Hi Everyone
Welcome to our hints and tips page. This page is designed to try to help with general
hints for
embroidery. Please bear in mind these are general hints and may not always apply to your
specific project. I do hope you find some of these helpful. Please feel free to contact us
with any queries you have, we are always willing to help. Enjoy your embroidery!
Kind regards
Di van Niekerk
Hints
Frequently Asked Questions
Hint 1
On the free designs page
I have included some candlewicking and quilting designs from my
second book published by Delos in 1990. This book is long out of print and we receive many
requests for the designs. So here they are! All you need to do is to print the quarter page
four times and join to form the pattern on the insert. Trace onto fabric as usual with a sharp
HB or 2B pencil. Remember to draw very light, fine lines so that the pencil will be covered by
the stitches. I am including the stitch and colour codes to guide you.
For detailed stitch guides refer to my Dreamscapes in Ribbon Embroidery and Stumpwork and Ribbon Embroidery and Stumpwork books
Hint 2
The three Folk Art designs on the free designs page
I have painted in watercolour for Goldwork,
Crewel or Surface embroidery. Use the colours to guide you as you work. If you would like to add
more gold or change the colours by all means do so. Trace the designs in pencil on your fabric
block and use any stitch you like to embellish the design.
Hint 3
Download the delightful Hedgehogs on the free designs page and ask a copy shop
to transfer the image onto a medium weight pure cotton fabric block 30 x 30 cm square. The fabric block needs to be
larger than the image so that it fits snugly into a 10 inch or 25.4cm embroidery or quilting hoop. The copy shop
will need to reverse the image for you first. The ideal size of the transferred image should be about 14 cm x 14 cm.
Insert the printed fabric block in the hoop and stretch taut as a drum. Tighten the hoop and roll up the four corners,
pin or tack so that there are no loose corners that will hinder you while you work. Follow the directions on the
instruction sheet and enjoy!
This image is the first in a series of 5, and can be set aside until you have collected the entire series.
Join to make a quilt or wallhanging. Or turn this project into a charming cushion or framed picture.
Hint 4
Download the mouse's meeting on the free designs page and ask a copy
shop to transfer the image onto a medium weight pure cotton fabric block 30 x 30 cm square. The fabric block needs
to be larger than the image so that it fits snugly into a 10 inch or 25.4cm embroidery or quilting hoop. The copy
shop will need to reverse the image for you first. The ideal size of the transferred image should be about 14 cm x 14 cm.
Insert the printed fabric block in the hoop and stretch taut as a drum. Tighten the hoop and roll up the four corners,
pin or tack so that there are no loose corners that will hinder you while you work. Follow the directions on the
instruction sheet and enjoy!
This image is the second in a series of five, and can be set aside until you have collected the entire series.
Join to make a quilt or wallhanging. Or turn this project into a charming cushion or framed picture.
Hint 5
Download the charming "Ever Watchful Sentries" received as an exclusive gift after our survey you kindly completed.
Ask a copy shop to transfer the image onto a medium weight pure cotton fabric block 30 x 30 cm square. The fabric block
needs to be larger than the image so that it fits snugly into a 10 inch or 25.4cm embroidery or quilting hoop. The copy
shop will need to reverse the image for you first. The ideal size of the transferred image should be about 14 cm x 14 cm.
Insert the printed fabric block in the hoop and stretch taut as a drum. Tighten the hoop and roll up the four corners,
pin or tack so that there are no loose corners that will hinder you while you work. Follow the directions on the
instruction sheet.
This image is ideal for children to embroider or as a quick gift for a good friend! Turn this project into a charming
cushion or framed picture and enjoy!
Hint 6
Download the bunnies on the Free Designs page and ask a copy shop to transfer the image onto a
medium weight pure cotton fabric block 30 x 30 cm (12 x 12 inches) square. The fabric block needs
to be larger than the image so that it fits snugly into a 10 inch or 25.4cm embroidery or quilting
hoop. The copy shop will need to reverse the image for you first. The ideal size of the
transferred image should be about 14 cm x 13 cm (5.5 x 5 inches)
Insert the printed fabric block in the hoop and stretch taut as a drum. Tighten the hoop and
roll up the four corners, pin or tack so that there are no loose corners that will hinder you
while you work. Follow the directions on the instruction sheet and enjoy!
This image is the third in a series of five, and can be set aside until you have collected the
entire series. Join to make a quilt or wall hanging. Or turn this project into a charming
cushion or framed picture.
Hint 7
Download the African Image on the Free Designs page and ask a copy shop to transfer the image
onto a medium weight pure cotton fabric block large enough to fit into a hoop that will allow
the entire image to show. The fabric block needs to be larger than the image so that it fits
snugly into an embroidery or quilting hoop. The copy shop will need to reverse the image for
you first.
Insert the printed fabric block in the hoop and stretch taut as a drum. Tighten the hoop and
roll up the four corners, pin or tack so that there are no loose corners that will hinder you
while you work. Follow the directions on the instruction sheet and enjoy!
This image is one of a series of three, and can be set aside until you have collected the
entire series. Join to make a quilt or wall hanging. Or turn this project into a charming
cushion, waistcoat, handbag, or framed picture.
Other Useful Information
More about fabrics:
Cotton is a natural plant fibre and is an excellent fabric for transferring designs or for painting onto. Cotton works well with silk and organza ribbon and all kinds of threads. Colours tend to fade in direct sunlight.
Linen is made of flax fibres and is very strong- two or three times stronger than cotton. It dyes well and is easy to clean. Colours don’t fade when washed but will fade in strong sunlight.
Silk is the strongest of all natural fibres taken from the cocoon of the silk worm. It dyes beautifully and is a hardwearing fabric, excellent for embroidery, can watermark, and fades in strong sunlight.
Different names you may encounter when looking for cotton at haberdashery stores:
Broadcloth: is a fine, tightly woven poplin with a plain or twill weave.
Calico: From the name Calicut in India where calico was first made. Made from unbleached
cotton, it is reasonably priced, plainly woven, medium weight cotton with equal number of
warp and weft threads.
Chintz: closely woven, sometimes has a glazed shiny finish that is not suitable for
transferring or painting onto.
Homespun: strong, irregular, loosely woven cotton in different weights and textures
originally made from the yarn spun by early American homemakers.
Muslin: Soft, sheer to coarse, plainly woven cotton, bleached or unbleached, medium
to lightweight. Muslin is coarser than percale cotton.
Percale: smooth, strong, closely woven, medium weight cotton.
Poplin: durable cotton with a plain weave, medium weight, with a cross wise rib and
known as broadcloth in the USA.
Sateen: smooth, durable, lustrous cotton, medium weight in a satin weave that reflects
light.
Twill: with a crossways weave, medium to heavy weight includes denim, gabardine and drill.
The formula to use for enlarging (or reducing) patterns is as follows:
(The size you want) divided by (the size you have) x 100 = % enlargement or reduction.
For example: You want a size 37cm (14.5 inches) pattern in length across and you’ve
got a pattern size 25cm (10in) in length across:
The formula is 37 ÷ 25 x 100 = (Or 14.5 divided by 10 in inches)
The number showing on the calculator is 148 (145 in inches.)
Therefore the pattern needs to be enlarged by 148% (or 145% if working in inches) on the
photocopier.
This is a rough guide only as centimeters and inches differ by a few points.
You will not be able to determine the exact width you require as the width is automatically
enlarged at the same time by 148% (or 145% in inches) You can make sure however, that the
enlarged design is not too wide for the transfer paper, by using the same formula to check
that the design fits on the width of the page. If this formula sounds far too involved for
you, don’t be concerned, the technician at the copy shop should know all about it!
Hints for embroidery with silk ribbon:
Remember to use short 30cm (12 – 15in) lengths. This prevents the ribbon from fraying
and twisting. Always use a Chenille needle with a long eye so that a large enough hole is
formed to pull the ribbon through gently. Change your needles regularly. They do tend to
become blunt after continued use. I usually discard needles (safely!) after my third design.
Once the needle feels sticky and has lost its shine, it is time for a new one.
Use your left (or right if you’re left handed) thumb to hold the ribbon flat as you pull
it through to the back. Only let go once the stitch is almost completed. This prevents
the ribbon from twisting. Alternatives – use the eye of another needle and gently
(without snagging) hold the flat ribbon in place until you have pulled it through.
Work with a gentle tension – ribbon needs to be handled gently. Keep stitches loose
and unfolded. Allow it to spread easily to its full width on the fabric before starting
the next stitch. A tight tension or too small a needle will cause the ribbon to fold up and
the beautiful texture is lost. If you pull the previous stitch too tight in error,
don’t be deterred – simply make other stitches on top of it.
This adds texture to the design!
How much of a colour do I need to purchase?:
I cannot tell you how much ribbon you need to purchase for the design, as there are so
many variables. This depends on what stitch you use, the width of the ribbon and how much
of the selected colour you wish to use in the design. As a general rule, purchase 3 metres
(yards) of the 2 and 4mm ribbon and 2 metres (yards) of the 7mm ribbons.
Hint: always purchase more green than you think you will need as there is never enough to
go around! The wonderful quality about using the hand-painted, multicoloured ribbon and
thread is that it is seldom that you have exactly the same dye-lot the next time you
purchase more of the same colour. The shades are generally different allowing for even
more depth and authenticity in your design. Flowers and leaves are never exactly the
same shade in nature; why try to make them all the same in embroidery? For the threads- one
skein per colour is usually enough.
About the different threads:
I have often used pure silk and stranded cotton in my books. The brand names and colour
codes have been included for easy reference. If you would like to substitute
brands for others, simply refer to the pictures in the books to match the colours
with your own. Just about any thread can be used as long as you can thread it through
the needle and bring it through the fabric. Just check that these are colourfast before starting.
Stranded cotton:
This thread is composed of six glossy, fine threads that are easily separated. It has a wonderful
sheen and the colours can be combined to achieve a shaded effect.
Rayon:
A regenerated, natural fibre, some rayon threads are smooth and shiny.
This is a slippery thread and quite difficult to work with.
Chameleon Threads has a lovely range that is a multipurpose 6-stranded fine rayon thread.
It has the beautiful lustre of rayon but the thickness of stranded cotton.
Perlé:
A twisted thread with a pearly finish that cannot be divided.
Used as a single thread with the no.8 (medium) and no.12 (fine) are the most suitable.
A raised pattern is achieved with this thread.
Pure silk:
Made from the filament unwound from the cocoon of the cultivated silkworm, it has a
lustrous, rich texture and is surprisingly easy to work with.
Metallic threads:
Are available in 1 or 6 strands. This thread adds a touch of glamour in the design and
highlights detail beautifully. Use short lengths and a thicker needle. Gently pull through
the fabric so as not to damage the beautiful sheen.
Wool:
With a knotted texture is ideal for stems and branches. Wools can be couched in place if too
thick to take to the back of the work.
Framing your picture:
Choosing the mounts and frame is not an easy task for most of us.
There are so many to choose from. This is where a reputable framer who is experienced in
framing embroideries can be a great help. He or she will need to stretch the work well
to achieve a good picture. The following points, however, will guide you.
Mounts must complement the picture. I strongly suggest that the mount and frame must match
your design and not your décor. Don’t choose colours that compete or clash.
The embroidered picture should be more noticeable than the mount or the frame.
Because of the depth of the design, you will need to have the glass raised so that none
of the features are squashed. This is achieved by using several mounts in similar or
complementary colours to lift the glass off the embroidery. Or use spacing blocks in-between
the embroidery and mount the glass so that it is raised off the design.
The frame should complement your work. Bear in mind that a heavy ornate frame may
overpower your picture, but a rustic wooden frame may not do it justice either.
Take your time when choosing a frame as the framed pictures can last a lifetime and even
go on to become a treasured family heirloom! Ordinary reflective (windowpane) glass is suggested
for framing as the non-reflective glass hides a lot of detail and spoils the framed picture.
Hint: As your work is sure to become a treasured heirloom, it is a good idea to sign and
date your work before framing it. Use a fine, sharp pencil to draw your name somewhere on
the design (practice first, as you cannot rub pencil out). Cover the line with one strand of
complementary grey or green thread and stem and straight stitch. Don’t make your
signature or date too large, as it should not be the main feature in the design.
Rather have it almost hidden somewhere in-between the leaves and flowers in the
foreground. If you prefer not to sign your embroidery, why not sign it and date the back
of the framed picture.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
How do your two latest books work?
Each image is in full colour and has clear, detailed close-up pictures to guide you as you work.
The stitches and textures shown are merely suggested and you will be able to choose from various
stitches in the stitch glossary. In the old days (only a few years ago) embroiderers used to build
designs from a blank canvas - only black and white drawings were used and extensive time consuming
stitches were necessary to build detail. Now with images in full colour, all we need to do is to
embroider a few (or all) of the flowers and background detail according to the time and expertise we
have. There is no need for highly elaborate stitches to build texture as the colours of the design
help a lot to create depth and interest. I will be teaching you about the different methods to use
to create perspective in your design and there are lots of hints to guide you with the new ideas.
Are the printed designs or panels readily available?
Yes. Many embroidery and haberdashery stores keep our designs and ribbons in South Africa and overseas.
Please feel free to contact us for details of your nearest supplier.
What kind of fabric is used for these designs?
We use the best quality pure cotton fabric that is strong enough to hold the stitches without
puckering as you work. Some copy shops use a synthetic fabric that is not ideal as the fabric
tends to pucker badly and the end result is disappointing.
How do I know I am not purchasing a pirated print?
We are having a problem with copy shops that are selling our designs as their own. Always check the outer
packaging to ensure it is a Dreamscapes or Ribbon Embroidery and Stumpwork product. We always include
printed details on our fabric designs about the artist, the copyright holder and other relevant details
along with our address and contact details. This way you can be sure you are purchasing a quality
product. Shops that copy our images are using second generation copies and the images are not clear.
This causes much frustration as it is difficult to judge where the stitches need to be placed. It is
also illegal for them to copy and sell our products without our permission.
Which ribbon and threads do I use?
About the ribbons:
There is an amazing assortment of ribbons, in an array of colours, widths, and textures.
The ribbons used in the books are from Di van Niekerk's Hand Painted range of ribbons.
These are available from needlecraft suppliers and specialty mail order companies worldwide.
Different fibres are used in the manufacturing process ranging from pure silk to velvets and sheer
organdies. Pure silk ribbon is without a doubt, the best ribbon to use if you want to create a true
reflection of nature's plants. It is a soft and pliable ribbon. I find the hand-painted,
multicoloured, or variegated ribbons are the best for ribbon embroidery. These vary in shade and
colour and the subtle changes help to create a more authentic look consistent with real flowers
and leaves. The plain or solid silk ribbons can also be used in combination with the above to cut
down on costs, but I do find that if only the plain colours are used that the design is flat and
lacks atmosphere and depth.
Other ribbons available on the market are sheer organza ribbons. Di van Niekerk's handpainted,
variegated organza ribbon is the best kind to use for these images. Use it in the near distance
or foreground of the design as this is a bulky ribbon which makes large stitches.
About the different threads:
There is a vast array of threads available, and I have used all kinds in the book. The thread
manufacturers and codes such as the Chameleon threads have been included in the Dreamscapes book
for easy reference. If you would like to substitute the brands for others, simply refer to the
pictures in the book to match the colours with your own. Just about any thread can be used in
these designs - as long as you can thread it through the needle and bring in through the fabric.
Just check that these are colourfast before starting though.
Definition:
Tone: is the intensity of colour - light or dark
Tint: is made by adding white to a primary or secondary colour
Shade: is made by adding black
Darker tones normally recede as they absorb light and lighter tones advance. Use vibrant warm
colours such as orange and red in the medium or near distance (foreground) and muted cooler colours
such as pale green or blue need to be in the far distance to create depth or distance in a design.
Hint: I have found that embroiderers tend to choose too dark a shade when selecting a colour.
Try to choose 1 or even 2 shades lighter than that on the printed design.
Hint: When choosing green for leaves - try to choose the same tone as the colour used for the
flower - a paler flower needs a paler green. This will prevent the leaves from overshadowing the
flower. A design where green is the most dominant colour is not as interesting as a design where
flowers are the main features. Refer to the completed design in the books to guide you with choice
of colour.
What size hoop do I need?
Try to use a hoop that is the same size or larger than the whole image. I use an 18 inch hoop for
the designs in my books. This way the hoop does not damage the stitches and you are able to see the
entire design as you work. This helps with the choice of colour and texture. You need to see the
bigger picture to choose the right shades and thread thickness. This is optional of course, so choose
the size frame that suits you best.
Which design is best for the beginner to this art form?
The design from the Ribbon Embroidery and Stumpwork book is ideal for the beginner. The book was
written especially for first time embroiderers and the step-by-step instructions are easy to follow.
The Swan Cottage 1 in my latest Dreamscapes in ribbon embroidery and stumpwork book is a very good
project for the beginner. The step by step instructions and clear, detailed photographs will surprise
and delight the novice when he or she sees how easy it really is!
Is ribbon embroidery and stumpwork simple to learn?
Yes, it is surprisingly easy to learn and one of the most rewarding hobby to be found.
Embroidery is portable, sociable and has helped many an embroiderer cope with a crisis such as waiting
in doctor's rooms or when convalescing at home.
How long does it take to make a design?
My answer is that we never time how many hours we spend embroidering our designs.
We see it as a journey, not a deadline!
Do I need to join a class?
Classes are fun, sociable and an ideal way to spend "me-time" In twenty years of teaching I have
seen sewing groups bond so well they have become life long friends. Time and time again, I have
witnessed the most amazing support in times of crisis and many a learner has observed that embroidery
is a healthy way to relieve stress. We are finding that teenagers and younger children too are joining
classes, so embroidery is not only for older people!
What other tips do you have for me?
Use the best quality fabric, ribbons and threads you can
afford to ensure heirloom quality. Many embroiderers
request designs, ribbons and threads for birthday and
Christmas presents as they have learned over the years that
their completed masterpieces enthrall friends and family
alike. Your work is, more than likely, to end up as a family
heirloom that will be passed onto the next generation and
the generations to follow. Don't be deterred by
imperfections in your work. The designs are detailed
enough to hide most "mistakes" Don't unpick unless
absolutely necessary, simply make more stitches on top of
the ones you don't like-this adds texture to you design! The
charm of your picture may be lost if it looks too perfect.
When cutting ribbon, cut it at an angle so that a sharp point
is formed making it easier to thread.
Choose colours in daylight-shades of colours tend to
change with night-light, often quite dramatically!
Thread or ribbon must pass through the fabric easily. If it
does not, change to a larger needle.
Remember that stitches in ribbon become larger and
longer than you expect. When making the stitches stay
inside the painted or drawn shape (1mm inside the outer
edge is good) Once the stitch is formed, the ribbon spreads
to become a larger stitch than generally expected.
Always purchase more greens than you think you will need.
There is never enough to go around!
What is Trapunto?
Trapunto is a form of padded quilting, often used to create a raised shape that adds an interesting feature in the
design. A section of the design is outlined first by stitching along the outer edge through two layers of fabric.
The shape is then padded by inserting wadding at the back of the work.
Method:
First complete the embroidered picture. Remove work
from the hoop. If necessary, wash by hand in tepid water,
as you would any other embroidered piece.
Study your embroidered piece and decide which sections
you would like to enhance.
Cut a block of white sheeting, a similar weight to the
embroidered cloth. The block must be the same size as the
embroidered one. Remember to pre- shrink in tepid water
before starting.
Lay the embroidery right side up on top of the fabric block.
Insert both layers back in the hoop.
se 1 or 2 strands of a matching thread and stitch along the
outer edge of the shape, through both layers, using a stem-,
running- or back stitch.
You need to have a complete circle or square so that the
wadding does not pop out of any gaps left open in error.
Check the back of the work to ensure entire shape has
been stitched.
Slit the layer of sheeting fabric at the back of the work
being careful not to cut your embroidered piece. Use
embroidery scissors with sharp points or a "quick -unpick"
to make a hole large enough to insert padding or stuffing
into.
The best padding to use is soft surgical cotton, thin strips of
cotton fabric, polyester toy filling or shredded
batting/wadding.
Use a blunt needle or metal nail file to stuff the padding
into the shape (for larger shapes use your fingers to push
the wadding into the shape).
Position the wadding evenly. Be careful not to overstuff. As
soon as the fabric starts to pucker, the shape is too full and
this spoils the design. Remove some padding if necessary.
Take the design out of the hoop; lay the work flat on a table
and check to see whether you are happy with the raised
shape. Close the slit with an overcast stitch or cross stitch.
How do I use ribbon for embroidery?
About working with ribbon:
Silk ribbon embroidery is surprisingly easy to master. Basically ribbon is worked just like any
other thread or yarn excepting for the fact that it is much softer and more fragile. It is vital
that you use a Chenille needle with a large eye. This ensures a large enough hole is formed in the
fabric to prevent the ribbon from snagging and folding.
Ribbon needs to be worked flat for most of the stitches.
Use only short lengths of ribbon - 30 cm (12 in), as longer
pieces will fray if pulled through the fabric too often. It is
also difficult to work with ribbon that is too long and the
quality of the stitch
is affected.
To thread: thread the needle and pierce the end that has
just been threaded. Pull the long tail to tighten the knot.
To start:
Leave a small tail at the back and as you make your first or
second stitch, pierce the tail to attach it to the fabric
Or anchor the tail with embroidery thread
Or knot the 2 and 4mm ribbons as you would a thread. The
texture of the design is usually busy enough to hide the
bulkiness of the knot
Or fold the end of the tail of the ribbon onto itself, prick in
folded edge with the needle. Pull the length of ribbon
through the ribbon to form a loop-like knot.
To finish:
Leave a tail 1 to 2cm (½in) in length, at the back of the
work and secure with 1 or 2 strands of embroidery thread
Or catch the tail when you start your next thread
Or weave the ribbon in and out of adjacent stitches at the
back.
What can you teach me about needles?
NOTE: The right size needle is probably the most important choice you will need to make to determine a successful
product.
Every beginner I meet is amazed at how large the needle must be for ribbon embroidery. It is vital that the
needle makes a large enough hole in the fabric so that the ribbon is pulled through gently without snagging or hurting
the silk. The ribbon can then spread evenly to form a soft, open stitch, instead of being all scrunched up after being
pulled through too small a hole. The eye of the needle must also be long enough (large) for the ribbon to lie flat once
threaded.
There are only 5 types of needles you need for this kind of embroidery.
1. Chenille - a sharp pointed thick needle with a large eye. Size 18 for the 7mm ribbons and wool. In a mixed pack of
needles, the lower the number the thicker the needle. The no 18 needle is the largest. Size 20 or 22 for the 4mm ribbons.
Size 24 for the 2mm ribbons and for perlé cotton. You will also use one of the above for any yarns remember the needle
needs to make a large enough hole in the fabric for the yarn to pass through easily.
2. Crewel (embroidery) - a sharp fine needle with a long, large eye. Sizes 3 - 7 for perlé cotton, Rayon and 3 to 6
strands of cotton silk and metallic threads.
Sizes 8 - 10 for 1 or 2 strands of cotton, silk, rayon and metallic thread.
3. Straw (milliners) - a long sharp needle with small eye. (The eye is no wider than the shaft) This is the only
needle to use for bullion knots. The wraps slip off the needle easily as the eye is not too wide. Also ideal for
beading.
Size 9 - 11 for one strand of stranded silk cotton or rayon, ideal for beading.
Size 5 - 9 for two to four strands of silk, cotton, rayon or no 8-perlé thread.
4. Tapestry needles: as for the chenille needles in 1 above but with a blunt tip. You may wish to use this blunt
needle for some of the surface stitches so that you don't snag the ribbon by mistake.
5. Betweens (quilting needles) size 1 to 12. These are short sharp needles that are good for French knots, and fast,
even stitches such as seeding, running stitch; back stitch.
Hint: Some people like to back fabrics for ribbon embroidery. With a good quality cotton I don't find it is always
necessary as the designs are busy enough to hide the ribbon ends at the back of the work the extra layer of fabric
tends to damage the ribbon as it now has to pass through 2 layers of fabric. If you have used finer surface fabric
such as silk or a linen, cotton or synthetic fabric, you can add an extra layer behind your work to stabilize it. Use
another block of the same fabric or muslin or a thin iron-on interfacing.
How do I add interesting effects in my design?
1. Pots
There are several ways to add pots in a design. Pots are added to projects that will be framed
and never washed.
a) Ceramic/porcelain or bread dough pots
these can be purchased from some needlecraft or art and craft stores, or ask at a ceramic shop
about whether they would make a pot for you. If necessary, these pots can be painted in any
colour in a pale wash or a darker colour if you prefer.
Hint: The pots are seldom exactly the same size or shape as the design. Choose the pot when you
start your project and decide where you’d like it positioned on your design - Use a blue
fabric marker and draw a line on the design by tracing around the pot to guide you with placement
of stitches. Ensure that your stitches start and end just inside the drawn line. Your pot can
be glued on top of the stitching for a more authentic look. Use clear fabric glue. Be careful of
any glue with a yellow tone, as these tend to stain the fabric. Test the glue on a scrap piece of
fabric the day before.
Glue down well according to manufacturer's instructions and apply gentle pressure as you hold it
in place until the glue has bonded with the fabric. If any edges of the original pot on the
printed design are still showing, simply cover with some flowers and leaves using a loose puffed
ribbon stitch.
b) Wooden Pots
Already cut in half; can be purchased from some art and craft stores. These can be painted in
diluted poster paint or fabric paint to the colour of your choice. Glue on as for ceramic pots
in step a) above.
Alternatively, cut a pot (this will be flatter than the ones above but just as interesting) from
a soft balsa wood. Trace the shape of the pot in the design onto tracing paper, place tracing
paper on top of balsa wood, use a ball-point pen to trace the shape once again so that the pen
makes an outline on the wood. Use a craft knife to cut out the shape. Colour in with pencil
crayons (or watercolour pencil crayons that can be wet afterwards to spread the crayon for a
watercolour effect) Glue on as for ceramic pots in a) above.
c) Embroidered pots if you don't like the pots to be so dominant in the design - the pots can
be embroidered in Stem stitch filling (rows of stem stitch made close together) or satin stitch.
A Woven stitch or Raised Stem Stitch can also be used for a basket like effect. If you like the
pots to be slightly 3 -dimensional then follow the What is Trapunto? hint on this page.
2. Clay Models
Pots, wheelbarrows, watering cans, wall and paving stones, birdbaths and feeders, dovecotes,
apples and lemons and any other features you wish to add to the design can be made from white
oven- bake or self-hardening modelling clay. This clay can be purchased from most art and craft
stores. Follow the manufacturer’s instructions and once hardened, paint the pot to suit
the colours of the design. Hint: Make sure the back of the object is as flat as possible so
that it can be glued on as for the ceramic pot in step a) above.
3. Wooden strips
Pergolas, dovecotes, gates, fences, wheelbarrows, bird feeders, shutters, rose stems and stakes,
wooden beams and window frames can be enhanced by using thin wooden strips for example,
thin strips of balsa wood, toothpicks, match sticks and any thin strip you can find. These are
couched on in matching thread, or invisible thread, or glued on as for ceramic pots above.
4. Small twigs and branches
can be collected, washed, and sprayed with a clear matt varnish. Once dry, couch on with
material or invisible thread.
5. Fabric stiffener Lengths of thread or strips of ribbon can be rolled around a knitting
needle or pencil and brushed lightly with a diluted fabric stiffener to make loose curls or
tendrils which, once dry, can be couched in place for interesting foliage in the design. Ask
you craft shop about this glue- like fabric stiffener.
How do I print onto fabric?
There are three methods suggested, bearing in mind that, for your convenience, you are able to
order the pre-printed images from www.dicraft.co.za or ask for details of your nearest stockist.
Alternatively, find detailed step-by-step instructions and photographs for other methods on
how to print onto fabric in my
Monograms & Words / Embroidered Alphabets with ribbon embroidery book
Method 1:
Print the images onto transfer paper using your ink jet printer. Purchase transfer sheets
(T-shirt transfers) from office supply stores and craft outlets. Be sure to use the correct
paper for your printer. Ask at the store about what paper to use for your specific printer.
Never use fabric or inkjet transfer paper in a laser printer. Laser printers work with heat and you
will ruin your printer! Scan or download the image, reverse or flip horizontally so that you have a mirror
image of the design. Follow the manufacturer's instructions on the transfer sheet
and print. Iron onto smooth white cotton fabric- the smoother the fabric the better
the result. You may need to experiment with different brands to find a softer finish that is not
too plastic once printed.
Method 2:
Print the images onto fabric. Use specially treated fabric sheets that are available from
quilting outlets. These treated fabric sheets are made for most inkjet and bubble jet
printers. Scan or download the image. There is no need to reverse the image for this method.
Print the images onto this fabric following the manufacturer's instructions.
Method 3:
Transfer the images using the solvent method. Scan or download the image, reverse the image
(flip horizontal) and print on a laser printer,
or ask your copy shop to do this for you. Use a glossy, 100-gram paper. This way most of the toner lies on top of the paper.
Darken the image before printing, increasing colour and density on your computer or printer.
Use the solvent method to transfer the toner onto your fabric. Choose a smooth, pre-shrunk
fabric as for method 1 above and CAUTION: work with disposable gloves in a well-ventilated area.
Use liquid thinners (although some people prefer acetone) Be careful to keep these solvents
out of children's way! Tape the photocopy right side down on the fabric. Soak a ball of
cotton wool or surgical gauze in the solvent and apply to the wrong side of the paper to wet the image.
Use the back of a teaspoon and rub the wet image applying
pressure, working in a circular motion. Carefully, lift one corner, and check if the image
has been transferred to the fabric. Allow to dry then rinse in tepid water to remove the
solvent. Press with an iron to heat set and remove the creases.
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