some thick threads won’t fit through the tension spring; these can be couched onto an embroidery using a cording foot and zigzag stitch. Some of the threads mentioned above can also be couched onto the surface of an embroidery.

Wrapped Gimp

This has a cotton core covered with another thread, usually shiny viscose or rayon. Gimps work well when couched either by hand or machine and they can be wrapped further by using satin stitch or zigzag on the machine. Once wrapped, gimps can be twisted to make cords for tassels or handles for bags.

Knitted Chain

The knitted structure of the yarn means it is more flexible for following contours of curved designs. This type of yarn is really striking if it has been space-dyed (where multiple colours are applied along the length of each strand) or when it has metal threads running through it.

YARNS FOR CHOPPING

Remnants of yarn or wool can be chopped up to make abstract fabrics or landscape images, secured with soluble film and stitched. Most yarn weights are suitable for inclusion in embroideries. Common yarn weights are cobweb, two-ply, four-ply, double knit, sport, Aran and chunky. Fashion yarns are available in many textures and compositions: popular ones are feather, eyelash, tape, bouclé and roving. They may be plain-dyed, space-dyed or tweedy; space-dyed yarns are economical because they have more than one colour on a ball.

Thick yarns or threads can be wound onto the bobbin for under-thread bobbin embroidery or couched onto abstract embroideries. Stranded, double- or four-ply cotton can be hand-stitched to add bold texture to abstract or realistic embroideries.

FABRICS

The type of fabric chosen depends on the embroidery project. Dense machine embroidery needs something robust so realistic thread-paintings work best on 100 per cent white cotton or neutral calico. The pale colour and smooth surface means the design can easily be transferred to the fabric. Most fabrics need to be stabilized by interfacing or soluble film to provide a suitable support for machine embroidery.

Fashion yarns can be chopped up and included in embroideries topped with water-soluble film; the film helps to secure the yarns whilst they are stitched. Double knit, four-ply and chunky, woven tape, knitted chain, bouclé, roving, eyelash and feather are suitable yarns.

Cotton

The thread count and quality of cotton does vary so choose a cotton that has a fine warp and weft and close weave. 100 per cent white cotton is best for embroidering landscapes because it can be painted with fabric paints. Cotton needs to be washed before use because it can have chemicals left in by the manufacturing process. Washing the fabric also closes the weave, preventing shrinkage whilst stitching. Printed cotton fabrics can have some lovely designs; look for old prints – these are becoming more desirable because of the vintage market. The printed designs can be traced to stitch onto another fabric or they can be embellished with heavy embroidery.

Calico

This is an unbleached cotton available in various weights; the quality does vary. It is essential to wash calico before use because it is full of size; this gluey stiffener can be tricky to remove, and leaving the calico to soak is the best way to remove it. After soaking rinse until the water runs clear.

A good selection of natural fabrics is essential for thread-painted machine embroideries. From top: cream silk haboti, natural silk shantung, plain-weave undyed linen, two types of calico (one has more dark slubs, the other has an open weave), untreated cotton canvas and white cotton.

Canvas and Cotton Duck

Canvas and cotton duck are heavyweight fabrics traditionally used for artists’ canvases, backing church altar frontals and many other projects. Plain woven cotton duck is really good for embroidery and it accepts paint really well. The thick weave means that the fabric can be frayed before mounting on another background. Canvas and cotton duck need washing before use; this removes any chemical residues and tightens the weave.

Linen

Linen can be lovely to embroider on but it is prone to creasing and this can be impossible to remove even with damp pressing.

Poly Cotton

Poly cotton is made from a blend of natural cotton and polyester. It can be plain-dyed or printed. I tend to use the plain poly cotton fabrics for lining large bags. Scraps of cotton or poly cotton can be used to test the machine before starting a new project.

Fat Quarters

Printed 100 per cent cotton quilting fabrics are fun to use for crazy patchwork or appliqué. Bold patterned pieces work wonderfully well when used as a backing with yarn or thread snips and water-soluble film. Buying fat quarters is a quick way to build up a stash of patterned fabrics for inspiration and future projects.

Synthetic Lining

Artificial silks are made from rayon, viscose or polyester. Synthetic linings can have a plain, satin or jacquard weave, be plain-dyed, printed or have a shot effect. Artificial dupion or taffeta is thicker than lining material; it may have a slubby texture or jacquard pattern. Synthetic linings can be used for projects that don’t require bulk: they can be used for appliqué, for lining bags or chopped or torn into strips for use in landscape or abstract images. Artificial silk can be sensitive to heat, melting or bubbling on contact with a very hot iron.

Cotton quilting and synthetic lining fabrics can be used together in projects because they are lightweight and have similar weaves. These fabrics are suitable for use as backgrounds, appliqué with heat-fusible glue and chopping for inclusion in water-soluble machine embroideries.

Velvet and Velour

Velvet has a rich, soft surface and can be made of silk, cotton or synthetic fibres. Velvet is woven whilst velour is knitted. Velvet has a definite pile which causes problems when completing projects or pressing embroideries. Velvet ‘fidgets’ – I have known velvet to move up to 2.5cm (1in.) whilst a pinned seam is being stitched.

An assortment of synthetic fabrics. Organza is very versatile: it can be chopped up, torn, used to alter the back ground colour or embroidered with the support of a washaway stabilizer. The luxurious surface of synthetic velvet is ideal for showcasing metallic embroidery designs and crushed velvet is a good choice for evening bags.

Cotton furnishing velvets have a very dense matt texture that takes painted Bondaweb and transfer foils really well. Cotton velvets are suitable for making sturdy bags or cushions.

Synthetic dress velours are designed for use in dance or theatrical costumes and they can stretch one or both ways. It is therefore important to back stretch velours with a stiff iron-on interfacing before using them in projects.

Organza and Chiffon

Organza is a translucent fabric woven from polyester, cotton or nylon. It is very versatile; it can be cut into tiny snips to create a new embroidered fabric, used as a backing for embroidering motifs ready to cut out for appliqué or covering a base fabric to change the colour. Organza is heat-sensitive: it melts on contact with a hot iron.

Shot organza has different colour warp and weft threads so the fabric shows different colours depending on the drape. Mirror organza has a shiny smooth surface, whilst crystal organza has a glittery effect to the weave. Tissue organza is often coarser; it can fray or catch on the needle when stitched, and may be woven from metallic or opalescent threads.

Glitzy fabrics are a welcome addition to an embroiderer’s stash. From top: foilprinted stretch knit, lilac iridescent tricot, metallic blue net, holographic animal print, green iridescent tricot, printed foil sequin dance fabric, red microdot foil stretch knit, red metallic woven-tissue organza, gold sequin dot knitted lurex and iridescent woven organza.

Chiffon

Chiffon is a transparent plain weave fabric, usually made of nylon. Charity shops are often good places to hunt for chiffon scarves for projects. It can be layered to create subtle colours or shadows in landscape images. It usually has a matt texture whilst organza is shiny and reflective.

Nets and Tulle

Tulle is a transparent net traditionally used for bridal veils; it is finer than net. Nets and tulle can be plain or metallic and can be bought with embroidered or printed patterns. Nets can be layered to change the colour of a background fabric and can also be cut up and used in soluble film embroideries.

Dance Fabric

Foiled or sequinned dance fabrics can be used to add areas of glitz to a bland embroidery. Woven and knitted Lurex appeals to the inner magpie; the sparkly metallic colours work well when used sparingly. Lurex fabrics can be plain metallic, patterned and even hairy.

Tricot Lamé

Tricot is a knitted fabric bonded to a synthetic film. Tricot lamé can be metallic or iridescent; it does not fray when cut. It is used in modern church vestments but is also suitable for metallic or fantasy projects.

Paper Lamé

Paper lamé is a woven metallic which is made from transparent nylon thread and polyester filaments. It frays badly and melts easily so care must be taken when using it.

Devoré

Burnt-out or devoré fabric has chemically etched surface patterns. Such fabrics need to contain cellulose fibres such as cotton, rayon or viscose for the etching process to work; the cellulose areas are eaten away and heat-treated to reveal a translucent weave or knit.

INTERFACING AND BACKINGS

Interfacing is applied to the back of the fabric to stiffen it. It can be woven or non-woven, fusible or tear-away and is available in light, medium or heavy weights. The kind you use depends on the fabric and project. Medium- or lightweight is good for backing soft bags. If you prefer working without a hoop, one or two layers of heavy fusible interfacing or tear-away prevents the fabric shrinking or distorting. Note that tear-away interfacing (or stabilizer) is also known as ‘stitch and tear’ but there is a specific brand called Stitch ’n’ Tear.

Pelmet Vilene

This is a very firm white heavyweight non-woven interfacing. It is traditionally used to stiffen tiebacks for curtains and (obviously) to back pelmets. It can be used to stiffen embroidery projects such as needlecases or evening bags. Pelmet Vilene does not have a heat-fixable glue backing so it needs to be fixed in place with heat-fusible glue or sewn in.

Felt

Felt can be made from synthetic fibres or from wool. I use felt for the pages in needle books. It is very useful for padding embroideries or for covering the back of finished hoop-framed embroideries.

Wadding

Wadding is used to raise the surface of quilted embroideries. I use it to soften box linings. It is often available under the name Dacron. Wadding comes in 4oz or 2oz weights. The remnants can be shredded to pad trapunto embroidery or to stuff pincushions.

HEAT-BONDABLE GLUE

Heat-bondable or heat-fusible glue is a fine web of glue supported by a waxy backing paper. Patterns can be drawn onto the backing paper but the image must be reversed, otherwise the bonded fabric will be the wrong way round. There are many brands on the market: Vilene Bondaweb is very popular in the UK; other brands are called Heat-n-Bond Ultra, Heat-n-Bond Light or Steam-A-Seam 2.

Heat-fusible glue or webbing is used for appliqué or transfer foil techniques. Many kinds are available: black and white Mistyfuse is more delicate than Bondaweb which is backed by waxpaper.

Mistyfuse

This is a heat-fusible glue that has no backing paper; it is available in black or white. The web of glue is more decorative than standard fusible glues. Mistyfuse retains some of the transparency of the fabric so it is suitable for use with organza and it can be used for decorative foiling techniques.

Vilene Hotspots

These are small dots of heat-activated glue printed onto a backing paper. Hotspots are available in a variety of sizes and are used for decorative foiling techniques.

OTHER USEFUL ITEMS

Baking Parchment

This popular kitchen staple is invaluable for use in embroidery projects. Its non-stick properties make it ideal for protecting the iron when using heat-fusible interfacing or glue; if these get onto the iron they can easily mark the fabric. Baking parchment helps the iron to glide over the surface to ensure a smooth clean bond. Baking parchment is essential when using transfer foils or Angelina fibres and film; these would simply melt with direct contact to the iron and make a mess. Designs can be traced onto it to aid the positioning of fabric pieces for complex applique designs.

Dressmaker’s Carbon

Designs can be transferred onto fabric using dressmaker’s carbon, which is available in white, yellow, red or blue. Note that if you press down too hard when drawing it can mark the fabric in other places.

Water-soluble Film and Fabric

Water-soluble film is an embroidery topping or backing that dissolves on contact with water. Such films are transparent and can look like cling film or have a dimpled matt surface. They are available in different grades: thin, medium and heavy. Water-soluble fabrics are white, can be woven or non-woven, and may have a soft feel like fleece or be rigid like paper.

Soluble film is essential for some embroidery techniques. L to R: Aquabond sticky paperbacked soluble fabric, Romeo heavyweight water-soluble film, Aquasol white soluble fabric, Avalon lightweight water-soluble film, Aquatics water-soluble paper, mediumweight extra film and spray glue for securing fabrics.

Water-soluble film is very useful as it can be used to stabilize fabrics, to transfer a design or to top fabrics to stop embroidery stitches disappearing into the pile. This versatile medium can even be used as a basis on which to create fabrics with snips of yarn or fabrics. Heavyweight films can be used on their own to create machine lace or motifs ready for appliqué.

Metallic Transfer Foils

These were originally used in the card-making industry. They have a clear backing which holds the metallic-effect leaf, which is released from the backing by using heat-fusible glues such as Mistyfuse or Bondaweb.

Fusible film and fibres are ironed between layers of baking parchment to fuse them together. Once fused the film can be cut up and incorporated into embroideries. Top: Angelina and Crystalina fibres; centre: Angelina film; bottom: metallic transfer foil (used with heat-fusible glue to add luxurious accents to embroideries).

Angelina and Fusible Film

Angelina film is an iridescent hot-fix film – think of oil on water or fairy wings. Sheets of hot-fix film are sandwiched between layers of baking parchment and ironed at a low temperature to fuse them together. Heat-fusible Angelina fibres are thin slivers of hot-fix film and they will bond to each other to create sheets of iridescent fibres. Crystalina is a crinkly version of Angelina; it has a wavy texture. Once fused, both types can be stitched and incorporated into embroideries.

BEADS

More sparkle can be added to an embroidery by adding seed beads and bugles. Popular bead shapes are round, seed, bugle, faceted bi-cone, round and oval. I prefer to use glass, crystal, semi-precious, haematite or good-quality plastic beads. Beads do vary in quality: cheaper ones or seconds might have irregularities in hole size which cause problems when threading. Beads and sequins can also be used to disguise a mistake or marked fabric.

Beads and sequins are used to embellish finished embroideries. Clockwise from top L: cup sequins, amethyst lustre seed beads, gold faceted crystal rondelles, twohole plastic button, large crystal rondelles, four-hole imitation shell button, frosted bugles, frosted cube and triangle beads, twisted metallic bugles, AB seed beads and crystal bi-cones.

Seed Beads

These round beads are the smallest and the most useful to have in your bead box. Seed beads are made of glass and may be transparent, silver-lined, colour-lined, opaque, frosted matt, lustre or AB (aurora borealis). Seed beads with luxurious finishes such as lustre or AB work really well when teamed with black velvet and metallic embroidery.

Bugle Beads

Bugle beads are long tubes made of glass and they can be faceted, twisted or plain. They can have the same finishes as seed beads; metal lined or opaque AB colours are more popular.

Crystal Beads

These are more decorative than regular seed beads. Made from cut glass or lead crystal, they can be transparent or have silver cores; some have lustre or AB finishes. Crystal beads are often faceted to show the brilliance of the glass; popular shapes are round, oval, bi-cone or rondelle. I use faceted crystal beads to decorate the centre of flower brooches or to add sparkle to box lids.

Sequins

Sequins are plastic shapes (usually discs) with a hole punched in the middle for fastening on by sewing. They can be flat or cup-shaped, and the most popular finishes are metallic, holographic, lustre or AB. Sequins must be attached to the embroidery when it is finished because heat from the iron distorts and melts them.

TRIMMINGS