Jane Greenoff

Hardanger
for the Horrified
Hardanger Embroidery made easy
Jane Greenoff
ebook with video
Dedication: To Bill, with love always
7*7Ebook4
Copyright © Rainbow Disks Limited 2011, 2012
Vivebooks, an imprint of Rainbow Disks Ltd
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First published in the UK in 2011, Vivebooks edition 2012
Text, projects and illustrations © Jane Greenoff
Photography & video © Rainbow Disks and Jane Greenoff
Photography by Paul Collis of Viewpoint, and James Greenoff
Diagrams by Ethan Danielson
Video by Trevor Wiggins
Editor: Vivienne Wells
ISBN 978-1-906314--
Jane Greenoff has asserted her right to be identified as author of this work in accordance with the Copyright, Designs and Patents Act, 1988.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic or mechanical, by
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2
Co ntent s
Using this ebook: tips 4
Beaded Wintergreen
Sampler62
Introduction5
Heart Linen Book
Brief History9
Hardanger Basics
13
Further Stitch Videos
33
65
Wildflower Collection 68
Antique Flowers
Project Pocket84
Pastel Painted
Needlebook40
Yellow Rose
Scissor Fold44
Festive Holly Heart
89
Christmas Biscornu
93
Stitch Library96
White on White
Miniature49
Jane Greenoff102
Stockists/Materials
Packs103
Hardanger and Pulled
52
Thread Needleroll
Hearts and Flowers
Sampler58
3
Acknowledgements
104
More Rainbow Disks
105
To go to chapters or projects, click on the
headings here, use the Bookmark links
(click on the icon at the top left of the
Adobe Reader window) or scroll through
the page Thumbnails (click on the icon
next to the Bookmarks).
Introduc ti o n
As the title suggests, this enhanced ebook is intended
remove the mystique and anxiety from the Hardanger embroidery technique, named after the beautiful
Hardanger region of Norway where this traditional
style of embroidery (a form of cutwork) is still very
much part of modern life.
During a recent exhibition where we had a stand, a
lovely Norwegian lady noticed the advance publicity for this ebook and gasped: ‘Hardanger is a lovely
place – why horrified?’ I hurriedly explained that I
was not referring to the gorgeous countryside but
that horror is the exactly the expression on most
stitchers’ faces when I say ‘and now we cut the fabric
threads’.
The format of this project-based ebook is particularly useful for looking at Hardanger embroidery,
which involves cutting away fabric threads. This fills
most stitchers with terror. The terror is generally
because stitchers have cut the wrong fabric threads,
with disastrous results. However, the video clips in
this ebook will show just how easy it is to get this
right. With our help you are unlikely to make such a
Hardanger Fjord
For more information
about this area go to:
http://www.visitnorway.com/
5
i n t rodu ct ion
Hardanger Class at Pinks Barn
mistake, and even if you do, you will be able to correct numbers for each project so that you can easily print it
it. The video content was filmed in my conservatory out. The pages print out well on US Letter paper size as
and it was probably one of the wettest days on record well as A4. All measurements are Imperial with metric
(in August!). You can hear the rain on the videos but I equivalents in brackets.
hope you will still find them useful. The projects are
designed to lead you gently through the techniques, so I have used Madeira stranded cotton (floss) with DMC
make sure you work the first few projects, especially if codes in brackets, Oliver Twists hand-dyed threads and
you are a beginner.
DMC Perlé. If you have any difficulty finding supplies
just call or email us here at the Cross Stitch Guild and
As I write these words I am fresh from three days of we will be able to sort you out. If you are working a
teaching Hardanger embroidery in my conserva- project that may need regular washing (table linen etc.)
tory classroom at Pinks Barn in Gloucestershire, UK remember that many space-dyed threads are not guar(CSG Events and Classes). Every stitcher mastered anteed colour fast. I have used hand-dyed felt simply
this technique during a day class and many had never because I love it and find it so sympathetic to the proeven stitched on linen before. Hardanger embroidery jects – you can, of course, use normal felt, flannel or
is probably one of the most satisfying counted embroi- similar materials.
dery techniques I have ever taught because it looks terribly clever but in fact is very simple indeed.
When you see this symbol, it
means that we have a Materials
There all sorts of clever things you can do with this eb- Pack for that project, available by
ook. Just try out the technology for a few minutes to get post. Just click on the symbol and
the hang of it. I think the most fantastic thing is that we it will take you to the right place
can list the stitches you need for any project and if you on our website. We also have an introductory Materials
just click on the stitch a link will take you straight to the Pack – enough to try out some of the simple projects
diagram. It’s quite a good idea to print out the section in this ebook.
on stitches so you can carry it around with you. The
charts print out very clearly, and we give you the page Jane Greenoff
6
i n t rodu ct ion
video: introduction by jane greenoff
The centre of old Bergen, Norway, a World Heritage Site.
For more information go to:
http://www.visitnorway.com/
7
i n t rodu ct ion
Selection of projects from this ebook:
Yellow Rose Scissors Case,
Antique Flowers Project Pocket,
Little Rosebud Scissor Keep,
White on White (in frame),
8
Br i ef Hi sto r y
Hardanger embroidery, known in Norway as Hardangersom or Hardangersaum, is a form of whitework
(hvitsom or kvitsaum) combined with cut, drawn and
counted thread work. The true technique is worked on
evenweave fabric, usually linen or cotton, employing
linen or pearl cotton threads. It is associated with the
mountainous area of Norway called Hardanger, where
there are distinctive patterns within the different communities, but it is also seen in Cyprus, Italy and the
Orkneys. Hardanger embroidery combines well with
counted cross stitch and counted hemstitch. It looks exquisite worked in white thread on white linen, which is
the traditional form, but is also extremely pretty when
worked in coloured and space-dyed threads.
No one can be certain of the origins of this technique,
which has evolved through the centuries and in fact is
still evolving. During a visit to a specialist shop in Bergen last year, I heard one of the experts refer to American Hardanger. She explained that many of the intricate
filling stitches used in modern decorative Hardanger
embroidery have little to do with traditional costume
but have been developed to please embroiderers.
It is thought that the roots of the Hardanger technique
come from ancient Persia and Asia where a similar technique was worked on fine gauze netting using coloured
Traditional costume with Hardanger embroidery
on dark aprons
silk and metallic threads. As you can imagine, this was
not the costume of the majority. Traders, travellers
and conquerors spread this embroidery technique, as
linen fabric for clothing became more popular. Later,
pattern books from Germany and Italy became available. The best known of these was Munsterbuchlein
by Peter Quentell, published in approximately 1528.
In Italy, the technique influenced local lace makers.
Some Hardanger patterns exhibit an Assyrian influence which can be traced to the Vikings' forays far
into the Mediterranean Sea. The Crusaders of the
Middle Ages may even have been instrumental in introducing this type of embroidery to parts of Scandinavia. One Hardanger motif, the eight-pointed star,
Hardanger embroidery on a blouse cuff
9
Hard ang er B a si c s
Hardanger embroidery combines well with counted cross stitch and counted hemstitch. It looks exquisite worked in white thread on white linen,
which is the traditional form, but it is also extremely pretty when worked
in coloured threads.
I work my counted embroidery without a frame or hoop but this is a very
personal decision and my way is frowned on by some. You need a good
light and the correct spectacles, needles and a pair of sharp pointed scissors.
I use gold-plated needles for all my stitching (have done for over twenty
years) and would recommend them. I use a size 28 needle for the Kloster
blocks, and a 24 or 26 for the filling stitches and additional cross stitch.
fabrics
I prefer to work my Hardanger embroidery on evenweave linen (the fabric
used for traditional Hardanger) which is available in a variety of thread
counts. A modern cotton fabric commonly called Hardanger fabric was designed especially for this type of embroidery. It has threads woven in pairs
and it is the equivalent to a 22-count fabric. Personally I find working on
linen easier. All the projects in this book could be worked on Hardanger
fabric but those requiring folded hems are, I think, easier on pure linen.
13
(above) Hardanger fabric with evenweave linen on top.
(below) You need a good light, with
optional magnifier, sharp scissors,
gold-plated needles, threads – and a
thread organiser is useful
h a r da n ge r b a s ics
threads
Hardanger embroidery is generally worked in perlé
weight cotton threads, sold in balls or skeins as illustrated. Although Hardanger is commonly worked in white
thread on white fabric, you will see that many of the
designs in this book are worked in space-dyed threads.
This is partly my preference (I just love these threads),
but the colour also makes it much easier to see what
is going on when you are studying the photographs.
All the patterns in this book could be worked white on
white or in any colour combination that you prefer.
Traditionally, Kloster blocks are made with thicker
thread, and a finer thread is used for the filling stitches.
Just to keep you on your toes, perlé cotton is numbered
so that the higher numbers signify finer threads, eg, 12
is finer than 8.
(above) Apron for sale in Bergen
(below) Perlé threads
14
h a r da n ge r b a s ics
kloster blocks
See the video of stitching Kloster blocks, overleaf.
1
3
Hardanger embroidery consists of Kloster blocks
(blocks of parallel straight stitches), which stabilize the
fabric and define the pattern. Because these blocks bind
the fabric, they allow us to cut and remove some of the
fabric threads between them. Decorative filling stitches
are then worked on the remaining fabric threads between the Kloster blocks, strengthening the structure
and creating the well-known lace-like Hardanger effect.
The thread for the filling stitches is generally finer than
the thread used for the blocks.
5
7
The secret of successful Hardanger embroidery is counting the Kloster blocks accurately. If they are in the right
place, the fabric threads between them can be cut out
with no problem and the stitching will not fall to pieces!
Kloster blocks are formed with 5 vertical or 5 horizontal
straight stitches, each of them over 4 fabric threads on
evenweave, or 4 fabric blocks if working on Hardanger
fabric. The Kloster block stitches are worked side by
side, following the grain of the fabric. These stitches
are never across the grain of the fabric. If you look at
the photographs, charts and diagrams of the Hardanger
projects in this book, you can see that the Kloster blocks
are formed in vertical and horizontal lines.
When counting Hardanger, count the threads never the
holes. To see why, hold up four fingers; if you count the
gaps between the fingers you could count five or three
depending on where you started counting, but there
will still be four fingers. Print out the checklist on the
next page – for stitch perfect Hardanger.
15
2
4
6
9
8
10
Stitching a Kloster block
Corners
of blocks
share holes
Four Kloster blocks joined, sharing holes at the corners
h a r da n ge r b a s ics
little rosebud scissor keeper 1
Rosebud Scissor Keeper 1: print pages 18–24
Before beginning read the Introduction on pages 5-8 and the earlier pages of
Hardanger Basics.
Finished size: 1½in (4cm) square
Stitch Count: 44 × 22
This tiny little project is a simple and quick introduction to working
Kloster blocks, with no cutting of the fabric threads. If you refer to the
chart on page 24, you can see that the front and the back of the scissor
keeper are stitched on the same piece of fabric, making it very easy to
complete. I have made this a very thorough description of stitching Kloster
blocks, with video clips, so you can use this project as your all-important
foundation for getting Kloster blocks right. Correct Kloster blocks are the
key to successful Hardanger embroidery.
The Little Rosebud Scissor Keeper 1 consists of cross stitch rosebuds with
Kloster blocks and eyelets, and a long-legged cross stitch border. Version 2
of this project (on page 30) moves us on to the next stage by cutting and
removing fabric threads.
18
You will need:
5 × 4in (13 × 10cm) 28-count Cashel linen
Stranded cotton (floss) as listed on the chart
Perlé 8 and Perlé 12 in ecru or cream
Soft wadding
Tapestry needles, sizes 22 and 24
lit t le ro s e bu d s ci s s or k e e pe r 1 : ch a rt
Madeira/DMC stranded cotton (floss)
DD
DD
610/3731
o o
o o
603/3350
x x
x x
1312/367
Needleweaving in Perle 12
Horizontal Kloster block
Vertical Kloster block
Perle 8
Long-legged cross stitch
in one strand Perle 12
Shows trimming line
Shows where to
cut threads of fabric
Note on Charts
Depending on your screen size etc,
some details of the charts will not
appear until you zoom in. They
will all show when printed.
24
Fur ther S titch Vid eo s
Before viewing these videos, read the Introduction on
pages 5-8 and Hardanger Basics on pages 13-32.
thread so that the stitching is easy to see. And the noise
in the background is still the rain on my conservatory
roof, which didn't let up during our entire filming sesHere are a few more of the techniques we use in the sion! There is further information on all stitches in the
Hardanger projects in this ebook. I have used coloured Stitch Library.
video: wrapped bars and corner needleweaving
Wrapped bars and corner
needleweaving
33
Pa stel Painted
Need l ebo ok
Before beginning read the Introduction on pages 5-8 and
Hardanger Basics on pages 13-32.
Pastel Painted Needlebook: print pages 40–43
This very delicate, pretty needlebook is the ideal evening project, and the perfect gift for a fellow stitching addict. The
stitching includes Kloster blocks, wrapping with corner needleweaving, and long-legged cross stitch.
Stitch Count: 47 × 25
It is worked using fine and medium hand-dyed cotton thread
from Oliver Twists (available from the Cross Stitch Guild).
It would also look charming if worked in tradition cream or
white on white. The needlebook is lined with hand-dyed felt,
which helps to finish off the edges neatly using a faux hem.
Finished size: 3½ × 1¾in (9 × 4.5cm)
You will need:
7 × 5½in (18 × 14cm) 28-count cream Cashel linen
Oliver Twists medium and fine cotton in shade 28
Tapestry needles, size 22 and 24
1 tiny shell button
Stranded cotton (floss) as shown on the chart
4 × 2½in (10 × 6.5cm) hand-dyed felt
Stitches/stitch diagrams:
Kloster blocks, wrapping and corner needleweaving,
long-legged cross stitch, backstitch, eyelets, twisted
cords.
40
y e llow ros e s ci s s or f ol d
Detail of bullion roses with lazy
daisy/detached chain stitch
6. Decorate the remaining threads with needleweaving and dove’s eye
as shown on the chart. Forming a dove’s eye take a little practice. A little
‘pinching and pulling’ is needed to achieve perfect results. When forming
the stitch, take care not to miss the last twist as without this the diamond
will look rather strange.
7. Add the cross stitch, French knots and lazy daisy/detached chain
stitch as shown on the chart. Using two strands of stranded cotton (floss)
create the bullion roses.
8. Make twisted cords to wrap round the 'spine' of the scissor fold, and
to attach to your scissors.
46
1
2
15
4
3
2
6
7
Lazy daisy/detached chain stitch
Hard ang er an d Pul l ed
Thread Need l erol l
Before beginning read the Introduction on pages 5-8 and
Hardanger Basics on pages 13-32.
Needleroll: print pages 52–57
By now, you will have realised that I love to make stitchers’ accessories and can always find yet another useful
thing for your sewing box. I love using my finished projects and I have certainly run out of wall space for framed
pieces. However, this could be worked as a band sampler
if preferred.
Stitch Count: 29 × 169
Here we're getting a little more ambitious, combining
various counted and pulled thread stitches with several Hardanger sections. There are two new Hardanger
stitches: corner dove's eyes and picots (rather like a sideways French knot). The project is divided up into four
sections with lines of four-sided stitch so I have referred
to them as Bands 1-4 (from the top) in the instructions.
Band 4 is a mirror image of Band 1.
52
Finished size: 2 × 12in (5.25 × 31cm) square
You will need:
5 × 15in (13 × 38cm) 28-count cream Cashel linen
Stranded cotton (floss) as listed on the chart
Tapestry needles, size 22 and 24
Perlé 8 and Perlé 12 in cream
5 × 15in (13 × 38cm) hand-dyed felt in dusty rose
Shell button
Stitches/stitch diagrams:
Kloster blocks, needleweaving, dove's eye, wrapped bars and
corner needleweaving, picots, wound threads, corner dove's
eyes, cross stitch on linen, backstitch, French knots, queen
stitch, four-sided stitch, bullion knots, twisted cords, cut hem.
Hear t s an d Fl ower s
S am pl er
Before beginning read the Introduction on pages 5-8 and
Hardanger Basics on pages 13-32.
Hearts and Flowers Sampler: print pages 58–61
This decorative sampler provides the chance to create a
larger piece of Hardanger, combined with a selection of
counted stitches. The sampler is mounted onto a dusty
rose coloured background of hand-dyed felt, which
shows through the voids of the embroidery and sets off
the Hardanger stitches very well.
Stitch Count: 57 × 55
The choice of background fabric for Hardanger projects
is another interesting skill to be learned. From experience, I would say wait until the project is completed and
then lay your completed stitching on top of a range of
colours to see which is the most successful. The result
will sometimes come as a surprise. I have, in the past,
mounted a piece of Hardanger on top of a tartan scarf
with great effect!
58
Finished size: 4 × 4in (10 × 10cm)
You will need:
9in (23cm) square vintage green 28-count Cashel linen
Stranded cotton (floss) as listed on the chart
Tapestry needles, size 22 and 24
Perlé 8 and Perlé 12 in cream
9in (23cm) square hand-dyed felt in dusty rose
Stitches/stitch diagrams:
Kloster blocks, eyelets, needleweaving, dove's eye, wrapped
bars and corner needleweaving, rice stitch, cross stitch on
linen, backstitch, half Rhodes stitch, double cross stitch,
French knots, satin stitch.
Bead ed Winterg reen
S am pl er
Before beginning read the Introduction on pages 5-8 and
Hardanger Basics on pages 13-32.
This vibrant project started life as a Hardanger class here
at Pinks Barn and I have seen some marvellous complete
versions. The joy of this pattern is that the whole project
is work in a space-dyed thread. You just need the two
thickness of thread to create this effect. Your choice of
background fabric will depend on how the space-dyed
thread looks when stitched. Try several different colours.
In this project, the cutting requires a little more attention as there are some threads to be cut that are not adjoining a shared hole. As in the Hearts and Flowers Sampler, we have a mixture of Hardanger, cross stitch and
other counted stitches, with some seed beads. Choose
your beads carefully to echo the colours of your thread.
62
Beaded Wintergreen Sampler: print pages 62–64
Finished size: 3½ × 3½in (9 × 9cm)
Stitch Count: 47 × 47
You will need:
7½in (19cm) square ivory 26-count Dublin linen
Oliver Twists medium and fine cotton, shade 20
Tapestry needles, size 22 and 26
Beading needle
32 seed beads to match the thread colour
7½in (19cm) square background fabric to match
Stitches/stitch diagrams:
Kloster blocks, needleweaving, dove's eye, wrapped bars and
corner needleweaving, cross stitch on linen, backstitch, Rhodes stitch, long-legged cross stitch, satin stitch.
Hear t L inen B o ok
Before beginning read the Introduction on pages 5-8 and
Hardanger Basics on pages 13-32.
This little project brings in the idea of a blanket/buttonhole stitch edging around the Hardanger embroidery.
Because the blanket stitches bind the fabric you can trim
right up to this edge, cutting out the whole motif, and
giving a ‘scalloped’ edge. This technique is traditionally
used for table linen, shelf trims or window blinds.
My finished motif was attached to the front of one of our
handmade linen books using a little double-sided tape.
65
Heart Linen Book: print pages 65–67
Finished size: 3 × 2½in (8 × 6.5cm) inc. blanket stitch edge
Stitch Count: 30 × 26 excluding blanket stitch edge
You will need:
5½in (14cm) square antique white 26-count Dublin linen
Perlé 8 and Perlé 12 in cream
Tapestry needles, size 22 and 24
Stitches/stitch diagrams:
Kloster blocks, needleweaving, dove's eye, blanket/buttonhole
edging.
Wil dflower Col l ec ti o n
Before beginning read the Introduction on pages 5-8 and Hardanger
Basics on pages 13-32.
I must admit to being very pleased with this stitcher's collection which
combines Hardanger and cross stitch to make a square hussif, needlebook,
scissor keeper, scissor chatelaine and basket trim. All the projects are
stitched on Cashel cream linen, using stranded cottons (floss) and Oliver
Twists fine and medium cotton, shade 37.
The hussif is created by stitching a flat square, adding a folded hem, then
folding it up rather like an envelope. The scissor keeper is lined with a
little piece of pink felt but I have also weighted it with a strong magnet
before padding with some wadding. The basket trim is one of those expanding projects designed so that you can make it fit your personal
choice of basket or work box.
68
A ntique Fl ower s
Pro jec t Po ck e t
Before beginning read the Introduction on pages 5-8 for a few days and this is what happened! The stitching
and Hardanger Basics on pages 13-32.
combines Hardanger with blanket stitch edging, cross
stitch with French and bullion knots and a few seed
The Antique Flowers Project Pocket came about be- beads. I have used a space-dyed thread again as I do love
cause I had bought this decorative wide linen band the effect it gives, but it would look lovely worked in
whilst on a visit to Germany. I just played with the idea perlé thread if preferred.
84
Fe stive Hol l y Hear t
Before beginning read the Introduction on pages 5-8 and
Hardanger Basics on pages 13-32.
Here again I'm using a blanket/buttonhole stitch edging around the Hardanger embroidery. Because the
blanket stitches bind the fabric you can trim right up to
this edge, cutting out the whole motif, and giving a ‘scalloped’ edge. The areas created by this edging are further
decorated with beads. I attached my finished motif to a
wooden heart (available from the CSG), which I decorated with stencil paints and a twisted cord for hanging.
89
Festive Holly Heart: print pages 89–92
Finished size: 8 × 4in (20 × 10cm)
Stitch Count: 45 × 37
You will need:
13 × 9in (33 × 23cm) ivory 20-count linen
Perlé 8 and Perlé 12 in cream
Tapestry needles, size 22 and 24, and beading needle
40 glass seed beads in red and green
Wooden heart and stencil paints
Red and green threads for twisted cord
Chr i stm a s Bi sco r nu
Before beginning read the Introduction on pages 5-8 and
Hardanger Basics on pages 13-32.
Christmas Biscornu: print pages 93–94
This pretty tree or lamp hanger is made up from two
identical square pieces of embroidery which are then
stitched together, corners to sides, to make the characteristic 'biscornu' shape. I have worked it in 26-count Dublin linen with some dark red silk showing through the
Hardanger voids, and red beads for added decoration.
Stitch Count: 42 × 42
93
Finished size: 3½in (8cm) square
Stitches/stitch diagrams:
Kloster blocks, wrapped bars with corner needleweaving,
cross stitch on linen, long-legged cross stitch, four-sided
stitch.
Jane Greenof f
Jane's prolific writing career began in 1987
(coinciding with the birth of daughter Louise), the first book being Cross Stitch Castles
and Cottages, based on the houses for which
Jane was already well known. Jane can recall
the life/work balance dilemma very clearly
when referring back to this period of her life.
In 2000, David & Charles published The
Cross Stitcher's Bible which has appeared in
ten languages – it is still available in a new
edition!
The Cross Stitch Guild
Jane Greenoff founded the Cross Stitch
Guild in March 1996, in order to provide an
organisation specifically for cross stitch and
counted thread addicts. Four years later, in
2000, the Cross Stitch Guild published its
first book Cross Stitching on Linen: Favourite
Flowers and launched its own website. Members receive Stitch That! with Jane Greenoff,
with exclusive projects and charts/patterns,
discount on all purchases from the Stitchers' Market (online) plus special offers. Members have
access to the CSG Members Studio (online) for our
thread colour converter, stitch diagrams, free charts,
technical information, articles, and exclusive members'
treats to buy.
Jane Greenoff is largely self-taught, having discovered
cross stitch after giving up a 15-year career in nursing
to look after her son, James. At that time, in 1982, she
and her husband Bill moved to a Cotswold cottage and
looked for something appropriate to decorate the walls.
A neighbour introduced Jane to counted cross stitch
and unaffordable antique samplers, so in 1983 she decided to design and stitch her own. Starting with a bor- Jane's iStitch cross stitch software is in great demand all
rowed drawing board resting on two house bricks, fine over the world and is highly regarded by top designers.
marker pens and plenty of Tippex, Jane designed her In addition, Jane is in constant demand for personal
first pattern straight onto graph paper.
appearances, classes and workshops. She has a regular
column in Cross Stitch Collection magazine (Future PubWithin six months she was marketing her first com- lishing).
mercial kits, having discovered a gap in the market for
authentic designs of local Cotswold buildings. Thus the The latest development at the CSG is their new app for
Inglestone Collection kit company was born, and Jane iPhone and Android phones.
had to learn rapidly to become a businesswoman as well
as a cross-stitch designer. From its early beginnings with If you would like more information about the CSG,
only £25 in the bank, the company has grown into an Jane’s products, classes or holidays: call the UK Freeinternationally successful business – a major factor in phone Number 0800 328 9750.
this success being the financial acumen and sales talents
of ex-banker Bill Greenoff who joined the company full Or go to: www.thecrossstitchguild.com
time in 1990.
102
Acknowl edg ement s
with grateful thanks to the following:
Hardanger Folk Museum, Utne and Husfliden, Bergen for all their help and advice
Zweigart and Sawitski for fabric supplies,
Madeira for stranded cottons (floss)
Oliver Twists for the hand-dyed threads and felt
Ian Lawson Smith for my marvellous design program
My pattern testers and stitchers: Lesley Clegg, Jane Herbert, Trudi Lee, Su Maddocks, Suzanne Spencer and Jill Vaughan
Ethan Danielson for my lovely charts and stitch diagrams
Vivienne Wells for continuing to edit my books
Daphne Cording, Sarah Young and Sharon Reynolds for picking, packing and keeping me sane!
104
More R ainbow Di sk s