Memory Wire Dragonfly Repost

Since it looks like I have some new readers lately, thanks to Craft Gossip, I thought I might give you something to look at.  This is a tutorial I posted last year, on how to make a tiny dragonfly embellishment, using DMC's Memory Thread.  Enjoy!
In 2010 I designed this project for the Homewood Embroiderer's Guild, to teach in spring 2010. I wanted a charm to go on the panel but couldn't find one I liked, so I devised this dragonfly from DMC Memory Thread to add instead.You can make your dragonfly any size you want. These are about 1-1/2" to 2". To begin, cut a piece of Memory Thread about 6" to 7" long. Do not use your good scissors for this--there is wire inside this thread. It's thin but will still mar your nice scissors. Use wire cutters or old scissors.Fold your Memory Thread in half.Tie an overhand knot in the Memory Thread at the cut end.This is the head. Tighten it so that you have antennae of maybe 3/8". You can trim them later if they're too long but you can't make them longer.Now push the Memory Thread up toward the head so it bows out at the sides to form wings. Or pull it apart to make the wings. Make them what ever size you want.Twist the wire just under the wings.Don't worry about the shape, that comes next.Shape your wings like you want them and then twist once at the base of each wing. Continue to shape it until you're happy.That's it. I tacked the dragonflies to the felt at the twists. For this project, it didn't need to do more but you can also tack it down just above the head and at the tip of the tail, too. I found the cut ends fuzzed a bit--if you don't like that, fray check the thread before cutting it, let it dry, and then cut your thread to size.

Pocket Tutorial Part 2

Here's where we left off yesterday, sewing the pocket to the lining.Next, pull the pocket lining right side out by pulling the pocket out of it through the opening you left in the bottom of the lining.Here's the pocket all the way out. Press the seam joining the pocket and lining and check for any pleats or problems with the seam. Poke out the corners of the lining--that's why I turned the corners of the lining bottom, way back at the beginning. Press. (When I say Press I mean press with a hot iron, generally with a spritz of water first, finger pressing won't give the same results. The key to nice finishing (or any sewing) is to press often and well at each step.) You can fold in the raw edges of the lining now and hand stitch the opening closed.Last, poke the lining inside the pocket. Press the top edge of the pocket so the lining stays inside. You can top stitch it if you wish.Here's the finished pocket.

Pocket Tutorial Part 1

I promised a while back to post a tutorial for creating a lined pocket. This will finish any open object with a nice seam at the top. In addition to pockets, this technique works for Christmas stockings (and stocking ornaments) and purses. I made this sample to demonstrate finishing the pocket for the crewel chatelaine class. I was going to just show the technique using plain fabric but...I've been reading Judith Baker Montano's new book, Fiberart Montage, and decided to play a bit. I only used materials that were right to hand--this was a last minute idea. I had cut some pocket linings too small so I used them. This piece would have been much better (and easier) if I'd had used a larger piece of fabric that could have been hooped. As it was, I had a 4" square, precut. So here's my embroidery partly done. I used a piece of commercial gold cording for the "tree" and one of the blue scraps I'd picked up on my walks last winter for the sky. Step one, you need four pieces of fabric the same size. Pocket front and back and lining front and back. Sew the pocket outside on three sides leaving the top open. (right sides of the pocket and backing facing). Place the right sides of the lining pieces facing and pin. Sew leaving the top edge completely open and also leaving an opening on the bottom edge. I left about a 2" opening here. Back stitch at the opening to secure it well. Use whatever seam allowance works for your piece--just make sure the stitched size of both pieces is the same. Trim the seams and clip the corners on both the pocket and the lining to avoid bulk and help them to turn nicely. Turn your pocket right side out. Leave the lining inside out. Poke the pocket corners out carefully and completely. Press. Slip the pocket inside the lining. You may need to roll up the bottom of pocket a bit to get it to fit inside. Line up the open top edges of the pocket and lining. Match the side seams and pin. Pin the pocket to the lining all around the open top edge.

If you are making a hanging ornament or a purse with straps, this is where you add the handing loop or straps. The cut ends of the loop or strap match the cut ends of the top edge of the pocket and lining. Place the loop or strap pieces wherever you want them to be along the edge, between the pocket and lining pieces and pin in place. Tuck any excess loop or strap out of the way of the seam so it's won't get caught--you might want to pin it out of the way.When you stitch back over them to secure them firmly. Stitch a seam all the way around the top, stitching the pocket to the lining. On a small item like this it's easiest to stitch from the inside of the item. On larger pieces that will fit over the sewing machine arm, it's easier to stitch from the outside. Part 2 will be posted tomorrow.

Finishing a Flat Ornament III

Continued from here.

C. Prepare the needlepoint

(8) Trim the outer canvas edge to between 1/2” and 1”, depending on the shape of the piece and the size of the canvas. You will fold this back to the back side of the needlepoint and you want to minimize layers layer. Clip the canvas toward the stitching to ease it around curves. Snip to within one canvas thread of the stitching. You may sometimes need to remove a wedge of canvas. (On a square you just need to trim the corners to about two threads out and fold and miter them.) Trimmed canvas, canvas stitched to back and needlepoint prepared for backing and finishing.

What I do is take the trimmed canvas and begin folding it on the edge of the stitching to the back. I go all of the way around the piece, to kind of convince the canvas this is what it wants to do. Then I go back and fold it back again, more firmly, and where I see it buckle as I go around a curve, I clip that wedge off. Then the back of the canvas will lie flat and smooth.

When I’m finishing a piece that has open canvas areas, I first apply a backing fabric (gold lamé is nice), basting it to the back of the stitches, just at the outer edge of the stitching. Sometimes I add a muslin backing to that (esp. if it’s fragile). Then I’ll fold back my edge of canvas and trim it.

(9) When the canvas is trimmed, I’ll tack it down flat to the back of the piece with long basting stitches. I made some in a contrasting color in the photo so you can see them.

D. Put it together

(10) Now you have your needlepoint ready to go, a cardboard to back it, with batting on it, and a cardboard piece with the backing fabric stretched over it.

Place the needlepoint on it’s card backing (with the batting against the back of the canvas) and look at the back to see if you can see a small edge of canvas all around the card. If you can’t, trim the card and batting until you can. (It’s easier to trim at this stage than to have made too small a piece to begin with and need to start over.)

(11) Layer the backing, face down, the batting covered card, batting up, and the needlepoint, face up. Pin together along the edges.

(12) Now’s the time to stop and consider your trim options. You can just use a ribbon or cord loop. If so, you’ll want to attach it to the back of the needlepoint now so it’s positioned where you want it. You can lay your trim around the piece now and get a good idea of how it will look. If you just have a skein of floss or perle at this point, just twist it to approximate the size you’d like and lay it along the edge.

I tried two skeins of Watercolors and a thick cream and gold cord before settling on the solid gold cord.

Make your twisted cord if you need to do so. Measure the circumference of your ornament plus the amount you wish for the hanging cord (if you choose to have a hanging cord-no loop for a brooch, a short loop for an ornament to hang from a hoop, a longer loop for a doorhanger, and an even longer loop for a scissors fob).

If you just plan to add a hanging loop and no cording, then add it now, stitching it securely to the back of the needlepoint in the exact center top (see step 13). If you choose not to have a cord, be very careful with step 14 to make sure your stitches are unobtrusive.

(13) Find the center top or balance point of the design. If that isn’t clear from the needlepoint design, put a straight pin through the layers at the point you think is the center and hold the pin, letting the ornament hang. See how it balances and move the pin until it hangs the way you want. That’s your center point.

(14) Using regular sewing thread to match the needlepoint, begin stitching at the top of the ornament, about 1/4” from the exact center top (there the hanging cord will go). Whip stitch around being sure to catch the backing fabric and needlepoint canvas with each stitch. Do not stitch just through the embroidery on the front, be sure you go through the canvas.

Stitch until you’re just about 1/4” from the top (so there’s a 1/2” gap unstitched at the top).

(15) Decide how you want to create your hanging loop. I drew some options here and I’m sure there are others. These are the two I use most often.

If you’ve made a twisted cord, then you don’t need to plunge the beginning end. Just lay the looped end at the center point and begin stitching the cording on. If you’re using a purchased cord, wrap a piece of tape around the end and push the taped end into the center of the piece, between the two cardboards. Maneuver it so it comes out where you want it-exactly at the center top or just to the right or left, depending on how you plan to finish the loop. Then fold the cord along the edge and begin stitching it down, securing it where it comes out.

(16) To sew twisted cord, I take my needle from the back to the front between the twists of the cording. Then I take a small stitch from the front to the back. You can tighten or loosen the twist in the cording by twisting it as you go. You want to keep an even twist around but sometimes it helps to have a bit tighter twist on curves. Also, if you find you miscalculated and are running short of cord, if you untwist a bit, you’ll have a bit more length to work with.

I generally take a stitch every other twist in the cord but it depends on the size of the cord and tightness of the twist. This isn’t a structural component so it doesn’t have to be rock solid. On the other hand you don’t want it to be so loose it will gap or catch on something.

The gold cord I used on the Santa looks complex but it’s actually just two bundles of gold threads twisted together. Some cords have three or more cords twisted together. Here I’ve untwisted a bit of the cord to show the space between the strands.

(17) As you near the top of the piece again with the cord, you will need to plan the finish. For no loop just tape and cut the end of the cord, leaving about 1” to plunge inside. This is why you leave that gap in the initial stitching. Plunge the cording, making sure there are no gaps between the start and end, and stitch the opening shut and the cording to the piece.

For a loop, create your loop. Tape and plunge the last inch of the end. Once again, stitch the gap closed and stitch the loop, it’s knot if there is one, and the beginning and end of the cord very securely to the piece. A loop has stress on it and needs to be secure.

End off your thread and you’re done!

Finishing a Flat Ornament, II

continued from here.

B. Preparing the support and backing

(3) While your piece is drying, you can begin to gather the things you’ll need to finish it.
Batting: Thick or thin depending on the look you want. You can layer it for thickness, too. You'll just need scraps for an ornament.
Cardboard: I just use scrap cardboard, from the back of pads of paper.
Backing fabric: Choose what you think will complement your piece. The gathering technique I will show works well for cottons, silks, and even velvets. I don’t use it with ultrasuede or felt, preferring to cut them without a seam allowance and sewing to the raw edge.
Glue stick or glue (to tack down the pattern and batting)
Cording, fibers to make cording, and/or ribbon for a hanging loop: I nearly always use cording around the outer edge, it hides a multitude of sins.
Sewing thread to coordinate with whatever color is most predominant on the edges of your needlepoint.
Sharp needles.

One last thing you will need are three photocopies at 98% of your finished and blocked needlepoint.

The photo above shows the trimmed needlepoint (next post), photocopies glued to cardboard (one cut out and on ready to be cut out), backing fabric (rust dyed), batting (the background of the photo and also the upper left, and some cording options (future post).

(4) Glue two photocopies to two pieces of cardboard. If you can tell the grain of the cardboard (it rolls easily along the grain), then place one on grain and one across it. This helps protect against warping. The photocopies don’t have to be glued on tight. (Having the copy on the cardboard rather than tracing it makes it really clear which side is the right side.) Cut out the needlepoint shape following the photocopied pattern.

(5) Glue a rough-cut piece of batting on top of each cardboard backed photocopy. Once it’s dry you can trim around the cardboard. I like to use two layers of batting on the front piece and one on the back piece. personal preference. Here is a piece of batting covered cardboard, trimmed.

(6) Take the third photocopy and cut it out about an inch beyond the outer edge of the needlepoint design. This will be the pattern for your backing fabric. Pin this to the backing and cut out. This does not have to be exact.

(7) Cut a long length of sewing thread and baste around the edge (about 3/8” from the edge) of your backing fabric. Place the fabric over the trimmed cardboard backed batting piece and pull the thread to gather the fabric. (The batting should be against the wrong side of the fabric and you’ll pull the gathering thread up on the cardboard side of the piece.)

Maneuver the fabric and threads until the backing fabric is smooth all around and it’s taut on the cardboard (but not so the card bows) and take a couple of back stitches to secure the gathers. Then lace back and forth across the piece to hold it a bit more securely. Knot and cut the thread.

Final backing piece completed--the outside and inside shown.

Finishing a Flat Ornament I

I'm going to do this in stages. This first stage doesn't have many pictures but I promise more with the next stage.


Making a flat ornament (or door hanger or scissors fob) with a design on canvas
A. Getting started, washing and blocking the needlepoint

First, and most important, think about your finishing before you begin the piece, if possible. As you stitch, begin planning the finishing. Some needlepoint designs are easier to finish if you stitch a couple of rows of basketweave around the outer edge. It’s also more difficult to finish a complex outer edge-perhaps it would be better to fill in and smooth the edge with some background stitches (or basketweave).

The Santa is a largish design for an ornament so I decided to finish it fairly flat, to minimize it’s size when hanging on a tree. The outline is fairly smooth so I didn’t do any extra stitching for this project.

(1) Inspect your finished piece. Hold it up to the light to find any missed stitches. Check the back (and front, as the case may be) for loose threads.

(2) Wash the piece, if necessary and if you’re sure the fibers you used will not bleed or run. (To check, lightly rub each color area (on the back) with a damp white paper towel to see if you pick up any color.)

I used a large lasagna pan filled with tepid water and one drop of Dawn dishwashing liquid to wash Santa because he’d been hanging around a long time, part of it in the basement. I mixed the soap into the water and then set the needlepoint piece in it, pressing down gently with my fingers. I used my fingers to swish the water around a bit, but didn’t agitate the piece itself. I rinsed it many times with more tepid water (tip the water out of the pan and then add more slowly) and then blocked it.

It’s often not necessary to wash a piece, if care is taken while stitching. It’s also often not possible, due to the fiber content. If I don’t wash it, if I think it’s at all possible, I spray it with a mist of water, especially on the excess canvas around the edge, to soften it a bit before blocking.

I have a needlepoint blocking board, which is handy but not necessary. You can also use a board large enough to hold your piece flat, covered with some batting you can pin into and then fabric. (One-inch gingham can come in handy but you have to be careful making the cover to keep it very square.) You can pull the cover fabric around to the back of the board and staple it evenly. (This type of board also works for blocking all types of embroidery.)

You want something stable and firm you can pin into. I’ve pinned small projects onto my ironing board. My blocking board looks like pegboard and that might work, too. I use aluminum nails to block the canvas, they will fit into the holes and won’t rust.

More care needs to be taken in blocking a piece that will be framed, especially with a mat. That will showcase any distortion. If you know you’re going to frame your piece, your best bet is to work it on a frame or stretcher bars to minimize any possible distortion from the stitching. Certain needlepoint stitches distort more than others, too. This Santa design doesn’t have any square edges so blocking is more to make the piece look good and flatten it a bit.

Block the piece square by pinning the center top, pulling and pinning the center bottom, then pulling and pinning each center side. Check that the threads are square and you’re not pulling at an angle. Then pin one pin out from each center pin, placing your pin in the same canvas row and pulling the canvas evenly. Continue pinning going around and around until you reach the corners. Check again to make sure the canvas threads are square. They may be distorted a bit right at the pins but should be fine as you move into the piece. A t-square, right-angle triangle, or ruler can help. If it’s not right, repin it.

If I haven’t washed the piece, I spritz it again with a mist of water. Then I let it dry, at least overnight.