Bunka with Flair - United Bunka Association

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Bunka with Flair - United Bunka Association
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The
Handbook
of
Bunka
The
Handbook
of
Bunka
Section 1
Getting Started
Section 1
Getting Started
Section 11
Glossary of
Stitches and
Techniques
Section 11
Glossary of
Stitches and
Techniques
Section 111
Appendices
Section 111
Appendices
The
Handbook
of
Bunka
The
Handbook
of
Bunka
Section 1
Getting Started
Section 1
Getting Started
Section 11
Glossary of
Stitches and
Techniques
Section 11
Glossary of
Stitches and
Techniques
Section 111
Appendices
Section 111
Appendices
Note From The Authors
Note From The Authors
This is the second edition of The Handbook of
Bunka revised by Bonnie Ralph and Jan Baba
who have been active instructors and stitchers for
many years. Bonnie and Jan learned the
beautiful art of Bunka Shishu embroidery from
the courses and samplers developed by Karen
Schilthuis, Canada's First Lady of Bunka. In
1986, Karen wrote and published the original
Handbook of Bunka that has received wide
circulation over the past 6 years as the first
official Bunka Shishu reference book ever
published in North America.
This is the second edition of The Handbook of
Bunka revised by Bonnie Ralph and Jan Baba
who have been active instructors and stitchers for
many years. Bonnie and Jan learned the
beautiful art of Bunka Shishu embroidery from
the courses and samplers developed by Karen
Schilthuis, Canada's First Lady of Bunka. In
1986, Karen wrote and published the original
Handbook of Bunka that has received wide
circulation over the past 6 years as the first
official Bunka Shishu reference book ever
published in North America.
This version is a compilation of the most up-todate and most popular stitching techniques being
used today. We hope teachers and students alike
will continue to use the Handbook as a valuable
reference tool and teaching aid. In no way should
this manual replace the knowledge and stitching
expertise that can be learned from an experienced
Bunka With Flair Instructor.
This version is a compilation of the most up-todate and most popular stitching techniques being
used today. We hope teachers and students alike
will continue to use the Handbook as a valuable
reference tool and teaching aid. In no way should
this manual replace the knowledge and stitching
expertise that can be learned from an experienced
Bunka With Flair Instructor.
The authors request the reader to keep in mind
that the purpose of the Handbook is as a
reference tool which, while documenting the basic
method will, hopefully, expand the stitchers
knowledge and understanding of Bunka Shishu
embroidery and encourage development of
personal style and methodology.
The authors request the reader to keep in mind
that the purpose of the Handbook is as a
reference tool which, while documenting the basic
method will, hopefully, expand the stitchers
knowledge and understanding of Bunka Shishu
embroidery and encourage development of
personal style and methodology.
It is our hope that we have made Bunka Shisha an
art for all, near and far, to experience, to
accomplish and mostly to enjoy.
It is our hope that we have made Bunka Shisha an
art for all, near and far, to experience, to
accomplish and mostly to enjoy.
Note From The Authors
Note From The Authors
This is the second edition of The Handbook of
Bunka revised by Bonnie Ralph and Jan Baba
who have been active instructors and stitchers for
many years. Bonnie and Jan learned the
beautiful art of Bunka Shishu embroidery from
the courses and samplers developed by Karen
Schilthuis, Canada's First Lady of Bunka. In
1986, Karen wrote and published the original
Handbook of Bunka that has received wide
circulation over the past 6 years as the first
official Bunka Shishu reference book ever
published in North America.
This is the second edition of The Handbook of
Bunka revised by Bonnie Ralph and Jan Baba
who have been active instructors and stitchers for
many years. Bonnie and Jan learned the
beautiful art of Bunka Shishu embroidery from
the courses and samplers developed by Karen
Schilthuis, Canada's First Lady of Bunka. In
1986, Karen wrote and published the original
Handbook of Bunka that has received wide
circulation over the past 6 years as the first
official Bunka Shishu reference book ever
published in North America.
This version is a compilation of the most up-todate and most popular stitching techniques being
used today. We hope teachers and students alike
will continue to use the Handbook as a valuable
reference tool and teaching aid. In no way should
this manual replace the knowledge and stitching
expertise that can be learned from an experienced
Bunka With Flair Instructor.
This version is a compilation of the most up-todate and most popular stitching techniques being
used today. We hope teachers and students alike
will continue to use the Handbook as a valuable
reference tool and teaching aid. In no way should
this manual replace the knowledge and stitching
expertise that can be learned from an experienced
Bunka With Flair Instructor.
The authors request the reader to keep in mind
that the purpose of the Handbook is as a
reference tool which, while documenting the basic
method will, hopefully, expand the stitchers
knowledge and understanding of Bunka Shishu
embroidery and encourage development of
personal style and methodology.
The authors request the reader to keep in mind
that the purpose of the Handbook is as a
reference tool which, while documenting the basic
method will, hopefully, expand the stitchers
knowledge and understanding of Bunka Shishu
embroidery and encourage development of
personal style and methodology.
It is our hope that we have made Bunka Shisha an
art for all, near and far, to experience, to
accomplish and mostly to enjoy.
It is our hope that we have made Bunka Shisha an
art for all, near and far, to experience, to
accomplish and mostly to enjoy.
To The Beginner Stitcher
To The Beginner Stitcher
The Handbook of Bunka contains general, basic
information that is used for every Bunka Shishu
picture. It also contains Advanced Level
techniques that should not be attempted until you
are comfortable with the basics.
The Handbook of Bunka contains general, basic
information that is used for every Bunka Shishu
picture. It also contains Advanced Level
techniques that should not be attempted until you
are comfortable with the basics.
It is strongly recommended that this manual be
used as a learning tool in combination with
Bunka With Flair's Instructional Program, Levels
1 to 3. If you do not have access to a qualified
B.W.F. Instructor but would like to try some
stitching on your own, we suggest:
It is strongly recommended that this manual be
used as a learning tool in combination with
Bunka With Flair's Instructional Program, Levels
1 to 3. If you do not have access to a qualified
B.W.F. Instructor but would like to try some
stitching on your own, we suggest:
1. Carefully reading the first section
"Getting Started".
1. Carefully reading the first section
"Getting Started".
2. The second section, "Glossary of Stitches
& Techniques" describes basic to advanced
techniques in alphabetical order. From this
section, refer to:
2. The second section, "Glossary of Stitches
& Techniques" describes basic to advanced
techniques in alphabetical order. From this
section, refer to:
Flat stitch, page 84
Line padding, page 123
Wedge Stitch, page 180
Blending, page 51
Flat stitch, page 84
Line padding, page 123
Wedge Stitch, page 180
Blending, page 51
Learning these techniques will establish the
basic knowledge necessary to start your first
picture. It will be very difficult for you to
absorb the contents of the entire book by
simply reading, so concentrate and practice
the basics first.
Learning these techniques will establish the
basic knowledge necessary to start your first
picture. It will be very difficult for you to
absorb the contents of the entire book by
simply reading, so concentrate and practice
the basics first.
To The Beginner Stitcher
To The Beginner Stitcher
The Handbook of Bunka contains general, basic
information that is used for every Bunka Shishu
picture. It also contains Advanced Level
techniques that should not be attempted until you
are comfortable with the basics.
The Handbook of Bunka contains general, basic
information that is used for every Bunka Shishu
picture. It also contains Advanced Level
techniques that should not be attempted until you
are comfortable with the basics.
It is strongly recommended that this manual be
used as a learning tool in combination with
Bunka With Flair's Instructional Program, Levels
1 to 3. If you do not have access to a qualified
B.W.F. Instructor but would like to try some
stitching on your own, we suggest:
It is strongly recommended that this manual be
used as a learning tool in combination with
Bunka With Flair's Instructional Program, Levels
1 to 3. If you do not have access to a qualified
B.W.F. Instructor but would like to try some
stitching on your own, we suggest:
1. Carefully reading the first section
"Getting Started".
1. Carefully reading the first section
"Getting Started".
2. The second section, "Glossary of Stitches
& Techniques" describes basic to advanced
techniques in alphabetical order. From this
section, refer to:
2. The second section, "Glossary of Stitches
& Techniques" describes basic to advanced
techniques in alphabetical order. From this
section, refer to:
Flat stitch, page 84
Line padding, page 123
Wedge Stitch, page 180
Blending, page 51
Flat stitch, page 84
Line padding, page 123
Wedge Stitch, page 180
Blending, page 51
Learning these techniques will establish the
basic knowledge necessary to start your first
picture. It will be very difficult for you to
absorb the contents of the entire book by
simply reading, so concentrate and practice
the basics first.
Learning these techniques will establish the
basic knowledge necessary to start your first
picture. It will be very difficult for you to
absorb the contents of the entire book by
simply reading, so concentrate and practice
the basics first.
"BUNKA SHISHU"
"BUNKA SHISHU"
Also known as:
Also known as:
Bunka Embroidery
Japanese Punch Needle Embroidery
Thread art
Thread painting
Bunka Embroidery
Japanese Punch Needle Embroidery
Thread art
Thread painting
Originating in Japan, Bunka Shishu is unique
from other types of needlework since it requires
Originating in Japan, Bunka Shishu is unique
from other types of needlework since it requires
a) Punch Needle designed to operate exclusively
with ...
a) Punch Needle designed to operate exclusively
with ...
b) Special 4-ply rayon thread manufactured in
Japan ...
b) Special 4-ply rayon thread manufactured in
Japan ...
to embroider the design onto a taut, tight weave
canvas.
to embroider the design onto a taut, tight weave
canvas.
This Handbook of Bunks Shishu Embroidery is an
easy to use reference guide for stitchers at all
levels. The techniques described range from the
preliminary preparatory steps to advanced skills.
This Handbook of Bunks Shishu Embroidery is an
easy to use reference guide for stitchers at all
levels. The techniques described range from the
preliminary preparatory steps to advanced skills.
We hope this book will assist you in the hours of
enjoyment you will experience in creating
beautiful Bunka pictures.
We hope this book will assist you in the hours of
enjoyment you will experience in creating
beautiful Bunka pictures.
5
"BUNKA SHISHU"
5
"BUNKA SHISHU"
Also known as:
Also known as:
Bunka Embroidery
Japanese Punch Needle Embroidery
Thread art
Thread painting
Bunka Embroidery
Japanese Punch Needle Embroidery
Thread art
Thread painting
Originating in Japan, Bunka Shishu is unique
from other types of needlework since it requires
Originating in Japan, Bunka Shishu is unique
from other types of needlework since it requires
a) Punch Needle designed to operate exclusively
with ...
a) Punch Needle designed to operate exclusively
with ...
b) Special 4-ply rayon thread manufactured in
Japan ...
b) Special 4-ply rayon thread manufactured in
Japan ...
to embroider the design onto a taut, tight weave
canvas.
to embroider the design onto a taut, tight weave
canvas.
This Handbook of Bunks Shishu Embroidery is an
easy to use reference guide for stitchers at all
levels. The techniques described range from the
preliminary preparatory steps to advanced skills.
This Handbook of Bunks Shishu Embroidery is an
easy to use reference guide for stitchers at all
levels. The techniques described range from the
preliminary preparatory steps to advanced skills.
We hope this book will assist you in the hours of
enjoyment you will experience in creating
beautiful Bunka pictures.
We hope this book will assist you in the hours of
enjoyment you will experience in creating
beautiful Bunka pictures.
5
5
Kits are available from 3 sources -each has its own
full colour catalogue.
Kits are available from 3 sources -each has its own
full colour catalogue.
1. Canadian - numbered kits designed in Canada,
1. Canadian - numbered kits designed in Canada,
2. Tokyo - numbered kits designed in Japan. The
threads in Canadian and Tokyo pictures are
numbered like a paint-by-number where the thread
number corresponds to the numbers printed on the
canvas.
2. Tokyo - numbered kits designed in Japan. The
threads in Canadian and Tokyo pictures are
numbered like a paint-by-number where the thread
number corresponds to the numbers printed on the
canvas.
3. Matsuhato - numbered and unnumbered kits
designed in Japan. Usually there are no numbers
on the canvas or threads. The stitcher decides
which colour to use by analyzing the coIoured
picture insert and making up a 'thread chart'.
3. Matsuhato - numbered and unnumbered kits
designed in Japan. Usually there are no numbers
on the canvas or threads. The stitcher decides
which colour to use by analyzing the coIoured
picture insert and making up a 'thread chart'.
A Bunks Shishu kit consists of:
A Bunks Shishu kit consists of:
a) Embroidery threads
b) screen-printed canvas
c) coloured picture guide or insert -one side is a
photograph of what the completed picture should
look like; the other is a copy of the numbered,
screen-printed canvas
a) Embroidery threads
b) screen-printed canvas
c) coloured picture guide or insert -one side is a
photograph of what the completed picture should
look like; the other is a copy of the numbered,
screen-printed canvas
d) Most Canadian kits also include stitch instructions.
d) Most Canadian kits also include stitch instructions.
Tokyo threads that are also used in Canadian kits are
numbered with a paper tag. These numbers will never
change, i.e. #167 will always be brown. As a backup
in case of thread shortage, leftover threads from one
kit can be used on other pictures; however, watch for
differences in colour shade that may vary between
dye lots.
Tokyo threads that are also used in Canadian kits are
numbered with a paper tag. These numbers will never
change, i.e. #167 will always be brown. As a backup
in case of thread shortage, leftover threads from one
kit can be used on other pictures; however, watch for
differences in colour shade that may vary between
dye lots.
Bunka thread is not cut into pieces as with standard
embroidery. It is used in a continuous strand from the
skein.
Bunka thread is not cut into pieces as with standard
embroidery. It is used in a continuous strand from the
skein.
Kits are available from 3 sources -each has its own
full colour catalogue.
Kits are available from 3 sources -each has its own
full colour catalogue.
1. Canadian - numbered kits designed in Canada,
1. Canadian - numbered kits designed in Canada,
2. Tokyo - numbered kits designed in Japan. The
threads in Canadian and Tokyo pictures are
numbered like a paint-by-number where the thread
number corresponds to the numbers printed on the
canvas.
2. Tokyo - numbered kits designed in Japan. The
threads in Canadian and Tokyo pictures are
numbered like a paint-by-number where the thread
number corresponds to the numbers printed on the
canvas.
3. Matsuhato - numbered and unnumbered kits
designed in Japan. Usually there are no numbers
on the canvas or threads. The stitcher decides
which colour to use by analyzing the coIoured
picture insert and making up a 'thread chart'.
3. Matsuhato - numbered and unnumbered kits
designed in Japan. Usually there are no numbers
on the canvas or threads. The stitcher decides
which colour to use by analyzing the coIoured
picture insert and making up a 'thread chart'.
A Bunks Shishu kit consists of:
A Bunks Shishu kit consists of:
a) Embroidery threads
b) screen-printed canvas
c) coloured picture guide or insert -one side is a
photograph of what the completed picture should
look like; the other is a copy of the numbered,
screen-printed canvas
a) Embroidery threads
b) screen-printed canvas
c) coloured picture guide or insert -one side is a
photograph of what the completed picture should
look like; the other is a copy of the numbered,
screen-printed canvas
d) Most Canadian kits also include stitch instructions.
d) Most Canadian kits also include stitch instructions.
Tokyo threads that are also used in Canadian kits are
numbered with a paper tag. These numbers will never
change, i.e. #167 will always be brown. As a backup
in case of thread shortage, leftover threads from one
kit can be used on other pictures; however, watch for
differences in colour shade that may vary between
dye lots.
Tokyo threads that are also used in Canadian kits are
numbered with a paper tag. These numbers will never
change, i.e. #167 will always be brown. As a backup
in case of thread shortage, leftover threads from one
kit can be used on other pictures; however, watch for
differences in colour shade that may vary between
dye lots.
Bunka thread is not cut into pieces as with standard
embroidery. It is used in a continuous strand from the
skein.
Bunka thread is not cut into pieces as with standard
embroidery. It is used in a continuous strand from the
skein.
Table of Contents
Table of Contents
GETTING STARTED .................................... 11
GETTING STARTED .................................... 11
Preparing the Kit .............................................. 11
Preparing the Kit .............................................. 11
How To Wind The Thread ................................. 11
How To Wind The Thread ................................. 11
About The Thread
2/4 Pull Thread
3/4 Pull Thread
1/4 Pull Thread
About The Thread
2/4 Pull Thread
3/4 Pull Thread
1/4 Pull Thread
............................................
............................................
............................................
............................................
14
15
16
17
............................................
............................................
............................................
............................................
14
15
16
17
The Needle ....................................................... 18
How To Thread The Needle .......................... 19
The Needle ....................................................... 18
How To Thread The Needle .......................... 19
How To Stretch and Tack The Canvas ............ 20
How To Stretch and Tack The Canvas ............ 20
Workframes .................................................. 20
Workframes .................................................. 20
Method 1 - Without Plumbline .................... 21
Method 1 - Without Plumbline .................... 21
Method 1 - With Plumbline ........................... 21
Method 1 - With Plumbline ........................... 21
PICTURE STYLES ...................................... 24
PICTURE STYLES ...................................... 24
Flat Stitch Pictures
Dimension
.......................................... 25
................................................... 25
Flat Stitch Pictures
Dimension
.......................................... 25
................................................... 25
Stitch Direction ............................................. 26
Stitch Direction ............................................. 26
How To Start And End The Thread ............... 26
How To Start And End The Thread ............... 26
Basic Needle Movement .............................. 28
Basic Needle Movement .............................. 28
Trouble Shooting .......................................... 30
Trouble Shooting .......................................... 30
Fluffy Pictures .................................................. 31
Fluffy Pictures .................................................. 31
Table of Contents
Table of Contents
GETTING STARTED .................................... 11
GETTING STARTED .................................... 11
Preparing the Kit .............................................. 11
Preparing the Kit .............................................. 11
How To Wind The Thread ................................. 11
How To Wind The Thread ................................. 11
About The Thread
2/4 Pull Thread
3/4 Pull Thread
1/4 Pull Thread
About The Thread
2/4 Pull Thread
3/4 Pull Thread
1/4 Pull Thread
............................................
............................................
............................................
............................................
14
15
16
17
............................................
............................................
............................................
............................................
14
15
16
17
The Needle ....................................................... 18
How To Thread The Needle .......................... 19
The Needle ....................................................... 18
How To Thread The Needle .......................... 19
How To Stretch and Tack The Canvas ............ 20
How To Stretch and Tack The Canvas ............ 20
Workframes .................................................. 20
Workframes .................................................. 20
Method 1 - Without Plumbline .................... 21
Method 1 - Without Plumbline .................... 21
Method 1 - With Plumbline ........................... 21
Method 1 - With Plumbline ........................... 21
PICTURE STYLES ...................................... 24
PICTURE STYLES ...................................... 24
Flat Stitch Pictures
Dimension
.......................................... 25
................................................... 25
Flat Stitch Pictures
Dimension
.......................................... 25
................................................... 25
Stitch Direction ............................................. 26
Stitch Direction ............................................. 26
How To Start And End The Thread ............... 26
How To Start And End The Thread ............... 26
Basic Needle Movement .............................. 28
Basic Needle Movement .............................. 28
Trouble Shooting .......................................... 30
Trouble Shooting .......................................... 30
Fluffy Pictures .................................................. 31
Fluffy Pictures .................................................. 31
SECTION 11
SECTION 11
TABLE OF CONTENTS
TABLE OF CONTENTS
GLOSSARY
OF STITCHES AND TECHNIQUES ............ 34
GLOSSARY
OF STITCHES AND TECHNIQUES ............ 34
SECTION 111
SECTION 111
APPENDICES
APPENDICES
APPENDIX 1 - FRAMING .......................... 186
APPENDIX 11 - COLOUR CHART .............. 187
APPENDIX 1 - FRAMING .......................... 186
APPENDIX 11 - COLOUR CHART .............. 187
SECTION 11
SECTION 11
TABLE OF CONTENTS
TABLE OF CONTENTS
GLOSSARY
OF STITCHES AND TECHNIQUES ............ 34
GLOSSARY
OF STITCHES AND TECHNIQUES ............ 34
SECTION 111
SECTION 111
APPENDICES
APPENDICES
APPENDIX 1 - FRAMING .......................... 186
APPENDIX 11 - COLOUR CHART .............. 187
APPENDIX 1 - FRAMING .......................... 186
APPENDIX 11 - COLOUR CHART .............. 187
Section 1
Section 1
Getting Started
Getting Started
Section 1
Section 1
Getting Started
Getting Started
GETTING STARTED
GETTING STARTED
Preparing the Kit
Preparing the Kit
Step 1 -
All the threads must be wound onto
individual 'winding' cards.
Step 1 -
All the threads must be wound onto
individual 'winding' cards.
Step 2 -
The canvas must be stretched and
tacked onto a work frame.
Step 2 -
The canvas must be stretched and
tacked onto a work frame.
STEP 1
STEP 1
HOW TO WIND THE THREAD
HOW TO WIND THE THREAD
Supplies
Supplies
1. Winding Cards
2. Bunks clippers or scissors
3. Container to hold wound threads (commercial
floss organizers, reuse a chocolate box,
plastic food container).
1. Winding Cards
2. Bunks clippers or scissors
3. Container to hold wound threads (commercial
floss organizers, reuse a chocolate box,
plastic food container).
Each skein of thread is wound onto separate
cards - one skein per card. The winding cards
can be purchased (50 to a bundle) or you can cut
out your own from medium-weight cardboard
(gift box, bristol board).
Each skein of thread is wound onto separate
cards - one skein per card. The winding cards
can be purchased (50 to a bundle) or you can cut
out your own from medium-weight cardboard
(gift box, bristol board).
Shown in Fig. 1 are 2 examples of winding cards.
Shown in Fig. 1 are 2 examples of winding cards.
11
11
GETTING STARTED
GETTING STARTED
Preparing the Kit
Preparing the Kit
Step 1 -
All the threads must be wound onto
individual 'winding' cards.
Step 1 -
All the threads must be wound onto
individual 'winding' cards.
Step 2 -
The canvas must be stretched and
tacked onto a work frame.
Step 2 -
The canvas must be stretched and
tacked onto a work frame.
STEP 1
STEP 1
HOW TO WIND THE THREAD
HOW TO WIND THE THREAD
Supplies
Supplies
1. Winding Cards
2. Bunks clippers or scissors
3. Container to hold wound threads (commercial
floss organizers, reuse a chocolate box,
plastic food container).
1. Winding Cards
2. Bunks clippers or scissors
3. Container to hold wound threads (commercial
floss organizers, reuse a chocolate box,
plastic food container).
Each skein of thread is wound onto separate
cards - one skein per card. The winding cards
can be purchased (50 to a bundle) or you can cut
out your own from medium-weight cardboard
(gift box, bristol board).
Each skein of thread is wound onto separate
cards - one skein per card. The winding cards
can be purchased (50 to a bundle) or you can cut
out your own from medium-weight cardboard
(gift box, bristol board).
Shown in Fig. 1 are 2 examples of winding cards.
Shown in Fig. 1 are 2 examples of winding cards.
11
11
Fig. 1 -actual size
Fig. 1 -actual size
Each skein of thread is fastened with a white twist
tie and the paper number tag. The ties are
bundled together with a single tie.
Each skein of thread is fastened with a white twist
tie and the paper number tag. The ties are
bundled together with a single tie.
1) Hold up the bundle of
threads by the twist
ties.
1) Hold up the bundle of
threads by the twist
ties.
2) Pull down on one of
the paper tag
numbers. A single
skein will detach itself
from the main bundle.
2) Pull down on one of
the paper tag
numbers. A single
skein will detach itself
from the main bundle.
3) Write the thread
number onto one end
of the winding card.
Fig. 2
12
3) Write the thread
number onto one end
of the winding card.
Fig. 2
12
Fig. 1 -actual size
Fig. 1 -actual size
Each skein of thread is fastened with a white twist
tie and the paper number tag. The ties are
bundled together with a single tie.
Each skein of thread is fastened with a white twist
tie and the paper number tag. The ties are
bundled together with a single tie.
1) Hold up the bundle of
threads by the twist
ties.
1) Hold up the bundle of
threads by the twist
ties.
2) Pull down on one of
the paper tag
numbers. A single
skein will detach itself
from the main bundle.
2) Pull down on one of
the paper tag
numbers. A single
skein will detach itself
from the main bundle.
3) Write the thread
number onto one end
of the winding card.
12
Fig. 2
3) Write the thread
number onto one end
of the winding card.
12
Fig. 2
4) Put your left hand through
the loop of thread, tear off
the number tag and twist
off the white tie.
5) The circle of thread on your
left hand is double-looped
and must be shifted to a
single loop. The ends of
each skein have been tied
together in a knot to secure
the loop.
6) Grab the knot with the
fingers of your right hand;
Drop the circle of thread off
the left hand. There should
now be one large loop in
the right hand.
7) Put this loop over your left
hand and untie the knot at
the top. Let the two loose
ends drop free on either
side of the circle of thread.
8) Pick up one of the ends
and proceed to unwind the
thread.
4) Put your left hand through
the loop of thread, tear off
the number tag and twist
off the white tie.
unwind
white
twist tie
Fig. 3
knot
Fig. 4
5) The circle of thread on your
left hand is double-looped
and must be shifted to a
single loop. The ends of
each skein have been tied
together in a knot to secure
the loop.
6) Grab the knot with the
fingers of your right hand;
Drop the circle of thread off
the left hand. There should
now be one large loop in
the right hand.
knot
7) Put this loop over your left
hand and untie the knot at
the top. Let the two loose
ends drop free on either
side of the circle of thread.
Fig. 5
UNWIND
8) Pick up one of the ends
and proceed to unwind the
thread.
Fig. 6
unwind
white
twist tie
Fig. 3
knot
Fig. 4
knot
Fig. 5
UNWIND
Fig. 6
13
4) Put your left hand through
the loop of thread, tear off
the number tag and twist
off the white tie.
5) The circle of thread on your
left hand is double-looped
and must be shifted to a
single loop. The ends of
each skein have been tied
together in a knot to secure
the loop.
6) Grab the knot with the
fingers of your right hand;
Drop the circle of thread off
the left hand. There should
now be one large loop in
the right hand.
7) Put this loop over your left
hand and untie the knot at
the top. Let the two loose
ends drop free on either
side of the circle of thread.
8) Pick up one of the ends
and proceed to unwind the
thread.
13
4) Put your left hand through
the loop of thread, tear off
the number tag and twist
off the white tie.
unwind
white
twist tie
Fig. 3
knot
Fig. 4
5) The circle of thread on your
left hand is double-looped
and must be shifted to a
single loop. The ends of
each skein have been tied
together in a knot to secure
the loop.
6) Grab the knot with the
fingers of your right hand;
Drop the circle of thread off
the left hand. There should
now be one large loop in
the right hand.
knot
7) Put this loop over your left
hand and untie the knot at
the top. Let the two loose
ends drop free on either
side of the circle of thread.
Fig. 5
UNWIND
Fig. 6
8) Pick up one of the ends
and proceed to unwind the
thread.
unwind
white
twist tie
Fig. 3
knot
Fig. 4
knot
Fig. 5
UNWIND
Fig. 6
13
13
9) Slip one end of the thread
through one of the slits
on the winding card.
Loosely wind the thread
onto the card and tuck in
the end. Do not wind too
tight since it may cause
problems with the thread.
See Figure 1.
9) Slip one end of the thread
through one of the slits
on the winding card.
Loosely wind the thread
onto the card and tuck in
the end. Do not wind too
tight since it may cause
problems with the thread.
See Figure 1.
10) Number and wind all the threads and place
in a container so that the thread numbers are
clearly visible.
10) Number and wind all the threads and place
in a container so that the thread numbers are
clearly visible.
ABOUT THE THREAD
ABOUT THE THREAD
!
!
!
!
Also referred to as 'Rayon lily yarn', bunka
thread is manufactured in Japan.
Each skein of this polyester/rayon thread is
about 6 meters long. Matsuhato skeins are
shorter -about 5 meters in length.
Since it is not coIour fast it cannot be used on
articles of clothing or household items such as
cushions, tea towels, etc. but is used
exclusively for the creation of art; pictures,
clocks, etc. The finished work is always
framed behind glass to protect the stitching
from the elements (moisture, dust, pets).
The rayon fibers used in bunka thread are
woven Into a strand which can then be
unraveled into:
- a 1-ply thickness - 1/4 pull
- a 2-ply thickness - 2/4 pull
- a 3-ply thickness - 3/4 pull
!
!
!
!
14
Also referred to as 'Rayon lily yarn', bunka
thread is manufactured in Japan.
Each skein of this polyester/rayon thread is
about 6 meters long. Matsuhato skeins are
shorter -about 5 meters in length.
Since it is not coIour fast it cannot be used on
articles of clothing or household items such as
cushions, tea towels, etc. but is used
exclusively for the creation of art; pictures,
clocks, etc. The finished work is always
framed behind glass to protect the stitching
from the elements (moisture, dust, pets).
The rayon fibers used in bunka thread are
woven Into a strand which can then be
unraveled into:
- a 1-ply thickness - 1/4 pull
- a 2-ply thickness - 2/4 pull
- a 3-ply thickness - 3/4 pull
14
9) Slip one end of the thread
through one of the slits
on the winding card.
Loosely wind the thread
onto the card and tuck in
the end. Do not wind too
tight since it may cause
problems with the thread.
See Figure 1.
9) Slip one end of the thread
through one of the slits
on the winding card.
Loosely wind the thread
onto the card and tuck in
the end. Do not wind too
tight since it may cause
problems with the thread.
See Figure 1.
10) Number and wind all the threads and place
in a container so that the thread numbers are
clearly visible.
10) Number and wind all the threads and place
in a container so that the thread numbers are
clearly visible.
ABOUT THE THREAD
ABOUT THE THREAD
!
!
!
!
Also referred to as 'Rayon lily yarn', bunka
thread is manufactured in Japan.
Each skein of this polyester/rayon thread is
about 6 meters long. Matsuhato skeins are
shorter -about 5 meters in length.
Since it is not coIour fast it cannot be used on
articles of clothing or household items such as
cushions, tea towels, etc. but is used
exclusively for the creation of art; pictures,
clocks, etc. The finished work is always
framed behind glass to protect the stitching
from the elements (moisture, dust, pets).
The rayon fibers used in bunka thread are
woven Into a strand which can then be
unraveled into:
- a 1-ply thickness - 1/4 pull
- a 2-ply thickness - 2/4 pull
- a 3-ply thickness - 3/4 pull
14
!
!
!
!
Also referred to as 'Rayon lily yarn', bunka
thread is manufactured in Japan.
Each skein of this polyester/rayon thread is
about 6 meters long. Matsuhato skeins are
shorter -about 5 meters in length.
Since it is not coIour fast it cannot be used on
articles of clothing or household items such as
cushions, tea towels, etc. but is used
exclusively for the creation of art; pictures,
clocks, etc. The finished work is always
framed behind glass to protect the stitching
from the elements (moisture, dust, pets).
The rayon fibers used in bunka thread are
woven Into a strand which can then be
unraveled into:
- a 1-ply thickness - 1/4 pull
- a 2-ply thickness - 2/4 pull
- a 3-ply thickness - 3/4 pull
14
full thread
full thread
2/4 Pull Thread
2/4 Pull Thread
The 2/4 pull is used 99% of the time whereas the
1/4 and 3/4 pull are generally used in more
advanced stitching. 2/4 Pull thread is curly which
gives Bunks embroidery the beautiful texture;
however, if the curl is lost either by pulling
incorrectly or ripping and using the thread over a
few times, the thread will become straight and
shiny (much like embroidery floss) and will not be
as attractive.
The 2/4 pull is used 99% of the time whereas the
1/4 and 3/4 pull are generally used in more
advanced stitching. 2/4 Pull thread is curly which
gives Bunks embroidery the beautiful texture;
however, if the curl is lost either by pulling
incorrectly or ripping and using the thread over a
few times, the thread will become straight and
shiny (much like embroidery floss) and will not be
as attractive.
Manière d'étirer le fil au 2/4
Manière d'étirer le fil au 2/4
a) Loosen the fibers at the end
of the thread by picking at it with
your fingernails. Pinch the loose
thread and pull it with a slight
jerking motion. This should
result in a 2/4 pull. As the
thread is pulled back it will
make a zipper-like sound.
a) Loosen the fibers at the end
of the thread by picking at it with
your fingernails. Pinch the loose
thread and pull it with a slight
jerking motion. This should
result in a 2/4 pull. As the
thread is pulled back it will
make a zipper-like sound.
b) Holding the start of the pulled thread in one hand.
tug on the pulled end until there is about 18- of 2/4
pull. Do not pull excessive amounts at one time.
Always pull back on the whole thread when more 2/4
pull is needed to ensure the thread stays nice & curly.
b) Holding the start of the pulled thread in one hand.
tug on the pulled end until there is about 18- of 2/4
pull. Do not pull excessive amounts at one time.
Always pull back on the whole thread when more 2/4
pull is needed to ensure the thread stays nice & curly.
RIGHT HAND SHOULD BE
PLACED ON THE THICK
WHOLE THREAD WHILE
PULLING
RIGHT HAND SHOULD BE
PLACED ON THE THICK
WHOLE THREAD WHILE
PULLING
15
15
full thread
full thread
2/4 Pull Thread
2/4 Pull Thread
The 2/4 pull is used 99% of the time whereas the
1/4 and 3/4 pull are generally used in more
advanced stitching. 2/4 Pull thread is curly which
gives Bunks embroidery the beautiful texture;
however, if the curl is lost either by pulling
incorrectly or ripping and using the thread over a
few times, the thread will become straight and
shiny (much like embroidery floss) and will not be
as attractive.
The 2/4 pull is used 99% of the time whereas the
1/4 and 3/4 pull are generally used in more
advanced stitching. 2/4 Pull thread is curly which
gives Bunks embroidery the beautiful texture;
however, if the curl is lost either by pulling
incorrectly or ripping and using the thread over a
few times, the thread will become straight and
shiny (much like embroidery floss) and will not be
as attractive.
Manière d'étirer le fil au 2/4
Manière d'étirer le fil au 2/4
a) Loosen the fibers at the end
of the thread by picking at it with
your fingernails. Pinch the loose
thread and pull it with a slight
jerking motion. This should
result in a 2/4 pull. As the
thread is pulled back it will
make a zipper-like sound.
a) Loosen the fibers at the end
of the thread by picking at it with
your fingernails. Pinch the loose
thread and pull it with a slight
jerking motion. This should
result in a 2/4 pull. As the
thread is pulled back it will
make a zipper-like sound.
b) Holding the start of the pulled thread in one hand.
tug on the pulled end until there is about 18- of 2/4
pull. Do not pull excessive amounts at one time.
Always pull back on the whole thread when more 2/4
pull is needed to ensure the thread stays nice & curly.
b) Holding the start of the pulled thread in one hand.
tug on the pulled end until there is about 18- of 2/4
pull. Do not pull excessive amounts at one time.
Always pull back on the whole thread when more 2/4
pull is needed to ensure the thread stays nice & curly.
RIGHT HAND SHOULD BE
PLACED ON THE THICK
WHOLE THREAD WHILE
PULLING
RIGHT HAND SHOULD BE
PLACED ON THE THICK
WHOLE THREAD WHILE
PULLING
15
15
3/4 Pull Thread
3/4 Pull Thread
3/4 Pull is of course thicker than 214 but can differ
greatly in appearance and usability; sometimes it
will look like 2/4, sometimes it will look similar to
chain stitch which spirals and twists. Because of the
thickness, 3/4 pull cannot be used on fluffy pictures
since it will not brush out.
3/4 Pull is of course thicker than 214 but can differ
greatly in appearance and usability; sometimes it
will look like 2/4, sometimes it will look similar to
chain stitch which spirals and twists. Because of the
thickness, 3/4 pull cannot be used on fluffy pictures
since it will not brush out.
3/4 Pull is primarily used in advanced work such as
on animal claws, teeth, pine needles, and bird
beaks. With these applications, it is usually
'polished' which removes all the curt to make the
thread look very smooth and shiny like regular
embroidery floss. Because it is very straight it is
difficult to keep inside the needle, therefore, the use
of a piece of a rubber band over the shank of the
needle is recommended. (see Threads, 3/4
Polished).
3/4 Pull is primarily used in advanced work such as
on animal claws, teeth, pine needles, and bird
beaks. With these applications, it is usually
'polished' which removes all the curt to make the
thread look very smooth and shiny like regular
embroidery floss. Because it is very straight it is
difficult to keep inside the needle, therefore, the use
of a piece of a rubber band over the shank of the
needle is recommended. (see Threads, 3/4
Polished).
To Get A 3/4 Pull
To Get A 3/4 Pull
Start off by pulling about 1" of 2/4 thread. Grab an
extra loop in the whole part of your thread and pull.
It may take a few tries to get but you will know by
the appearance and the sound of the thread pulling
back that you have a 3/4 pull (when pulling, 2/4
sounds similar to a zipper whereas 3/4 makes no
discernible sound).
Start off by pulling about 1" of 2/4 thread. Grab an
extra loop in the whole part of your thread and pull.
It may take a few tries to get but you will know by
the appearance and the sound of the thread pulling
back that you have a 3/4 pull (when pulling, 2/4
sounds similar to a zipper whereas 3/4 makes no
discernible sound).
16
16
3/4 Pull Thread
3/4 Pull Thread
3/4 Pull is of course thicker than 214 but can differ
greatly in appearance and usability; sometimes it
will look like 2/4, sometimes it will look similar to
chain stitch which spirals and twists. Because of the
thickness, 3/4 pull cannot be used on fluffy pictures
since it will not brush out.
3/4 Pull is of course thicker than 214 but can differ
greatly in appearance and usability; sometimes it
will look like 2/4, sometimes it will look similar to
chain stitch which spirals and twists. Because of the
thickness, 3/4 pull cannot be used on fluffy pictures
since it will not brush out.
3/4 Pull is primarily used in advanced work such as
on animal claws, teeth, pine needles, and bird
beaks. With these applications, it is usually
'polished' which removes all the curt to make the
thread look very smooth and shiny like regular
embroidery floss. Because it is very straight it is
difficult to keep inside the needle, therefore, the use
of a piece of a rubber band over the shank of the
needle is recommended. (see Threads, 3/4
Polished).
3/4 Pull is primarily used in advanced work such as
on animal claws, teeth, pine needles, and bird
beaks. With these applications, it is usually
'polished' which removes all the curt to make the
thread look very smooth and shiny like regular
embroidery floss. Because it is very straight it is
difficult to keep inside the needle, therefore, the use
of a piece of a rubber band over the shank of the
needle is recommended. (see Threads, 3/4
Polished).
To Get A 3/4 Pull
To Get A 3/4 Pull
Start off by pulling about 1" of 2/4 thread. Grab an
extra loop in the whole part of your thread and pull.
It may take a few tries to get but you will know by
the appearance and the sound of the thread pulling
back that you have a 3/4 pull (when pulling, 2/4
sounds similar to a zipper whereas 3/4 makes no
discernible sound).
Start off by pulling about 1" of 2/4 thread. Grab an
extra loop in the whole part of your thread and pull.
It may take a few tries to get but you will know by
the appearance and the sound of the thread pulling
back that you have a 3/4 pull (when pulling, 2/4
sounds similar to a zipper whereas 3/4 makes no
discernible sound).
16
16
1/4 Pull Thread
1/4 Pull Thread
This thread has a much more relaxed curl to it as
com- pared to 2/4 pull but because it is very
fragile, it must be handled with extreme care to
avoid tired or fluffy thread. Fluffy pictures stitched
with 1/4 pull will result in longer, easily brushed
out fiber. (see Threads, 1/4 Pull)
This thread has a much more relaxed curl to it as
com- pared to 2/4 pull but because it is very
fragile, it must be handled with extreme care to
avoid tired or fluffy thread. Fluffy pictures stitched
with 1/4 pull will result in longer, easily brushed
out fiber. (see Threads, 1/4 Pull)
To Get a 1/4 Pull
To Get a 1/4 Pull
1. Moisten the end of
whole thread.
1. Moisten the end of
whole thread.
2. By stroking the end of
the thread with the
point of the bunka
needle, the tip will
spread out into 4
loops.
2. By stroking the end of
the thread with the
point of the bunka
needle, the tip will
spread out into 4
loops.
3. Insert the tip of a bunka needle down
into the center of the whole thread and
gently pull up. A single
strand of thread will
appear.
3. Insert the tip of a bunka needle down
into the center of the whole thread and
gently pull up. A single
strand of thread will
appear.
4. Grasp this end and give
a gentle pull. The result
will be 1/4 pull.
4. Grasp this end and give
a gentle pull. The result
will be 1/4 pull.
1/4 pull can very easily catch and slip into a 2/4
or 3/4 pull. If it reverts to a 2/4 pull, place your
fingernail directly in front of the catch spot. Give a
gentle jerk and the thread will snap back into 1/4
thread.
1/4 pull can very easily catch and slip into a 2/4
or 3/4 pull. If it reverts to a 2/4 pull, place your
fingernail directly in front of the catch spot. Give a
gentle jerk and the thread will snap back into 1/4
thread.
17
17
1/4 Pull Thread
1/4 Pull Thread
This thread has a much more relaxed curl to it as
com- pared to 2/4 pull but because it is very
fragile, it must be handled with extreme care to
avoid tired or fluffy thread. Fluffy pictures stitched
with 1/4 pull will result in longer, easily brushed
out fiber. (see Threads, 1/4 Pull)
This thread has a much more relaxed curl to it as
com- pared to 2/4 pull but because it is very
fragile, it must be handled with extreme care to
avoid tired or fluffy thread. Fluffy pictures stitched
with 1/4 pull will result in longer, easily brushed
out fiber. (see Threads, 1/4 Pull)
To Get a 1/4 Pull
To Get a 1/4 Pull
1. Moisten the end of
whole thread.
1. Moisten the end of
whole thread.
2. By stroking the end of
the thread with the
point of the bunka
needle, the tip will
spread out into 4
loops.
2. By stroking the end of
the thread with the
point of the bunka
needle, the tip will
spread out into 4
loops.
3. Insert the tip of a bunka needle down
into the center of the whole thread and
gently pull up. A single
strand of thread will
appear.
3. Insert the tip of a bunka needle down
into the center of the whole thread and
gently pull up. A single
strand of thread will
appear.
4. Grasp this end and give
a gentle pull. The result
will be 1/4 pull.
4. Grasp this end and give
a gentle pull. The result
will be 1/4 pull.
1/4 pull can very easily catch and slip into a 2/4
or 3/4 pull. If it reverts to a 2/4 pull, place your
fingernail directly in front of the catch spot. Give a
gentle jerk and the thread will snap back into 1/4
thread.
1/4 pull can very easily catch and slip into a 2/4
or 3/4 pull. If it reverts to a 2/4 pull, place your
fingernail directly in front of the catch spot. Give a
gentle jerk and the thread will snap back into 1/4
thread.
17
17
THE NEEDLE
THE NEEDLE
There are two types of needles in Bunka:
There are two types of needles in Bunka:
1. Fluffy
2. Flat
1. Fluffy
2. Flat
The only difference between the two needles is
the length of the shank of the needle. The shank
of the fluffy needle is 1" long compared to ¾" on
the flat needle. Other than the difference in shank
length, both needles are identical and are
threaded in the same manner.
The only difference between the two needles is
the length of the shank of the needle. The shank
of the fluffy needle is 1" long compared to ¾" on
the flat needle. Other than the difference in shank
length, both needles are identical and are
threaded in the same manner.
Shank
Fluffy
(Long shank)
Flat
(Short shank)
18
Shank
Fluffy
(Long shank)
Flat
(Short shank)
18
THE NEEDLE
THE NEEDLE
There are two types of needles in Bunka:
There are two types of needles in Bunka:
1. Fluffy
2. Flat
1. Fluffy
2. Flat
The only difference between the two needles is
the length of the shank of the needle. The shank
of the fluffy needle is 1" long compared to ¾" on
the flat needle. Other than the difference in shank
length, both needles are identical and are
threaded in the same manner.
The only difference between the two needles is
the length of the shank of the needle. The shank
of the fluffy needle is 1" long compared to ¾" on
the flat needle. Other than the difference in shank
length, both needles are identical and are
threaded in the same manner.
Shank
Fluffy
(Long shank)
18
Flat
(Short shank)
Shank
Fluffy
(Long shank)
18
Flat
(Short shank)
How To Thread The Needle
How To Thread The Needle
The illustration below shows the direction of the
thread through the needle. The thread goes down
the hole at the top of the needle, out through the
side hole that is called the 'headlight', down the
grooved side of the needle and out through the
eye. A needle threader can be used to pull the
end of the thread through the eye.
The illustration below shows the direction of the
thread through the needle. The thread goes down
the hole at the top of the needle, out through the
side hole that is called the 'headlight', down the
grooved side of the needle and out through the
eye. A needle threader can be used to pull the
end of the thread through the eye.
Once the needle is threaded as in the diagram,
hold the end of the thread coming through the
eye of the needle and pull back on the other end.
The thread should now slip inside the groove and
disappear. If not, see-saw the thread back and
forth between the two ends until it slips inside.
The thread must be inside the needle to start
stitching. When properly threaded, the thread
should only be visible where it is entering the top
and exiting through the eye.
Once the needle is threaded as in the diagram,
hold the end of the thread coming through the
eye of the needle and pull back on the other end.
The thread should now slip inside the groove and
disappear. If not, see-saw the thread back and
forth between the two ends until it slips inside.
The thread must be inside the needle to start
stitching. When properly threaded, the thread
should only be visible where it is entering the top
and exiting through the eye.
There are other methods you can use to draw the
thread through the eye of the needle:
There are other methods you can use to draw the
thread through the eye of the needle:
- Dental floss loop
- Dental floss loop
- Straight pin
- Straight pin
19
19
How To Thread The Needle
How To Thread The Needle
The illustration below shows the direction of the
thread through the needle. The thread goes down
the hole at the top of the needle, out through the
side hole that is called the 'headlight', down the
grooved side of the needle and out through the
eye. A needle threader can be used to pull the
end of the thread through the eye.
The illustration below shows the direction of the
thread through the needle. The thread goes down
the hole at the top of the needle, out through the
side hole that is called the 'headlight', down the
grooved side of the needle and out through the
eye. A needle threader can be used to pull the
end of the thread through the eye.
Once the needle is threaded as in the diagram,
hold the end of the thread coming through the
eye of the needle and pull back on the other end.
The thread should now slip inside the groove and
disappear. If not, see-saw the thread back and
forth between the two ends until it slips inside.
The thread must be inside the needle to start
stitching. When properly threaded, the thread
should only be visible where it is entering the top
and exiting through the eye.
Once the needle is threaded as in the diagram,
hold the end of the thread coming through the
eye of the needle and pull back on the other end.
The thread should now slip inside the groove and
disappear. If not, see-saw the thread back and
forth between the two ends until it slips inside.
The thread must be inside the needle to start
stitching. When properly threaded, the thread
should only be visible where it is entering the top
and exiting through the eye.
There are other methods you can use to draw the
thread through the eye of the needle:
There are other methods you can use to draw the
thread through the eye of the needle:
- Dental floss loop
- Dental floss loop
- Straight pin
19
- Straight pin
19
STEP 2
STEP 2
HOW TO STRETCH AND TACK THE CANVAS
HOW TO STRETCH AND TACK THE CANVAS
Supplies
Supplies
1. Thumb tacks (box of 100)
2. Soft wood work frame
1. Thumb tacks (box of 100)
2. Soft wood work frame
Workframes
Workframes
The canvas must be stretched and tacked onto a
work frame as tight as possible. A loose canvas
will create stitching difficulties:
The canvas must be stretched and tacked onto a
work frame as tight as possible. A loose canvas
will create stitching difficulties:
!
!
!
the canvas will move up and down with
the needle.
the thread will not lay flat
difficulty keeping the stitches anchored.
!
!
!
the canvas will move up and down with
the needle.
the thread will not lay flat
difficulty keeping the stitches anchored.
Soft wood such as pine ( 11/4" x ½" ) will make
the task of pushing in the thumb tacks much
easier. The inside measurement of the frame
should be 1.5" larger than the size of the finished
picture (plumb line).
Soft wood such as pine ( 11/4" x ½" ) will make
the task of pushing in the thumb tacks much
easier. The inside measurement of the frame
should be 1.5" larger than the size of the finished
picture (plumb line).
Example :
Picture Size = 12 x 16
Work frame Inside Measurement = 13.5 x 17.5
Example :
Picture Size = 12 x 16
Work frame Inside Measurement = 13.5 x 17.5
There are 2 ways to mount the canvas -the first
one without using a plumb line, the second using a
plumb line. For most pictures it is strongly
recommended that the second plumb line method
be utilized since it ensures that the picture is
squarely mounted onto the frame and has been
stretched evenly in all directions. For simple
designs such as fluffies, a plumb line is not
necessary as long as care is taken to center and
stretch the canvas equally in all four directions.
There are 2 ways to mount the canvas -the first
one without using a plumb line, the second using a
plumb line. For most pictures it is strongly
recommended that the second plumb line method
be utilized since it ensures that the picture is
squarely mounted onto the frame and has been
stretched evenly in all directions. For simple
designs such as fluffies, a plumb line is not
necessary as long as care is taken to center and
stretch the canvas equally in all four directions.
20
20
STEP 2
STEP 2
HOW TO STRETCH AND TACK THE CANVAS
HOW TO STRETCH AND TACK THE CANVAS
Supplies
Supplies
1. Thumb tacks (box of 100)
2. Soft wood work frame
1. Thumb tacks (box of 100)
2. Soft wood work frame
Workframes
Workframes
The canvas must be stretched and tacked onto a
work frame as tight as possible. A loose canvas
will create stitching difficulties:
The canvas must be stretched and tacked onto a
work frame as tight as possible. A loose canvas
will create stitching difficulties:
!
!
!
the canvas will move up and down with
the needle.
the thread will not lay flat
difficulty keeping the stitches anchored.
!
!
!
the canvas will move up and down with
the needle.
the thread will not lay flat
difficulty keeping the stitches anchored.
Soft wood such as pine ( 11/4" x ½" ) will make
the task of pushing in the thumb tacks much
easier. The inside measurement of the frame
should be 1.5" larger than the size of the finished
picture (plumb line).
Soft wood such as pine ( 11/4" x ½" ) will make
the task of pushing in the thumb tacks much
easier. The inside measurement of the frame
should be 1.5" larger than the size of the finished
picture (plumb line).
Example :
Picture Size = 12 x 16
Work frame Inside Measurement = 13.5 x 17.5
Example :
Picture Size = 12 x 16
Work frame Inside Measurement = 13.5 x 17.5
There are 2 ways to mount the canvas -the first
one without using a plumb line, the second using a
plumb line. For most pictures it is strongly
recommended that the second plumb line method
be utilized since it ensures that the picture is
squarely mounted onto the frame and has been
stretched evenly in all directions. For simple
designs such as fluffies, a plumb line is not
necessary as long as care is taken to center and
stretch the canvas equally in all four directions.
There are 2 ways to mount the canvas -the first
one without using a plumb line, the second using a
plumb line. For most pictures it is strongly
recommended that the second plumb line method
be utilized since it ensures that the picture is
squarely mounted onto the frame and has been
stretched evenly in all directions. For simple
designs such as fluffies, a plumb line is not
necessary as long as care is taken to center and
stretch the canvas equally in all four directions.
20
20
Method 1 - Without Plumbline
Method 1 - Without Plumbline
1. WIth printed side up, center
the material over the
working frame and tack the
four comers.
1. WIth printed side up, center
the material over the
working frame and tack the
four comers.
2. Keeping the material taut
and straight, place tacks
about 1/4" apart.
2. Keeping the material taut
and straight, place tacks
about 1/4" apart.
Method 2 With Plumbline
Method 2 With Plumbline
The purpose of using a plumb
line is to ensure that the canvas
has been stretched and tacked
evenly in all directions to
prevent distorting the design.
The purpose of using a plumb
line is to ensure that the canvas
has been stretched and tacked
evenly in all directions to
prevent distorting the design.
a) Placement of First 8 Tacks
a) Placement of First 8 Tacks
The first 8 tacks, 2 per corner,
are very important. Properly
placed they will ensure that the
canvas has been stretched tight
as a drum and as evenly as
possible. Please note that the
two tacks are not placed directly
in the comer of the work frame
but are placed so that they are
adjacent to the comer point.
The first 8 tacks, 2 per corner,
are very important. Properly
placed they will ensure that the
canvas has been stretched tight
as a drum and as evenly as
possible. Please note that the
two tacks are not placed directly
in the comer of the work frame
but are placed so that they are
adjacent to the comer point.
Center the canvas over the
work frame. Place one tack at
Point A. Pull the material
towards Point B (opposite
comer) and tack. Repeat for
the lower two comers. Tack at
C stretch and tack at D.
Center the canvas over the
work frame. Place one tack at
Point A. Pull the material
towards Point B (opposite
comer) and tack. Repeat for
the lower two comers. Tack at
C stretch and tack at D.
!
!
21
21
Method 1 - Without Plumbline
Method 1 - Without Plumbline
1. WIth printed side up, center
the material over the
working frame and tack the
four comers.
1. WIth printed side up, center
the material over the
working frame and tack the
four comers.
2. Keeping the material taut
and straight, place tacks
about 1/4" apart.
2. Keeping the material taut
and straight, place tacks
about 1/4" apart.
Method 2 With Plumbline
Method 2 With Plumbline
The purpose of using a plumb
line is to ensure that the canvas
has been stretched and tacked
evenly in all directions to
prevent distorting the design.
The purpose of using a plumb
line is to ensure that the canvas
has been stretched and tacked
evenly in all directions to
prevent distorting the design.
a) Placement of First 8 Tacks
a) Placement of First 8 Tacks
The first 8 tacks, 2 per corner,
are very important. Properly
placed they will ensure that the
canvas has been stretched tight
as a drum and as evenly as
possible. Please note that the
two tacks are not placed directly
in the comer of the work frame
but are placed so that they are
adjacent to the comer point.
The first 8 tacks, 2 per corner,
are very important. Properly
placed they will ensure that the
canvas has been stretched tight
as a drum and as evenly as
possible. Please note that the
two tacks are not placed directly
in the comer of the work frame
but are placed so that they are
adjacent to the comer point.
Center the canvas over the
work frame. Place one tack at
Point A. Pull the material
towards Point B (opposite
comer) and tack. Repeat for
the lower two comers. Tack at
C stretch and tack at D.
Center the canvas over the
work frame. Place one tack at
Point A. Pull the material
towards Point B (opposite
comer) and tack. Repeat for
the lower two comers. Tack at
C stretch and tack at D.
!
!
21
21
!
Repeat to stretch the
canvas vertically.
i.e. Tack at E, stretch
towards F, and tack.
Tack at G, stretch
towards H, and tack.
b) Inserting the Plumbline
!
!
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!
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!
!
!
!
!
!
!
Thread up a bunka needle
with 2/4 pull leftover thread.
Turn the frame over and
push a tack on the inside
of each comer. Do not
push them all the way in.
These tacks will be used to
anchor the thread.
Turn the canvas over
(printed side facing you)
Holding the threaded bunka needle punch like a
pencil, push the needle through to its full depth
at one of the screen printed corner markings.
To get a hold on the thread 'pinch' the tip of
the needle between the fingers of your left
hand, gently lift out the needle and set it down.
A slight tug on the thread will pull the end to
the back of the canvas.
Wind the end around the tack. Do not push
this tack in yet.
Take the needle to the next corner and punch
in at the corner marking.
Grab the loop at the back and slip it over the
second tack.
Give the thread a slight tug to tighten the line.
Push this second tack in to secure.
Repeat this step for the next two corners.
!
b) Inserting the Plumbline
!
!
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!
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!
22
!
Repeat to stretch the
canvas vertically.
i.e. Tack at E, stretch
towards F, and tack.
Tack at G, stretch
towards H, and tack.
b) Inserting the Plumbline
!
!
!
!
!
!
!
!
!
!
!
!
Thread up a bunka needle
with 2/4 pull leftover thread.
Turn the frame over and
push a tack on the inside
of each comer. Do not
push them all the way in.
These tacks will be used to
anchor the thread.
Turn the canvas over
(printed side facing you)
Holding the threaded bunka needle punch like a
pencil, push the needle through to its full depth
at one of the screen printed corner markings.
To get a hold on the thread 'pinch' the tip of
the needle between the fingers of your left
hand, gently lift out the needle and set it down.
A slight tug on the thread will pull the end to
the back of the canvas.
Wind the end around the tack. Do not push
this tack in yet.
Take the needle to the next corner and punch
in at the corner marking.
Grab the loop at the back and slip it over the
second tack.
Give the thread a slight tug to tighten the line.
Push this second tack in to secure.
Repeat this step for the next two corners.
22
Repeat to stretch the
canvas vertically.
i.e. Tack at E, stretch
towards F, and tack.
Tack at G, stretch
towards H, and tack.
Thread up a bunka needle
with 2/4 pull leftover thread.
Turn the frame over and
push a tack on the inside
of each comer. Do not
push them all the way in.
These tacks will be used to
anchor the thread.
Turn the canvas over
(printed side facing you)
Holding the threaded bunka needle punch like a
pencil, push the needle through to its full depth
at one of the screen printed corner markings.
To get a hold on the thread 'pinch' the tip of
the needle between the fingers of your left
hand, gently lift out the needle and set it down.
A slight tug on the thread will pull the end to
the back of the canvas.
Wind the end around the tack. Do not push
this tack in yet.
Take the needle to the next corner and punch
in at the corner marking.
Grab the loop at the back and slip it over the
second tack.
Give the thread a slight tug to tighten the line.
Push this second tack in to secure.
Repeat this step for the next two corners.
22
!
Repeat to stretch the
canvas vertically.
i.e. Tack at E, stretch
towards F, and tack.
Tack at G, stretch
towards H, and tack.
b) Inserting the Plumbline
!
!
!
!
!
!
!
!
!
!
!
!
Thread up a bunka needle
with 2/4 pull leftover thread.
Turn the frame over and
push a tack on the inside
of each comer. Do not
push them all the way in.
These tacks will be used to
anchor the thread.
Turn the canvas over
(printed side facing you)
Holding the threaded bunka needle punch like a
pencil, push the needle through to its full depth
at one of the screen printed corner markings.
To get a hold on the thread 'pinch' the tip of
the needle between the fingers of your left
hand, gently lift out the needle and set it down.
A slight tug on the thread will pull the end to
the back of the canvas.
Wind the end around the tack. Do not push
this tack in yet.
Take the needle to the next corner and punch
in at the corner marking.
Grab the loop at the back and slip it over the
second tack.
Give the thread a slight tug to tighten the line.
Push this second tack in to secure.
Repeat this step for the next two corners.
22
!
You are now back to the first comer. Punch into
the first comer again, hold the loop at the back
with your left hand, cut the thread from the front
and pull the tail to the back. Wind this end around
the first tack and push in to secure.
c) There are now two lines
on the canvas -one is
the thread plumb line,
the other is the screenprinted line. The thread
plumb line will be
perfectly square whereas
the printed line should
be cupped towards the
center (since only the
comers have been
stretched tight).
!
You are now back to the first comer. Punch into
the first comer again, hold the loop at the back
with your left hand, cut the thread from the front
and pull the tail to the back. Wind this end around
the first tack and push in to secure.
c) There are now two lines
on the canvas -one is
the thread plumb line,
the other is the screenprinted line. The thread
plumb line will be
perfectly square whereas
the printed line should
be cupped towards the
center (since only the
comers have been
stretched tight).
If the printed line is not curved in, it means that
the comers were not stretched enough when
placing the first 8 tacks that will result in a
loose canvas. To correct this remove one of
the 8 tacks, pull and re-tack.
If the printed line is not curved in, it means that
the comers were not stretched enough when
placing the first 8 tacks that will result in a
loose canvas. To correct this remove one of
the 8 tacks, pull and re-tack.
d) Pull the canvas until the printed line matches
up with the plumb line. Tack. Continue pulling
and tacking all four sides with tacks about 1"
apart.
d) Pull the canvas until the printed line matches
up with the plumb line. Tack. Continue pulling
and tacking all four sides with tacks about 1"
apart.
By following this procedure the canvas may get
so tight that the last side may become very
difficult to pull. If so, use a pair of pliers to assist
in gripping the material -pull the canvas away
from you, and tack.
By following this procedure the canvas may get
so tight that the last side may become very
difficult to pull. If so, use a pair of pliers to assist
in gripping the material -pull the canvas away
from you, and tack.
23
23
!
You are now back to the first comer. Punch into
the first comer again, hold the loop at the back
with your left hand, cut the thread from the front
and pull the tail to the back. Wind this end around
the first tack and push in to secure.
c) There are now two lines
on the canvas -one is
the thread plumb line,
the other is the screenprinted line. The thread
plumb line will be
perfectly square whereas
the printed line should
be cupped towards the
center (since only the
comers have been
stretched tight).
!
You are now back to the first comer. Punch into
the first comer again, hold the loop at the back
with your left hand, cut the thread from the front
and pull the tail to the back. Wind this end around
the first tack and push in to secure.
c) There are now two lines
on the canvas -one is
the thread plumb line,
the other is the screenprinted line. The thread
plumb line will be
perfectly square whereas
the printed line should
be cupped towards the
center (since only the
comers have been
stretched tight).
If the printed line is not curved in, it means that
the comers were not stretched enough when
placing the first 8 tacks that will result in a
loose canvas. To correct this remove one of
the 8 tacks, pull and re-tack.
If the printed line is not curved in, it means that
the comers were not stretched enough when
placing the first 8 tacks that will result in a
loose canvas. To correct this remove one of
the 8 tacks, pull and re-tack.
d) Pull the canvas until the printed line matches
up with the plumb line. Tack. Continue pulling
and tacking all four sides with tacks about 1"
apart.
d) Pull the canvas until the printed line matches
up with the plumb line. Tack. Continue pulling
and tacking all four sides with tacks about 1"
apart.
By following this procedure the canvas may get
so tight that the last side may become very
difficult to pull. If so, use a pair of pliers to assist
in gripping the material -pull the canvas away
from you, and tack.
By following this procedure the canvas may get
so tight that the last side may become very
difficult to pull. If so, use a pair of pliers to assist
in gripping the material -pull the canvas away
from you, and tack.
23
23
PICTURE STYLES
There are two styles of pictures in Bunks Shishu:
1.
2.
PICTURE STYLES
There are two styles of pictures in Bunks Shishu:
Fluffy Picture
Flat Stitch Picture
1.
2.
Fluffy Picture
Flat Stitch Picture
The only difference between a flat and fluffy kit is
the method of stitchery. If a kit has both fluffy and
flat stitching in it, the fluffy areas must be
completed first.
The only difference between a flat and fluffy kit is
the method of stitchery. If a kit has both fluffy and
flat stitching in it, the fluffy areas must be
completed first.
Similarities
Similarities
!
Both utilize the Lily yarn and Bunka needle.
!
Both utilize the Lily yarn and Bunka needle.
!
The canvas of both fluffy & flat pictures must
be stretched and tacked onto a work frame.
!
The canvas of both fluffy & flat pictures must
be stretched and tacked onto a work frame.
!
The threads from both types must be wound
onto numbered, individual winding cards.
!
The threads from both types must be wound
onto numbered, individual winding cards.
Differences
Differences
Flat Picture
Flat Picture
Fluffy Picture
Fluffy Picture
Stitch on the screenprinted side. This is the
finished side.
Stitch on the screen-printed
side. This is the wrong
side. The back of the
canvas with all the loops
will be the finished side.
Stitch on the screenprinted side. This is the
finished side.
Stitch on the screen-printed
side. This is the wrong
side. The back of the
canvas with all the loops
will be the finished side.
Stitches should vary in
length from 1/4" to 3/4".
Stitches are approx. 1/16"
in length.
Stitches should vary in
length from 1/4" to 3/4".
Stitches are approx. 1/16"
in length.
Use flat needle.
Use fluffy needle.
Use flat needle.
Use fluffy needle.
24
24
PICTURE STYLES
There are two styles of pictures in Bunks Shishu:
1.
2.
PICTURE STYLES
There are two styles of pictures in Bunks Shishu:
Fluffy Picture
Flat Stitch Picture
1.
2.
Fluffy Picture
Flat Stitch Picture
The only difference between a flat and fluffy kit is
the method of stitchery. If a kit has both fluffy and
flat stitching in it, the fluffy areas must be
completed first.
The only difference between a flat and fluffy kit is
the method of stitchery. If a kit has both fluffy and
flat stitching in it, the fluffy areas must be
completed first.
Similarities
Similarities
!
Both utilize the Lily yarn and Bunka needle.
!
Both utilize the Lily yarn and Bunka needle.
!
The canvas of both fluffy & flat pictures must
be stretched and tacked onto a work frame.
!
The canvas of both fluffy & flat pictures must
be stretched and tacked onto a work frame.
!
The threads from both types must be wound
onto numbered, individual winding cards.
!
The threads from both types must be wound
onto numbered, individual winding cards.
Differences
Flat Picture
Differences
Flat Picture
Fluffy Picture
Fluffy Picture
Stitch on the screenprinted side. This is the
finished side.
Stitch on the screen-printed
side. This is the wrong
side. The back of the
canvas with all the loops
will be the finished side.
Stitch on the screenprinted side. This is the
finished side.
Stitch on the screen-printed
side. This is the wrong
side. The back of the
canvas with all the loops
will be the finished side.
Stitches should vary in
length from 1/4" to 3/4".
Stitches are approx. 1/16"
in length.
Stitches should vary in
length from 1/4" to 3/4".
Stitches are approx. 1/16"
in length.
Use flat needle.
Use fluffy needle.
Use flat needle.
Use fluffy needle.
24
24
FLAT STITCH PICTURES
FLAT STITCH PICTURES
Contents of a flat stitch kit
Required stitching supplies
Contents of a flat stitch kit
Required stitching supplies
Screen-printed canvas
Workframe
Screen-printed canvas
Workframe
Printed paper inserts:
Tacks
Printed paper inserts:
Tacks
- a black & white line drawing
Winding Cards
- a black & white line drawing
Winding Cards
- a coloured picture
Flat stitch needles
- a coloured picture
Flat stitch needles
- stitching notes if available
Bunka scissors or clippers
- stitching notes if available
Bunka scissors or clippers
Threads
Threads
The working surface of Flat stitch pictures is the
screen-printed side of the canvas that will also be
the side of the finished design. The stitches lay
smooth and flat to the material using various
techniques.
The working surface of Flat stitch pictures is the
screen-printed side of the canvas that will also be
the side of the finished design. The stitches lay
smooth and flat to the material using various
techniques.
To begin a Flat Stitch picture:
To begin a Flat Stitch picture:
1. Stretch the canvas onto the work frame using
the Plumb line Technique, Method 2.
2. Wind and number all the threads onto
individual cards.
1. Stretch the canvas onto the work frame using
the Plumb line Technique, Method 2.
2. Wind and number all the threads onto
individual cards.
Dimension
Dimension
Stitch order is extremely important in any flat
stitch picture to create the 2-dimensional effect. To
achieve this depth perception in your pictures, the
basic theory is to stitch the area farthest away first;
then stitch progressively forward to the areas in
front, to the foreground.
Stitch order is extremely important in any flat
stitch picture to create the 2-dimensional effect. To
achieve this depth perception in your pictures, the
basic theory is to stitch the area farthest away first;
then stitch progressively forward to the areas in
front, to the foreground.
1. Scenes:
a) First stitch the sky.
1. Scenes:
a) First stitch the sky.
25
FLAT STITCH PICTURES
25
FLAT STITCH PICTURES
Contents of a flat stitch kit
Required stitching supplies
Contents of a flat stitch kit
Required stitching supplies
Screen-printed canvas
Workframe
Screen-printed canvas
Workframe
Printed paper inserts:
Tacks
Printed paper inserts:
Tacks
- a black & white line drawing
Winding Cards
- a black & white line drawing
Winding Cards
- a coloured picture
Flat stitch needles
- a coloured picture
Flat stitch needles
- stitching notes if available
Bunka scissors or clippers
- stitching notes if available
Bunka scissors or clippers
Threads
Threads
The working surface of Flat stitch pictures is the
screen-printed side of the canvas that will also be
the side of the finished design. The stitches lay
smooth and flat to the material using various
techniques.
The working surface of Flat stitch pictures is the
screen-printed side of the canvas that will also be
the side of the finished design. The stitches lay
smooth and flat to the material using various
techniques.
To begin a Flat Stitch picture:
To begin a Flat Stitch picture:
1. Stretch the canvas onto the work frame using
the Plumb line Technique, Method 2.
2. Wind and number all the threads onto
individual cards.
1. Stretch the canvas onto the work frame using
the Plumb line Technique, Method 2.
2. Wind and number all the threads onto
individual cards.
Dimension
Dimension
Stitch order is extremely important in any flat
stitch picture to create the 2-dimensional effect. To
achieve this depth perception in your pictures, the
basic theory is to stitch the area farthest away first;
then stitch progressively forward to the areas in
front, to the foreground.
Stitch order is extremely important in any flat
stitch picture to create the 2-dimensional effect. To
achieve this depth perception in your pictures, the
basic theory is to stitch the area farthest away first;
then stitch progressively forward to the areas in
front, to the foreground.
1. Scenes:
a) First stitch the sky.
1. Scenes:
a) First stitch the sky.
25
25
b)
c)
Second, stitch the mountain (which is in front
of the sky)
Third, stitch the trees - which are in front of
the mountain.
b)
c)
Second, stitch the mountain (which is in front
of the sky)
Third, stitch the trees - which are in front of
the mountain.
If the areas are worked in the proper sequence,
you will notice that the stitching progresses from
the top of the canvas down to the bottom.
If the areas are worked in the proper sequence,
you will notice that the stitching progresses from
the top of the canvas down to the bottom.
2. Flowers
2. Flowers
a)
b)
Start with the petal that is furthest back.
Stitch each subsequent petal progressing to the
petal that is closest to you.
With most flowers, if the petals are stitched in the
proper sequence, you will notice that the flower is
being worked from the outside petals to the center of
the flower.
a)
b)
Start with the petal that is furthest back.
Stitch each subsequent petal progressing to the
petal that is closest to you.
With most flowers, if the petals are stitched in the
proper sequence, you will notice that the flower is
being worked from the outside petals to the center of
the flower.
Stitch direction
Stitch direction
Stitch direction is also very important in Flat
Stitching. There are various ways you can
distinguish which way the stitching should flow:
Stitch direction is also very important in Flat
Stitching. There are various ways you can
distinguish which way the stitching should flow:
1.
The screen-printed blending lines in an area
always point in the accurate stitch direction.
1.
The screen-printed blending lines in an area
always point in the accurate stitch direction.
2.
Sometimes arrows are printed either on the
canvas or the insert indicating direction.
2.
Sometimes arrows are printed either on the
canvas or the insert indicating direction.
3.
You can usually discern stitch direction by
examining the coIoured insert of the finished
picture.
3.
You can usually discern stitch direction by
examining the coIoured insert of the finished
picture.
How To Start And End The Thread
How To Start And End The Thread
Knots are not required to anchor Bunks
embroidery. The starts and ends will be secured
simply by pulling the thread to the wrong side of
the canvas.
Knots are not required to anchor Bunks
embroidery. The starts and ends will be secured
simply by pulling the thread to the wrong side of
the canvas.
26
b)
c)
Second, stitch the mountain (which is in front
of the sky)
Third, stitch the trees - which are in front of
the mountain.
26
b)
c)
Second, stitch the mountain (which is in front
of the sky)
Third, stitch the trees - which are in front of
the mountain.
If the areas are worked in the proper sequence,
you will notice that the stitching progresses from
the top of the canvas down to the bottom.
If the areas are worked in the proper sequence,
you will notice that the stitching progresses from
the top of the canvas down to the bottom.
2. Flowers
2. Flowers
a)
b)
Start with the petal that is furthest back.
Stitch each subsequent petal progressing to the
petal that is closest to you.
With most flowers, if the petals are stitched in the
proper sequence, you will notice that the flower is
being worked from the outside petals to the center of
the flower.
a)
b)
Start with the petal that is furthest back.
Stitch each subsequent petal progressing to the
petal that is closest to you.
With most flowers, if the petals are stitched in the
proper sequence, you will notice that the flower is
being worked from the outside petals to the center of
the flower.
Stitch direction
Stitch direction
Stitch direction is also very important in Flat
Stitching. There are various ways you can
distinguish which way the stitching should flow:
Stitch direction is also very important in Flat
Stitching. There are various ways you can
distinguish which way the stitching should flow:
1.
The screen-printed blending lines in an area
always point in the accurate stitch direction.
1.
The screen-printed blending lines in an area
always point in the accurate stitch direction.
2.
Sometimes arrows are printed either on the
canvas or the insert indicating direction.
2.
Sometimes arrows are printed either on the
canvas or the insert indicating direction.
3.
You can usually discern stitch direction by
examining the coIoured insert of the finished
picture.
3.
You can usually discern stitch direction by
examining the coIoured insert of the finished
picture.
How To Start And End The Thread
How To Start And End The Thread
Knots are not required to anchor Bunks
embroidery. The starts and ends will be secured
simply by pulling the thread to the wrong side of
the canvas.
Knots are not required to anchor Bunks
embroidery. The starts and ends will be secured
simply by pulling the thread to the wrong side of
the canvas.
26
26
To Start
To Start
a.
Have about 1/8 -1/4" excess thread extending
out through the eye of the needle. Rest the
work frame between the edge of a table and
your lap with your left hand under the
canvas.
a.
Have about 1/8 -1/4" excess thread extending
out through the eye of the needle. Rest the
work frame between the edge of a table and
your lap with your left hand under the
canvas.
b.
Holding the needle like a
pencil, perpendicular to the
canvas push the shank of the
needle into the canvas as far
as it will go. 'Pinch' the tip of
the needle between the
fingers of your left hand.
b.
Holding the needle like a
pencil, perpendicular to the
canvas push the shank of the
needle into the canvas as far
as it will go. 'Pinch' the tip of
the needle between the
fingers of your left hand.
c.
Slide the needle out from
between your fingers and lift
out of the canvas.
c.
Slide the needle out from
between your fingers and lift
out of the canvas.
d.
A slight tug will pull the end
of the thread to the back of
the canvas. Pulling too hard
will waste thread.
d.
A slight tug will pull the end
of the thread to the back of
the canvas. Pulling too hard
will waste thread.
To End The Thread
To End The Thread
The thread must be cut off when an area is
completed or if there is a change in colour. It is
cut on the stitching side of the material and the
end pulled to the back.
The thread must be cut off when an area is
completed or if there is a change in colour. It is
cut on the stitching side of the material and the
end pulled to the back.
a)
a)
On the last stitch, with the needle still in the
canvas and your left hand under the canvas,
'pinch' the needle shank with the left hand
fingers, gently lift the needle up and out of
the material. By pinching and withdrawing the
needle the loop of thread will be held firmly
between your fingers. Lay down the needle.
On the last stitch, with the needle still in the
canvas and your left hand under the canvas,
'pinch' the needle shank with the left hand
fingers, gently lift the needle up and out of
the material. By pinching and withdrawing the
needle the loop of thread will be held firmly
between your fingers. Lay down the needle.
27
27
To Start
To Start
a.
Have about 1/8 -1/4" excess thread extending
out through the eye of the needle. Rest the
work frame between the edge of a table and
your lap with your left hand under the
canvas.
a.
Have about 1/8 -1/4" excess thread extending
out through the eye of the needle. Rest the
work frame between the edge of a table and
your lap with your left hand under the
canvas.
b.
Holding the needle like a
pencil, perpendicular to the
canvas push the shank of the
needle into the canvas as far
as it will go. 'Pinch' the tip of
the needle between the
fingers of your left hand.
b.
Holding the needle like a
pencil, perpendicular to the
canvas push the shank of the
needle into the canvas as far
as it will go. 'Pinch' the tip of
the needle between the
fingers of your left hand.
c.
Slide the needle out from
between your fingers and lift
out of the canvas.
c.
Slide the needle out from
between your fingers and lift
out of the canvas.
d.
A slight tug will pull the end
of the thread to the back of
the canvas. Pulling too hard
will waste thread.
d.
A slight tug will pull the end
of the thread to the back of
the canvas. Pulling too hard
will waste thread.
To End The Thread
To End The Thread
The thread must be cut off when an area is
completed or if there is a change in colour. It is
cut on the stitching side of the material and the
end pulled to the back.
The thread must be cut off when an area is
completed or if there is a change in colour. It is
cut on the stitching side of the material and the
end pulled to the back.
a)
a)
On the last stitch, with the needle still in the
canvas and your left hand under the canvas,
'pinch' the needle shank with the left hand
fingers, gently lift the needle up and out of
the material. By pinching and withdrawing the
needle the loop of thread will be held firmly
between your fingers. Lay down the needle.
27
On the last stitch, with the needle still in the
canvas and your left hand under the canvas,
'pinch' the needle shank with the left hand
fingers, gently lift the needle up and out of
the material. By pinching and withdrawing the
needle the loop of thread will be held firmly
between your fingers. Lay down the needle.
27
b)
Holding the last loop of thread at the back of
the canvas with your left hand, cut the
thread from the top of the canvas, very close
to the cloth.
b)
Holding the last loop of thread at the back of
the canvas with your left hand, cut the
thread from the top of the canvas, very close
to the cloth.
c)
With the left hand pull the end to the back.
c)
With the left hand pull the end to the back.
cut at this point
pull end down to
back of material
cut at this point
pull end down to
back of material
Basic Needle Movement
Basic Needle Movement
1.
Hold the needle like a pencil, and punch
through the canvas -pull the start to the back
of the canvas.
1.
Hold the needle like a pencil, and punch
through the canvas -pull the start to the back
of the canvas.
2.
Turn the needle so that the 'Head light' is
pointing in the stitch direction. This will
ensure that the thread is flowingcorrectly
through the needle.
2.
Turn the needle so that the 'Head light' is
pointing in the stitch direction. This will
ensure that the thread is flowingcorrectly
through the needle.
3.
Gently pull the needle up until the tip of the
needle just clears the canvas. To keep the
thread as flat as possible to the material, it is
important not to lift the needle off the surface
of the material.
3.
Gently pull the needle up until the tip of the
needle just clears the canvas. To keep the
thread as flat as possible to the material, it is
important not to lift the needle off the surface
of the material.
4.
In a smooth gliding motion drag the needle
tip along the fabric for about 1/2" - 3/4", You
should be able to hear the needle 'scratching'
the canvas,
4.
In a smooth gliding motion drag the needle
tip along the fabric for about 1/2" - 3/4", You
should be able to hear the needle 'scratching'
the canvas,
5.
Place your non-stitching hand underneath the
canvas. Press your finger gently on the point
5.
Place your non-stitching hand underneath the
canvas. Press your finger gently on the point
28
28
b)
Holding the last loop of thread at the back of
the canvas with your left hand, cut the
thread from the top of the canvas, very close
to the cloth.
b)
Holding the last loop of thread at the back of
the canvas with your left hand, cut the
thread from the top of the canvas, very close
to the cloth.
c)
With the left hand pull the end to the back.
c)
With the left hand pull the end to the back.
cut at this point
pull end down to
back of material
cut at this point
pull end down to
back of material
Basic Needle Movement
Basic Needle Movement
1.
Hold the needle like a pencil, and punch
through the canvas -pull the start to the back
of the canvas.
1.
Hold the needle like a pencil, and punch
through the canvas -pull the start to the back
of the canvas.
2.
Turn the needle so that the 'Head light' is
pointing in the stitch direction. This will
ensure that the thread is flowingcorrectly
through the needle.
2.
Turn the needle so that the 'Head light' is
pointing in the stitch direction. This will
ensure that the thread is flowingcorrectly
through the needle.
3.
Gently pull the needle up until the tip of the
needle just clears the canvas. To keep the
thread as flat as possible to the material, it is
important not to lift the needle off the surface
of the material.
3.
Gently pull the needle up until the tip of the
needle just clears the canvas. To keep the
thread as flat as possible to the material, it is
important not to lift the needle off the surface
of the material.
4.
In a smooth gliding motion drag the needle
tip along the fabric for about 1/2" - 3/4", You
should be able to hear the needle 'scratching'
the canvas,
4.
In a smooth gliding motion drag the needle
tip along the fabric for about 1/2" - 3/4", You
should be able to hear the needle 'scratching'
the canvas,
5.
Place your non-stitching hand underneath the
canvas. Press your finger gently on the point
5.
Place your non-stitching hand underneath the
canvas. Press your finger gently on the point
28
28
of the needle as the needle is being lifted out.
Keep your finger on this spot even when the
needle has been completely withdrawn. The
thread loop left by the needle is now pressed
under your finger.
of the needle as the needle is being lifted out.
Keep your finger on this spot even when the
needle has been completely withdrawn. The
thread loop left by the needle is now pressed
under your finger.
Repeat this action using both hands, taking
1/2" stitches across the area. With
experience, this motion will become
automatic and ensures that your stitching will
remain secure.
Repeat this action using both hands, taking
1/2" stitches across the area. With
experience, this motion will become
automatic and ensures that your stitching will
remain secure.
6.
Insert or punch the needle through as far as
it will go. Repeat from Step 3. This will create
a line of thread referred to as 'Running
Stitch' (see Stitch Glossary, Running Stitch).
6.
Insert or punch the needle through as far as
it will go. Repeat from Step 3. This will create
a line of thread referred to as 'Running
Stitch' (see Stitch Glossary, Running Stitch).
7.
To fill in a large area such as sky or water,
rows of Running Stitches are worked side by
side and is called Sky or Flat Stitching. Refer
to Sky or Flat Stitch for detailed explanation
of Flat Stitching.
7.
To fill in a large area such as sky or water,
rows of Running Stitches are worked side by
side and is called Sky or Flat Stitching. Refer
to Sky or Flat Stitch for detailed explanation
of Flat Stitching.
To start and
end the
running stitch
To start and
end the
running stitch
Front
Front
Back
Back
a) Hold needle like pencil
b) Insert needle full depth. Hold needle and thread underneath
c) Pull needle gently up to cloth
d) Pull thread down and leave only 1/2” hanging down
e) Slide needle 1/2” and insert to full depth, then pull up to top of cloth
f) g) h) Same as a)
a) Hold needle like pencil
b) Insert needle full depth. Hold needle and thread underneath
c) Pull needle gently up to cloth
d) Pull thread down and leave only 1/2” hanging down
e) Slide needle 1/2” and insert to full depth, then pull up to top of cloth
f) g) h) Same as a)
29
29
of the needle as the needle is being lifted out.
Keep your finger on this spot even when the
needle has been completely withdrawn. The
thread loop left by the needle is now pressed
under your finger.
of the needle as the needle is being lifted out.
Keep your finger on this spot even when the
needle has been completely withdrawn. The
thread loop left by the needle is now pressed
under your finger.
Repeat this action using both hands, taking
1/2" stitches across the area. With
experience, this motion will become
automatic and ensures that your stitching will
remain secure.
Repeat this action using both hands, taking
1/2" stitches across the area. With
experience, this motion will become
automatic and ensures that your stitching will
remain secure.
6.
Insert or punch the needle through as far as
it will go. Repeat from Step 3. This will create
a line of thread referred to as 'Running
Stitch' (see Stitch Glossary, Running Stitch).
6.
Insert or punch the needle through as far as
it will go. Repeat from Step 3. This will create
a line of thread referred to as 'Running
Stitch' (see Stitch Glossary, Running Stitch).
7.
To fill in a large area such as sky or water,
rows of Running Stitches are worked side by
side and is called Sky or Flat Stitching. Refer
to Sky or Flat Stitch for detailed explanation
of Flat Stitching.
7.
To fill in a large area such as sky or water,
rows of Running Stitches are worked side by
side and is called Sky or Flat Stitching. Refer
to Sky or Flat Stitch for detailed explanation
of Flat Stitching.
To start and
end the
running stitch
To start and
end the
running stitch
Front
Front
Back
Back
a) Hold needle like pencil
b) Insert needle full depth. Hold needle and thread underneath
c) Pull needle gently up to cloth
d) Pull thread down and leave only 1/2” hanging down
e) Slide needle 1/2” and insert to full depth, then pull up to top of cloth
f) g) h) Same as a)
a) Hold needle like pencil
b) Insert needle full depth. Hold needle and thread underneath
c) Pull needle gently up to cloth
d) Pull thread down and leave only 1/2” hanging down
e) Slide needle 1/2” and insert to full depth, then pull up to top of cloth
f) g) h) Same as a)
29
29
Trouble Shooting
Trouble Shooting
1.
It is very important that the needle is punched
into the full depth of the shank. Every time
the needle is pushed in and withdrawn a
small loop of thread is created which is
anchoring the stitch. If the needle has not
been fully inserted the loop will not be large
enough to secure the thread.
1.
It is very important that the needle is punched
into the full depth of the shank. Every time
the needle is pushed in and withdrawn a
small loop of thread is created which is
anchoring the stitch. If the needle has not
been fully inserted the loop will not be large
enough to secure the thread.
2.
Bunka thread must flow freely through the
needle. If the thread is not staying in the
canvas, check the following:
2.
Bunka thread must flow freely through the
needle. If the thread is not staying in the
canvas, check the following:
!
needle was not inserted to the proper
depth
!
needle was not inserted to the proper
depth
!
thread may be caught on something.
!
thread may be caught on something.
!
whole thread has been allowed to go
down the needle. -2/4 thread needs to be
pulled.
!
whole thread has been allowed to go
down the needle. -2/4 thread needs to be
pulled.
!
thread has lost It's kink either through
overuse or exposure to moisture. Pull
through the eye of the needle and cut-off
the damaged part.
!
thread has lost It's kink either through
overuse or exposure to moisture. Pull
through the eye of the needle and cut-off
the damaged part.
!
thread has slipped out of the needle at
some point. Pull back until it goes inside.
!
thread has slipped out of the needle at
some point. Pull back until it goes inside.
!
!
canvas is not tight enough. Tighten by
removing one tack, stretching the canvas
and re-tacking. Work one tack at a time.
!
Non-stitching hand is not being used
underneath the canvas.
.
!
30
canvas is not tight enough. Tighten by
removing one tack, stretching the canvas
and re-tacking. Work one tack at a time.
Non-stitching hand is not being used
underneath the canvas.
.
30
Trouble Shooting
Trouble Shooting
1.
It is very important that the needle is punched
into the full depth of the shank. Every time
the needle is pushed in and withdrawn a
small loop of thread is created which is
anchoring the stitch. If the needle has not
been fully inserted the loop will not be large
enough to secure the thread.
1.
It is very important that the needle is punched
into the full depth of the shank. Every time
the needle is pushed in and withdrawn a
small loop of thread is created which is
anchoring the stitch. If the needle has not
been fully inserted the loop will not be large
enough to secure the thread.
2.
Bunka thread must flow freely through the
needle. If the thread is not staying in the
canvas, check the following:
2.
Bunka thread must flow freely through the
needle. If the thread is not staying in the
canvas, check the following:
!
needle was not inserted to the proper
depth
!
needle was not inserted to the proper
depth
!
thread may be caught on something.
!
thread may be caught on something.
!
whole thread has been allowed to go
down the needle. -2/4 thread needs to be
pulled.
!
whole thread has been allowed to go
down the needle. -2/4 thread needs to be
pulled.
!
thread has lost It's kink either through
overuse or exposure to moisture. Pull
through the eye of the needle and cut-off
the damaged part.
!
thread has lost It's kink either through
overuse or exposure to moisture. Pull
through the eye of the needle and cut-off
the damaged part.
!
thread has slipped out of the needle at
some point. Pull back until it goes inside.
!
thread has slipped out of the needle at
some point. Pull back until it goes inside.
!
!
30
canvas is not tight enough. Tighten by
removing one tack, stretching the canvas
and re-tacking. Work one tack at a time.
!
Non-stitching hand is not being used
underneath the canvas.
.
!
30
canvas is not tight enough. Tighten by
removing one tack, stretching the canvas
and re-tacking. Work one tack at a time.
Non-stitching hand is not being used
underneath the canvas.
.
Fluffy Pictures
Fluffy Pictures
Contents of a Fluffy Kit
Required Stitching
Supplies
Contents of a Fluffy Kit
Required Stitching
Supplies
Threads
Screen-printed canvas
Coloured & numbered insert
May contain accessories
Fluffy needle
Winding cards
Thumb tacks
Bunka wire brush
Workframe
Bunka clippers or
scissors
Threads
Screen-printed canvas
Coloured & numbered insert
May contain accessories
Fluffy needle
Winding cards
Thumb tacks
Bunka wire brush
Workframe
Bunka clippers or
scissors
Fluffy or Pile stitch is worked on the screenprinted side of the canvas -this is the back or
wrong side. The non-screen printed side is the
good or finished side of fluffy stitching. The loops
left by the needle on the non-screen printed side
will be brushed out with a special bunka brush
that separates it into soft mohair-like fibers.
Fluffy or Pile stitch is worked on the screenprinted side of the canvas -this is the back or
wrong side. The non-screen printed side is the
good or finished side of fluffy stitching. The loops
left by the needle on the non-screen printed side
will be brushed out with a special bunka brush
that separates it into soft mohair-like fibers.
Some kits have fluffy and flat stitching combined
on the same canvas in which case the fluffy
stitching and brushing must be completed first
since the brushing action will easily pull out the
flat stitching. If the fluffy areas have not been
screen-printed on the back of the canvas then it
will be necessary to trace these areas -stretch the
canvas onto the work frame; with the wrong side
facing you hold the canvas up to the light and
trace the fluffy areas with a pencil. Stitch on this
side.
Some kits have fluffy and flat stitching combined
on the same canvas in which case the fluffy
stitching and brushing must be completed first
since the brushing action will easily pull out the
flat stitching. If the fluffy areas have not been
screen-printed on the back of the canvas then it
will be necessary to trace these areas -stretch the
canvas onto the work frame; with the wrong side
facing you hold the canvas up to the light and
trace the fluffy areas with a pencil. Stitch on this
side.
31
Fluffy Pictures
31
Fluffy Pictures
Contents of a Fluffy Kit
Required Stitching
Supplies
Contents of a Fluffy Kit
Required Stitching
Supplies
Threads
Screen-printed canvas
Coloured & numbered insert
May contain accessories
Fluffy needle
Winding cards
Thumb tacks
Bunka wire brush
Workframe
Bunka clippers or
scissors
Threads
Screen-printed canvas
Coloured & numbered insert
May contain accessories
Fluffy needle
Winding cards
Thumb tacks
Bunka wire brush
Workframe
Bunka clippers or
scissors
Fluffy or Pile stitch is worked on the screenprinted side of the canvas -this is the back or
wrong side. The non-screen printed side is the
good or finished side of fluffy stitching. The loops
left by the needle on the non-screen printed side
will be brushed out with a special bunka brush
that separates it into soft mohair-like fibers.
Fluffy or Pile stitch is worked on the screenprinted side of the canvas -this is the back or
wrong side. The non-screen printed side is the
good or finished side of fluffy stitching. The loops
left by the needle on the non-screen printed side
will be brushed out with a special bunka brush
that separates it into soft mohair-like fibers.
Some kits have fluffy and flat stitching combined
on the same canvas in which case the fluffy
stitching and brushing must be completed first
since the brushing action will easily pull out the
flat stitching. If the fluffy areas have not been
screen-printed on the back of the canvas then it
will be necessary to trace these areas -stretch the
canvas onto the work frame; with the wrong side
facing you hold the canvas up to the light and
trace the fluffy areas with a pencil. Stitch on this
side.
Some kits have fluffy and flat stitching combined
on the same canvas in which case the fluffy
stitching and brushing must be completed first
since the brushing action will easily pull out the
flat stitching. If the fluffy areas have not been
screen-printed on the back of the canvas then it
will be necessary to trace these areas -stretch the
canvas onto the work frame; with the wrong side
facing you hold the canvas up to the light and
trace the fluffy areas with a pencil. Stitch on this
side.
31
31
Fluffy pictures can be stitched using either the
fluffy needle (long shank) or the flat needle (short
shank). The loops created on the back of the
canvas by a fluffy needle will be much longer than
those created by a flat needle due to the longer
shank which results in longer loops. For new
stitchers working on their first fluffy, the fluffy
needle is recommended since the longer loops
are easier to brush out.
Fluffy pictures can be stitched using either the
fluffy needle (long shank) or the flat needle (short
shank). The loops created on the back of the
canvas by a fluffy needle will be much longer than
those created by a flat needle due to the longer
shank which results in longer loops. For new
stitchers working on their first fluffy, the fluffy
needle is recommended since the longer loops
are easier to brush out.
2/4 pull thread is used on most fluffy pictures but
1/4 pull thread can also be used. 1/4 pull is very
easy to brush out and results in longer, lighter
pile. Due to the thickness of 3/4 pull, it will not
brush out and must be avoided on fluffy work at
all times.
2/4 pull thread is used on most fluffy pictures but
1/4 pull thread can also be used. 1/4 pull is very
easy to brush out and results in longer, lighter
pile. Due to the thickness of 3/4 pull, it will not
brush out and must be avoided on fluffy work at
all times.
Please refer to Fluffy or Pile Stitch for detailed
instruction.
Please refer to Fluffy or Pile Stitch for detailed
instruction.
Fluffy pictures can be stitched using either the
fluffy needle (long shank) or the flat needle (short
shank). The loops created on the back of the
canvas by a fluffy needle will be much longer than
those created by a flat needle due to the longer
shank which results in longer loops. For new
stitchers working on their first fluffy, the fluffy
needle is recommended since the longer loops
are easier to brush out.
Fluffy pictures can be stitched using either the
fluffy needle (long shank) or the flat needle (short
shank). The loops created on the back of the
canvas by a fluffy needle will be much longer than
those created by a flat needle due to the longer
shank which results in longer loops. For new
stitchers working on their first fluffy, the fluffy
needle is recommended since the longer loops
are easier to brush out.
2/4 pull thread is used on most fluffy pictures but
1/4 pull thread can also be used. 1/4 pull is very
easy to brush out and results in longer, lighter
pile. Due to the thickness of 3/4 pull, it will not
brush out and must be avoided on fluffy work at
all times.
2/4 pull thread is used on most fluffy pictures but
1/4 pull thread can also be used. 1/4 pull is very
easy to brush out and results in longer, lighter
pile. Due to the thickness of 3/4 pull, it will not
brush out and must be avoided on fluffy work at
all times.
Please refer to Fluffy or Pile Stitch for detailed
instruction.
Please refer to Fluffy or Pile Stitch for detailed
instruction.
Section 11
Section 11
Glossary
of Stitches
and Techniques
Glossary
of Stitches
and Techniques
Section 11
Section 11
Glossary
of Stitches
and Techniques
Glossary
of Stitches
and Techniques
SECTION 11
SECTION 11
TABLE OF CONTENTS
TABLE OF CONTENTS
GLOSSARY
OF STITCHES AND TECHNIQUES
GLOSSARY
OF STITCHES AND TECHNIQUES
Angora Stitch ......................................................
Back Tracking .....................................................
Base Stitching ....................................................
Birds, Beak & Claws ..........................................
Birds, Breast .......................................................
Birds, Eyes ........................................................
Birds, Feathers ..................................................
Birds, Legs ..........................................................
Birds, Stitch Order .............................................
Blanket Edge Stitch ...........................................
Blending ............................................................
Stitch Blending ..............................................
Row Blending ...............................................
Blizzard Stitch ....................................................
Chain Stitch .......................................................
Claw Stitch ..........................................................
Clip Stitch ...........................................................
Cord Stitch .........................................................
Cord Stitch Variations ..................................
Couching Stitch ..................................................
To Tack Down Inlay Stitch ............................
To Tack Down Ring Stitch ............................
Curves ...............................................................
Double Canvas ..................................................
Double Stitching .................................................
40
41
41
41
44
44
45
46
48
48
51
52
53
54
55
57
58
59
60
61
62
63
63
64
67
34
40
41
41
41
44
44
45
46
48
48
51
52
53
54
55
57
58
59
60
61
62
63
63
64
67
34
SECTION 11
SECTION 11
TABLE OF CONTENTS
TABLE OF CONTENTS
GLOSSARY
OF STITCHES AND TECHNIQUES
GLOSSARY
OF STITCHES AND TECHNIQUES
Angora Stitch ......................................................
Back Tracking .....................................................
Base Stitching ....................................................
Birds, Beak & Claws ..........................................
Birds, Breast .......................................................
Birds, Eyes ........................................................
Birds, Feathers ..................................................
Birds, Legs ..........................................................
Birds, Stitch Order .............................................
Blanket Edge Stitch ...........................................
Blending ............................................................
Stitch Blending ..............................................
Row Blending ...............................................
Blizzard Stitch ....................................................
Chain Stitch .......................................................
Claw Stitch ..........................................................
Clip Stitch ...........................................................
Cord Stitch .........................................................
Cord Stitch Variations ..................................
Couching Stitch ..................................................
To Tack Down Inlay Stitch ............................
To Tack Down Ring Stitch ............................
Curves ...............................................................
Double Canvas ..................................................
Double Stitching .................................................
34
Angora Stitch ......................................................
Back Tracking .....................................................
Base Stitching ....................................................
Birds, Beak & Claws ..........................................
Birds, Breast .......................................................
Birds, Eyes ........................................................
Birds, Feathers ..................................................
Birds, Legs ..........................................................
Birds, Stitch Order .............................................
Blanket Edge Stitch ...........................................
Blending ............................................................
Stitch Blending ..............................................
Row Blending ...............................................
Blizzard Stitch ....................................................
Chain Stitch .......................................................
Claw Stitch ..........................................................
Clip Stitch ...........................................................
Cord Stitch .........................................................
Cord Stitch Variations ..................................
Couching Stitch ..................................................
To Tack Down Inlay Stitch ............................
To Tack Down Ring Stitch ............................
Curves ...............................................................
Double Canvas ..................................................
Double Stitching .................................................
40
41
41
41
44
44
45
46
48
48
51
52
53
54
55
57
58
59
60
61
62
63
63
64
67
Angora Stitch ......................................................
Back Tracking .....................................................
Base Stitching ....................................................
Birds, Beak & Claws ..........................................
Birds, Breast .......................................................
Birds, Eyes ........................................................
Birds, Feathers ..................................................
Birds, Legs ..........................................................
Birds, Stitch Order .............................................
Blanket Edge Stitch ...........................................
Blending ............................................................
Stitch Blending ..............................................
Row Blending ...............................................
Blizzard Stitch ....................................................
Chain Stitch .......................................................
Claw Stitch ..........................................................
Clip Stitch ...........................................................
Cord Stitch .........................................................
Cord Stitch Variations ..................................
Couching Stitch ..................................................
To Tack Down Inlay Stitch ............................
To Tack Down Ring Stitch ............................
Curves ...............................................................
Double Canvas ..................................................
Double Stitching .................................................
34
40
41
41
41
44
44
45
46
48
48
51
52
53
54
55
57
58
59
60
61
62
63
63
64
67
Eyes, Gold Ribbon .............................................
Padding ........................................................
Gluing the Gold Ribbon ...............................
Attaching the Pupil ........................................
Eyeliners ........................................................
Highlight ........................................................
Eyes, Stitched ....................................................
Faces ..................................................................
Feathering Stitch .................................................
Fish, Eyes ...........................................................
Fish, Feelers & Mouth ........................................
Fish, Scales ........................................................
Fish, Order of Stitchery ......................................
Flat Stitch ............................................................
Flowers, Centres ................................................
Flowers, Petal Separation ..................................
Flowers, Rollovers/Rollunders ...........................
Flowers, Stems ..................................................
Flowers, Order of Stitchery .................................
Fluffy Stitch .........................................................
To Start .........................................................
To Stop .........................................................
Brush ............................................................
Sculpturing ...................................................
Fluffy Animals ..............................................
Foam Stitch .........................................................
French Knot .......................................................
Grass Stitch .......................................................
Hair, Hairplanting ................................................
Hair, Layers .......................................................
67
70
71
71
71
72
74
75
77
79
82
83
84
84
87
88
89
90
91
92
94
96
96
98
98
99
100
101
101
102
Eyes, Gold Ribbon .............................................
Padding ........................................................
Gluing the Gold Ribbon ...............................
Attaching the Pupil ........................................
Eyeliners ........................................................
Highlight ........................................................
Eyes, Stitched ....................................................
Faces ..................................................................
Feathering Stitch .................................................
Fish, Eyes ...........................................................
Fish, Feelers & Mouth ........................................
Fish, Scales ........................................................
Fish, Order of Stitchery ......................................
Flat Stitch ............................................................
Flowers, Centres ................................................
Flowers, Petal Separation ..................................
Flowers, Rollovers/Rollunders ...........................
Flowers, Stems ..................................................
Flowers, Order of Stitchery .................................
Fluffy Stitch .........................................................
To Start .........................................................
To Stop .........................................................
Brush ............................................................
Sculpturing ...................................................
Fluffy Animals ..............................................
Foam Stitch .........................................................
French Knot .......................................................
Grass Stitch .......................................................
Hair, Hairplanting ................................................
Hair, Layers .......................................................
35
Eyes, Gold Ribbon .............................................
Padding ........................................................
Gluing the Gold Ribbon ...............................
Attaching the Pupil ........................................
Eyeliners ........................................................
Highlight ........................................................
Eyes, Stitched ....................................................
Faces ..................................................................
Feathering Stitch .................................................
Fish, Eyes ...........................................................
Fish, Feelers & Mouth ........................................
Fish, Scales ........................................................
Fish, Order of Stitchery ......................................
Flat Stitch ............................................................
Flowers, Centres ................................................
Flowers, Petal Separation ..................................
Flowers, Rollovers/Rollunders ...........................
Flowers, Stems ..................................................
Flowers, Order of Stitchery .................................
Fluffy Stitch .........................................................
To Start .........................................................
To Stop .........................................................
Brush ............................................................
Sculpturing ...................................................
Fluffy Animals ..............................................
Foam Stitch .........................................................
French Knot .......................................................
Grass Stitch .......................................................
Hair, Hairplanting ................................................
Hair, Layers .......................................................
67
70
71
71
71
72
74
75
77
79
82
83
84
84
87
88
89
90
91
92
94
96
96
98
98
99
100
101
101
102
35
67
70
71
71
71
72
74
75
77
79
82
83
84
84
87
88
89
90
91
92
94
96
96
98
98
99
100
101
101
102
35
Eyes, Gold Ribbon .............................................
Padding ........................................................
Gluing the Gold Ribbon ...............................
Attaching the Pupil ........................................
Eyeliners ........................................................
Highlight ........................................................
Eyes, Stitched ....................................................
Faces ..................................................................
Feathering Stitch .................................................
Fish, Eyes ...........................................................
Fish, Feelers & Mouth ........................................
Fish, Scales ........................................................
Fish, Order of Stitchery ......................................
Flat Stitch ............................................................
Flowers, Centres ................................................
Flowers, Petal Separation ..................................
Flowers, Rollovers/Rollunders ...........................
Flowers, Stems ..................................................
Flowers, Order of Stitchery .................................
Fluffy Stitch .........................................................
To Start .........................................................
To Stop .........................................................
Brush ............................................................
Sculpturing ...................................................
Fluffy Animals ..............................................
Foam Stitch .........................................................
French Knot .......................................................
Grass Stitch .......................................................
Hair, Hairplanting ................................................
Hair, Layers .......................................................
67
70
71
71
71
72
74
75
77
79
82
83
84
84
87
88
89
90
91
92
94
96
96
98
98
99
100
101
101
102
35
Hair, Styling .......................................................
Highlights ............................................................
Inlay Stitch ..........................................................
Ladder Stitch ......................................................
Layered Stitching ................................................
Lazy Daizy Stitch ................................................
Leaves - Bamboo ...............................................
Leaves - Claw Clusters ......................................
Leaves - Feather Stitch , Smooth ......................
Leaves - Feather Stitch, Pointed ......................
Leaves - Maple ...................................................
Center Vein Method ....................................
Wedge Stitch Method ....................................
Leaves - Palette .................................................
Leaves - Small Satin ..........................................
Left-Handed Stitchers .........................................
Outlining .............................................................
Overlay Stitch .....................................................
Padding ..............................................................
Padding, Deep Dimensional ..............................
Padding, Double Stitching .................................
Padding, Fluffy ....................................................
Padding, Line .....................................................
Padding, Multi-Colour ........................................
Padding, Raised .................................................
Padding, Solid ....................................................
Padding, Tapered ...............................................
Picot Stitch .........................................................
Pile Stitch (see Fluffy Stitch) ...............................
Pine Needle Stitch ..............................................
102
104
105
106
106
107
107
108
110
112
112
113
114
115
116
117
117
118
119
120
121
122
123
125
127
128
129
130
132
132
Hair, Styling .......................................................
Highlights ............................................................
Inlay Stitch ..........................................................
Ladder Stitch ......................................................
Layered Stitching ................................................
Lazy Daizy Stitch ................................................
Leaves - Bamboo ...............................................
Leaves - Claw Clusters ......................................
Leaves - Feather Stitch , Smooth ......................
Leaves - Feather Stitch, Pointed ......................
Leaves - Maple ...................................................
Center Vein Method ....................................
Wedge Stitch Method ....................................
Leaves - Palette .................................................
Leaves - Small Satin ..........................................
Left-Handed Stitchers .........................................
Outlining .............................................................
Overlay Stitch .....................................................
Padding ..............................................................
Padding, Deep Dimensional ..............................
Padding, Double Stitching .................................
Padding, Fluffy ....................................................
Padding, Line .....................................................
Padding, Multi-Colour ........................................
Padding, Raised .................................................
Padding, Solid ....................................................
Padding, Tapered ...............................................
Picot Stitch .........................................................
Pile Stitch (see Fluffy Stitch) ...............................
Pine Needle Stitch ..............................................
102
104
105
106
106
107
107
108
110
112
112
113
114
115
116
117
117
118
119
120
121
122
123
125
127
128
129
130
132
132
Hair, Styling .......................................................
Highlights ............................................................
Inlay Stitch ..........................................................
Ladder Stitch ......................................................
Layered Stitching ................................................
Lazy Daizy Stitch ................................................
Leaves - Bamboo ...............................................
Leaves - Claw Clusters ......................................
Leaves - Feather Stitch , Smooth ......................
Leaves - Feather Stitch, Pointed ......................
Leaves - Maple ...................................................
Center Vein Method ....................................
Wedge Stitch Method ....................................
Leaves - Palette .................................................
Leaves - Small Satin ..........................................
Left-Handed Stitchers .........................................
Outlining .............................................................
Overlay Stitch .....................................................
Padding ..............................................................
Padding, Deep Dimensional ..............................
Padding, Double Stitching .................................
Padding, Fluffy ....................................................
Padding, Line .....................................................
Padding, Multi-Colour ........................................
Padding, Raised .................................................
Padding, Solid ....................................................
Padding, Tapered ...............................................
Picot Stitch .........................................................
Pile Stitch (see Fluffy Stitch) ...............................
Pine Needle Stitch ..............................................
102
104
105
106
106
107
107
108
110
112
112
113
114
115
116
117
117
118
119
120
121
122
123
125
127
128
129
130
132
132
Hair, Styling .......................................................
Highlights ............................................................
Inlay Stitch ..........................................................
Ladder Stitch ......................................................
Layered Stitching ................................................
Lazy Daizy Stitch ................................................
Leaves - Bamboo ...............................................
Leaves - Claw Clusters ......................................
Leaves - Feather Stitch , Smooth ......................
Leaves - Feather Stitch, Pointed ......................
Leaves - Maple ...................................................
Center Vein Method ....................................
Wedge Stitch Method ....................................
Leaves - Palette .................................................
Leaves - Small Satin ..........................................
Left-Handed Stitchers .........................................
Outlining .............................................................
Overlay Stitch .....................................................
Padding ..............................................................
Padding, Deep Dimensional ..............................
Padding, Double Stitching .................................
Padding, Fluffy ....................................................
Padding, Line .....................................................
Padding, Multi-Colour ........................................
Padding, Raised .................................................
Padding, Solid ....................................................
Padding, Tapered ...............................................
Picot Stitch .........................................................
Pile Stitch (see Fluffy Stitch) ...............................
Pine Needle Stitch ..............................................
102
104
105
106
106
107
107
108
110
112
112
113
114
115
116
117
117
118
119
120
121
122
123
125
127
128
129
130
132
132
Pine Needle Clusters ....................................
Method 1 - formal
................................
Method 2 - Informal ................................
Single Pine Needles ....................................
Popcorn Stitch ....................................................
Reverse Stitch ....................................................
Reverse Stitch - Wet ..........................................
Rice Glue ...........................................................
Ring Stitch ..........................................................
Running Stitch ...................................................
Satin Stitch .........................................................
Seaming .............................................................
Sky Stitch ..........................................................
Spiral Stitch .......................................................
Split Stitch ..........................................................
Stitch and Cuts .................................................
Stretch Stitch ......................................................
Symbols .............................................................
Solid Padding Symbol ..................................
Area of Change Symbol ...............................
Jagged Lines ...............................................
Arrows .........................................................
Dotted Area .................................................
Fraction ........................................................
Thread - Special Notes ......................................
To Polish 3/4 Pull .........................................
1/4 Pull .........................................................
Thread Blending ....................................
Tips for Stitching with 1/4 Pull ................
Metallic Threads ...........................................
132
132
133
134
134
135
137
137
138
139
140
141
142
142
143
144
145
146
146
147
147
147
148
148
148
148
149
149
149
150
Pine Needle Clusters ....................................
Method 1 - formal
................................
Method 2 - Informal ................................
Single Pine Needles ....................................
Popcorn Stitch ....................................................
Reverse Stitch ....................................................
Reverse Stitch - Wet ..........................................
Rice Glue ...........................................................
Ring Stitch ..........................................................
Running Stitch ...................................................
Satin Stitch .........................................................
Seaming .............................................................
Sky Stitch ..........................................................
Spiral Stitch .......................................................
Split Stitch ..........................................................
Stitch and Cuts .................................................
Stretch Stitch ......................................................
Symbols .............................................................
Solid Padding Symbol ..................................
Area of Change Symbol ...............................
Jagged Lines ...............................................
Arrows .........................................................
Dotted Area .................................................
Fraction ........................................................
Thread - Special Notes ......................................
To Polish 3/4 Pull .........................................
1/4 Pull .........................................................
Thread Blending ....................................
Tips for Stitching with 1/4 Pull ................
Metallic Threads ...........................................
132
132
133
134
134
135
137
137
138
139
140
141
142
142
143
144
145
146
146
147
147
147
148
148
148
148
149
149
149
150
Pine Needle Clusters ....................................
Method 1 - formal
................................
Method 2 - Informal ................................
Single Pine Needles ....................................
Popcorn Stitch ....................................................
Reverse Stitch ....................................................
Reverse Stitch - Wet ..........................................
Rice Glue ...........................................................
Ring Stitch ..........................................................
Running Stitch ...................................................
Satin Stitch .........................................................
Seaming .............................................................
Sky Stitch ..........................................................
Spiral Stitch .......................................................
Split Stitch ..........................................................
Stitch and Cuts .................................................
Stretch Stitch ......................................................
Symbols .............................................................
Solid Padding Symbol ..................................
Area of Change Symbol ...............................
Jagged Lines ...............................................
Arrows .........................................................
Dotted Area .................................................
Fraction ........................................................
Thread - Special Notes ......................................
To Polish 3/4 Pull .........................................
1/4 Pull .........................................................
Thread Blending ....................................
Tips for Stitching with 1/4 Pull ................
Metallic Threads ...........................................
132
132
133
134
134
135
137
137
138
139
140
141
142
142
143
144
145
146
146
147
147
147
148
148
148
148
149
149
149
150
Pine Needle Clusters ....................................
Method 1 - formal
................................
Method 2 - Informal ................................
Single Pine Needles ....................................
Popcorn Stitch ....................................................
Reverse Stitch ....................................................
Reverse Stitch - Wet ..........................................
Rice Glue ...........................................................
Ring Stitch ..........................................................
Running Stitch ...................................................
Satin Stitch .........................................................
Seaming .............................................................
Sky Stitch ..........................................................
Spiral Stitch .......................................................
Split Stitch ..........................................................
Stitch and Cuts .................................................
Stretch Stitch ......................................................
Symbols .............................................................
Solid Padding Symbol ..................................
Area of Change Symbol ...............................
Jagged Lines ...............................................
Arrows .........................................................
Dotted Area .................................................
Fraction ........................................................
Thread - Special Notes ......................................
To Polish 3/4 Pull .........................................
1/4 Pull .........................................................
Thread Blending ....................................
Tips for Stitching with 1/4 Pull ................
Metallic Threads ...........................................
132
132
133
134
134
135
137
137
138
139
140
141
142
142
143
144
145
146
146
147
147
147
148
148
148
148
149
149
149
150
Threading The Needle With Whole Thread ..
Tiger, Body .........................................................
Tiger, Claws and Teeth .......................................
Tiger, Eyes .........................................................
Tiger, Stitch Order ..............................................
Tiger, Whiskers ..................................................
Trees, Bamboo ..................................................
Trees, Birch ........................................................
Trees, Evergreen, Distant ..................................
Trees, Evergreen, Large ....................................
Trees, Evergreen, Layered .................................
Trees, Evergreen, Small ....................................
Trees, Old Pine ..................................................
Trees, Vertical Trunks .........................................
Triangle Stitch .....................................................
Twisted Dot ........................................................
Twisted Picot .....................................................
Waterfalls ..........................................................
Weaving .............................................................
Wedge Stitching ................................................
For irregular Shaped Areas ........................
Wedging for Change in Stitch Direction .......
Zig Zag Stitch .....................................................
151
152
153
154
154
155
160
162
163
165
166
167
169
170
171
172
173
174
177
180
181
182
183
Threading The Needle With Whole Thread ..
Tiger, Body .........................................................
Tiger, Claws and Teeth .......................................
Tiger, Eyes .........................................................
Tiger, Stitch Order ..............................................
Tiger, Whiskers ..................................................
Trees, Bamboo ..................................................
Trees, Birch ........................................................
Trees, Evergreen, Distant ..................................
Trees, Evergreen, Large ....................................
Trees, Evergreen, Layered .................................
Trees, Evergreen, Small ....................................
Trees, Old Pine ..................................................
Trees, Vertical Trunks .........................................
Triangle Stitch .....................................................
Twisted Dot ........................................................
Twisted Picot .....................................................
Waterfalls ..........................................................
Weaving .............................................................
Wedge Stitching ................................................
For irregular Shaped Areas ........................
Wedging for Change in Stitch Direction .......
Zig Zag Stitch .....................................................
151
152
153
154
154
155
160
162
163
165
166
167
169
170
171
172
173
174
177
180
181
182
183
Threading The Needle With Whole Thread ..
Tiger, Body .........................................................
Tiger, Claws and Teeth .......................................
Tiger, Eyes .........................................................
Tiger, Stitch Order ..............................................
Tiger, Whiskers ..................................................
Trees, Bamboo ..................................................
Trees, Birch ........................................................
Trees, Evergreen, Distant ..................................
Trees, Evergreen, Large ....................................
Trees, Evergreen, Layered .................................
Trees, Evergreen, Small ....................................
Trees, Old Pine ..................................................
Trees, Vertical Trunks .........................................
Triangle Stitch .....................................................
Twisted Dot ........................................................
Twisted Picot .....................................................
Waterfalls ..........................................................
Weaving .............................................................
Wedge Stitching ................................................
For irregular Shaped Areas ........................
Wedging for Change in Stitch Direction .......
Zig Zag Stitch .....................................................
151
152
153
154
154
155
160
162
163
165
166
167
169
170
171
172
173
174
177
180
181
182
183
Threading The Needle With Whole Thread ..
Tiger, Body .........................................................
Tiger, Claws and Teeth .......................................
Tiger, Eyes .........................................................
Tiger, Stitch Order ..............................................
Tiger, Whiskers ..................................................
Trees, Bamboo ..................................................
Trees, Birch ........................................................
Trees, Evergreen, Distant ..................................
Trees, Evergreen, Large ....................................
Trees, Evergreen, Layered .................................
Trees, Evergreen, Small ....................................
Trees, Old Pine ..................................................
Trees, Vertical Trunks .........................................
Triangle Stitch .....................................................
Twisted Dot ........................................................
Twisted Picot .....................................................
Waterfalls ..........................................................
Weaving .............................................................
Wedge Stitching ................................................
For irregular Shaped Areas ........................
Wedging for Change in Stitch Direction .......
Zig Zag Stitch .....................................................
151
152
153
154
154
155
160
162
163
165
166
167
169
170
171
172
173
174
177
180
181
182
183
ANGORA STITCH
ANGORA STITCH
Decorative Stitch - thread must be prepared
before stitching, to a soft frayed appearance,
resembling short hair or fur.
Decorative Stitch - thread must be prepared
before stitching, to a soft frayed appearance,
resembling short hair or fur.
APPLICATION
APPLICATION
Winter fur muff, a Gentleman's beard, a
Persian Lamb Fur effect, Coat or Hat.
Winter fur muff, a Gentleman's beard, a
Persian Lamb Fur effect, Coat or Hat.
TECHNIQUE
TECHNIQUE
-
-
-
pull your thread to a 1/4 Thread Pull.
using a Serrated steak knife or scissors,
slide your pulled thread gently between
the blade of the knife and your thumb.
stitch with this frayed soft thread in short
Loop stitches. (See Stretch Stitch, page 124)
Angora stitch length should be 1/8" or even
less.
-
40
pull your thread to a 1/4 Thread Pull.
using a Serrated steak knife or scissors,
slide your pulled thread gently between
the blade of the knife and your thumb.
stitch with this frayed soft thread in short
Loop stitches. (See Stretch Stitch, page 124)
Angora stitch length should be 1/8" or even
less.
40
ANGORA STITCH
ANGORA STITCH
Decorative Stitch - thread must be prepared
before stitching, to a soft frayed appearance,
resembling short hair or fur.
Decorative Stitch - thread must be prepared
before stitching, to a soft frayed appearance,
resembling short hair or fur.
APPLICATION
APPLICATION
Winter fur muff, a Gentleman's beard, a
Persian Lamb Fur effect, Coat or Hat.
Winter fur muff, a Gentleman's beard, a
Persian Lamb Fur effect, Coat or Hat.
TECHNIQUE
TECHNIQUE
-
-
-
pull your thread to a 1/4 Thread Pull.
using a Serrated steak knife or scissors,
slide your pulled thread gently between
the blade of the knife and your thumb.
stitch with this frayed soft thread in short
Loop stitches. (See Stretch Stitch, page 124)
Angora stitch length should be 1/8" or even
less.
40
-
pull your thread to a 1/4 Thread Pull.
using a Serrated steak knife or scissors,
slide your pulled thread gently between
the blade of the knife and your thumb.
stitch with this frayed soft thread in short
Loop stitches. (See Stretch Stitch, page 124)
Angora stitch length should be 1/8" or even
less.
40
BACK TRACKING
BACK TRACKING
Technique used to secure the beginning and
ending of Fluffy Stitch. For detailed instruction,
please refer to Fluffy Stitch, How to Start and
Stop.
Technique used to secure the beginning and
ending of Fluffy Stitch. For detailed instruction,
please refer to Fluffy Stitch, How to Start and
Stop.
BASE STITCHING
BASE STITCHING
Is a layer of flat stitching that is over-stitched with
another technique or colour. Some stitches which
require this base layer are Overlay Stitch, Multicolour Padding, Hair stitching.
Is a layer of flat stitching that is over-stitched with
another technique or colour. Some stitches which
require this base layer are Overlay Stitch, Multicolour Padding, Hair stitching.
BIRDS, BEAK & CLAWS
BIRDS, BEAK & CLAWS
SMALL BIRDS these parts
can be completed with 2/4 pull
thread. Line Pad the edges;
Solid Padding can also be
applied to build up the top half.
Fill in the area with angle
stitching. A line of Running
Stitch up the center will
distinguish the upper and
lower half of the beak.
SMALL BIRDS these parts
can be completed with 2/4 pull
thread. Line Pad the edges;
Solid Padding can also be
applied to build up the top half.
Fill in the area with angle
stitching. A line of Running
Stitch up the center will
distinguish the upper and
lower half of the beak.
41
41
BACK TRACKING
BACK TRACKING
Technique used to secure the beginning and
ending of Fluffy Stitch. For detailed instruction,
please refer to Fluffy Stitch, How to Start and
Stop.
Technique used to secure the beginning and
ending of Fluffy Stitch. For detailed instruction,
please refer to Fluffy Stitch, How to Start and
Stop.
BASE STITCHING
BASE STITCHING
Is a layer of flat stitching that is over-stitched with
another technique or colour. Some stitches which
require this base layer are Overlay Stitch, Multicolour Padding, Hair stitching.
Is a layer of flat stitching that is over-stitched with
another technique or colour. Some stitches which
require this base layer are Overlay Stitch, Multicolour Padding, Hair stitching.
BIRDS, BEAK & CLAWS
BIRDS, BEAK & CLAWS
SMALL BIRDS these parts
can be completed with 2/4 pull
thread. Line Pad the edges;
Solid Padding can also be
applied to build up the top half.
Fill in the area with angle
stitching. A line of Running
Stitch up the center will
distinguish the upper and
lower half of the beak.
SMALL BIRDS these parts
can be completed with 2/4 pull
thread. Line Pad the edges;
Solid Padding can also be
applied to build up the top half.
Fill in the area with angle
stitching. A line of Running
Stitch up the center will
distinguish the upper and
lower half of the beak.
41
41
MEDIUM -LARGE BIRDS
The beak & claws on medium to large-sized
birds, requires 3/4 polished thread stitched on top
of a padding layer. (See Thread, 3/4 Polished)
MEDIUM -LARGE BIRDS
The beak & claws on medium to large-sized
birds, requires 3/4 polished thread stitched on top
of a padding layer. (See Thread, 3/4 Polished)
NOSTRIL
NOSTRIL
If there is a nostril, in order to make it look like an
opening, it must be stitched first with small
stitches tight to the surface of the canvas.
If there is a nostril, in order to make it look like an
opening, it must be stitched first with small
stitches tight to the surface of the canvas.
CLAWS AND ONE COLOURED, ONE PART BEAKS
CLAWS AND ONE COLOURED, ONE PART BEAKS
!
Pad the entire claw area with
2/4 thread horizontally from
the tip to the base.
!
Pad the entire claw area with
2/4 thread horizontally from
the tip to the base.
!
Satin Stitch over the padding
with 3/4 polished thread
ending (or starting) the tip
with one thread width to make
a sharp point.
!
Satin Stitch over the padding
with 3/4 polished thread
ending (or starting) the tip
with one thread width to make
a sharp point.
TWO COLOURED BEAKS, TWO PART BEAKS
TWO COLOURED BEAKS, TWO PART BEAKS
Some beaks require 2 shades of 3/4 polished
thread, blended together. These beaks are
usually quite large and require some additional
padding.
Some beaks require 2 shades of 3/4 polished
thread, blended together. These beaks are
usually quite large and require some additional
padding.
42
42
MEDIUM -LARGE BIRDS
The beak & claws on medium to large-sized
birds, requires 3/4 polished thread stitched on top
of a padding layer. (See Thread, 3/4 Polished)
MEDIUM -LARGE BIRDS
The beak & claws on medium to large-sized
birds, requires 3/4 polished thread stitched on top
of a padding layer. (See Thread, 3/4 Polished)
NOSTRIL
NOSTRIL
If there is a nostril, in order to make it look like an
opening, it must be stitched first with small
stitches tight to the surface of the canvas.
If there is a nostril, in order to make it look like an
opening, it must be stitched first with small
stitches tight to the surface of the canvas.
CLAWS AND ONE COLOURED, ONE PART BEAKS
CLAWS AND ONE COLOURED, ONE PART BEAKS
!
Pad the entire claw area with
2/4 thread horizontally from
the tip to the base.
!
Pad the entire claw area with
2/4 thread horizontally from
the tip to the base.
!
Satin Stitch over the padding
with 3/4 polished thread
ending (or starting) the tip
with one thread width to make
a sharp point.
!
Satin Stitch over the padding
with 3/4 polished thread
ending (or starting) the tip
with one thread width to make
a sharp point.
TWO COLOURED BEAKS, TWO PART BEAKS
TWO COLOURED BEAKS, TWO PART BEAKS
Some beaks require 2 shades of 3/4 polished
thread, blended together. These beaks are
usually quite large and require some additional
padding.
Some beaks require 2 shades of 3/4 polished
thread, blended together. These beaks are
usually quite large and require some additional
padding.
42
42
LOWER HALF OF BEAK
LOWER HALF OF BEAK
!
Line pad along bottom edge.
!
Line pad along bottom edge.
!
With 3/4 Polished thread, fill in
with Satin Stitch on an angle.
!
With 3/4 Polished thread, fill in
with Satin Stitch on an angle.
Upper Half of Beak
!
Upper Half of Beak
First pad the small area along
the arch of the beak.
!
First pad the small area along
the arch of the beak.
!
Line Pad and fill in the entire
beak with horizontal stitches
from the tip to the base.
!
Line Pad and fill in the entire
beak with horizontal stitches
from the tip to the base.
!
Stitch the bottom half with 3/4
Polished Thread using long and
short stitches.
!
Stitch the bottom half with 3/4
Polished Thread using long and
short stitches.
!
Because 3/4 Polished Thread is
difficult to blend, use Stitch &
Cuts and/or Pine Needle Stitches
to blend the second colour into
the first.
!
Because 3/4 Polished Thread is
difficult to blend, use Stitch &
Cuts and/or Pine Needle Stitches
to blend the second colour into
the first.
43
43
LOWER HALF OF BEAK
LOWER HALF OF BEAK
!
Line pad along bottom edge.
!
Line pad along bottom edge.
!
With 3/4 Polished thread, fill in
with Satin Stitch on an angle.
!
With 3/4 Polished thread, fill in
with Satin Stitch on an angle.
Upper Half of Beak
!
Upper Half of Beak
First pad the small area along
the arch of the beak.
!
First pad the small area along
the arch of the beak.
!
Line Pad and fill in the entire
beak with horizontal stitches
from the tip to the base.
!
Line Pad and fill in the entire
beak with horizontal stitches
from the tip to the base.
!
Stitch the bottom half with 3/4
Polished Thread using long and
short stitches.
!
Stitch the bottom half with 3/4
Polished Thread using long and
short stitches.
!
Because 3/4 Polished Thread is
difficult to blend, use Stitch &
Cuts and/or Pine Needle Stitches
to blend the second colour into
the first.
!
Because 3/4 Polished Thread is
difficult to blend, use Stitch &
Cuts and/or Pine Needle Stitches
to blend the second colour into
the first.
43
43
BIRDS, BREAST
BIRDS, BREAST
The stitch direction for a bird's breast is very
important. It should curve naturally with the flow
of the body. Solid Cord Stitch is an excellent stitch
to use to achieve this direction and to create the
natural fullness.
The stitch direction for a bird's breast is very
important. It should curve naturally with the flow
of the body. Solid Cord Stitch is an excellent stitch
to use to achieve this direction and to create the
natural fullness.
!
!
Begin at the bottom of the breast, leaving long
& short stitches on the blending side.
Continue to work Solid Cord in the second
area. Extra care in blending will help to avoid
bands of colour. When blending Solid Cord, a
few of the stitches should extend very deep or
'tossed' into the previous colour.
!
!
Begin at the bottom of the breast, leaving long
& short stitches on the blending side.
Continue to work Solid Cord in the second
area. Extra care in blending will help to avoid
bands of colour. When blending Solid Cord, a
few of the stitches should extend very deep or
'tossed' into the previous colour.
BIRDS, EYES
BIRDS, EYES
Two methods for completing a bird's eye:
Two methods for completing a bird's eye:
a) Stitched eye
a) Stitched eye
44
44
BIRDS, BREAST
BIRDS, BREAST
The stitch direction for a bird's breast is very
important. It should curve naturally with the flow
of the body. Solid Cord Stitch is an excellent stitch
to use to achieve this direction and to create the
natural fullness.
The stitch direction for a bird's breast is very
important. It should curve naturally with the flow
of the body. Solid Cord Stitch is an excellent stitch
to use to achieve this direction and to create the
natural fullness.
!
!
Begin at the bottom of the breast, leaving long
& short stitches on the blending side.
Continue to work Solid Cord in the second
area. Extra care in blending will help to avoid
bands of colour. When blending Solid Cord, a
few of the stitches should extend very deep or
'tossed' into the previous colour.
!
!
Begin at the bottom of the breast, leaving long
& short stitches on the blending side.
Continue to work Solid Cord in the second
area. Extra care in blending will help to avoid
bands of colour. When blending Solid Cord, a
few of the stitches should extend very deep or
'tossed' into the previous colour.
BIRDS, EYES
BIRDS, EYES
Two methods for completing a bird's eye:
Two methods for completing a bird's eye:
a) Stitched eye
a) Stitched eye
44
44
!
Work a row of Running Stitch around the
perimeter of the eye first to mark the exact
shape.
!
Work a row of Running Stitch around the
perimeter of the eye first to mark the exact
shape.
!
Complete all the stitching around the eye
up to the outline.
!
Complete all the stitching around the eye
up to the outline.
!
Follow the coloured insert for exact colour
placement and technique.
!
Follow the coloured insert for exact colour
placement and technique.
!
If there is a Highlight, use either a Clip
Stitch or a Reverse Stitch.
!
If there is a Highlight, use either a Clip
Stitch or a Reverse Stitch.
b) Gold Ribbon Eye
!
b) Gold Ribbon Eye
Use the same technique as described in
the Tiger Eye section. You will not require
all three layers of padding under the gold
ribbon since a bird's eye is much smaller
than a tiger's eye.
!
Use the same technique as described in
the Tiger Eye section. You will not require
all three layers of padding under the gold
ribbon since a bird's eye is much smaller
than a tiger's eye.
BIRDS, FEATHERS
BIRDS, FEATHERS
Feathers must be stitched in the order that they
naturally overlap, i.e. outside feathers first.
Feathers must be stitched in the order that they
naturally overlap, i.e. outside feathers first.
It is important that each feather is clearly
distinguishable by using line padding, solid
padding or double stitching techniques.
It is important that each feather is clearly
distinguishable by using line padding, solid
padding or double stitching techniques.
There are a number of important factors to keep
in mind when stitching feathers:
There are a number of important factors to keep
in mind when stitching feathers:
45
45
!
Work a row of Running Stitch around the
perimeter of the eye first to mark the exact
shape.
!
Work a row of Running Stitch around the
perimeter of the eye first to mark the exact
shape.
!
Complete all the stitching around the eye
up to the outline.
!
Complete all the stitching around the eye
up to the outline.
!
Follow the coloured insert for exact colour
placement and technique.
!
Follow the coloured insert for exact colour
placement and technique.
!
If there is a Highlight, use either a Clip
Stitch or a Reverse Stitch.
!
If there is a Highlight, use either a Clip
Stitch or a Reverse Stitch.
b) Gold Ribbon Eye
!
b) Gold Ribbon Eye
Use the same technique as described in
the Tiger Eye section. You will not require
all three layers of padding under the gold
ribbon since a bird's eye is much smaller
than a tiger's eye.
!
Use the same technique as described in
the Tiger Eye section. You will not require
all three layers of padding under the gold
ribbon since a bird's eye is much smaller
than a tiger's eye.
BIRDS, FEATHERS
BIRDS, FEATHERS
Feathers must be stitched in the order that they
naturally overlap, i.e. outside feathers first.
Feathers must be stitched in the order that they
naturally overlap, i.e. outside feathers first.
It is important that each feather is clearly
distinguishable by using line padding, solid
padding or double stitching techniques.
It is important that each feather is clearly
distinguishable by using line padding, solid
padding or double stitching techniques.
There are a number of important factors to keep
in mind when stitching feathers:
There are a number of important factors to keep
in mind when stitching feathers:
45
45
1 Stitch order
1 Stitch order
2 Always place at least 1 row of line padding
around each feather. Apply additional padding
techniques as required.
2 Always place at least 1 row of line padding
around each feather. Apply additional padding
techniques as required.
3 Never use the kit thread for padding
(especially with Matsuhato pictures).
3 Never use the kit thread for padding
(especially with Matsuhato pictures).
WINDOW FEATHERS
WINDOW FEATHERS
Some large feathers have
boxes or 'windows' along the
center vein.
Some large feathers have
boxes or 'windows' along the
center vein.
!
The stitch direction for the
boxes and the body of the
feather is on an angle to
the center vein.
!
The stitch direction for the
boxes and the body of the
feather is on an angle to
the center vein.
!
The windows are stitched
first -important to keep the
shape clearly defined.
!
The windows are stitched
first -important to keep the
shape clearly defined.
!
Line pad around the perimeter of the whole
feather.
!
Line pad around the perimeter of the whole
feather.
!
Complete the body of the feather - do not
blend into the windows.
!
Complete the body of the feather - do not
blend into the windows.
BIRDS LEGS
BIRDS LEGS
The legs of small birds can be completed with
rows of Running Stitch or Satin Stitch. Legs of
larger birds (eagles, cranes) require more
attention to detail.
The legs of small birds can be completed with
rows of Running Stitch or Satin Stitch. Legs of
larger birds (eagles, cranes) require more
attention to detail.
46
46
1 Stitch order
1 Stitch order
2 Always place at least 1 row of line padding
around each feather. Apply additional padding
techniques as required.
2 Always place at least 1 row of line padding
around each feather. Apply additional padding
techniques as required.
3 Never use the kit thread for padding
(especially with Matsuhato pictures).
3 Never use the kit thread for padding
(especially with Matsuhato pictures).
WINDOW FEATHERS
WINDOW FEATHERS
Some large feathers have
boxes or 'windows' along the
center vein.
Some large feathers have
boxes or 'windows' along the
center vein.
!
The stitch direction for the
boxes and the body of the
feather is on an angle to
the center vein.
!
The stitch direction for the
boxes and the body of the
feather is on an angle to
the center vein.
!
The windows are stitched
first -important to keep the
shape clearly defined.
!
The windows are stitched
first -important to keep the
shape clearly defined.
!
Line pad around the perimeter of the whole
feather.
!
Line pad around the perimeter of the whole
feather.
!
Complete the body of the feather - do not
blend into the windows.
!
Complete the body of the feather - do not
blend into the windows.
BIRDS LEGS
BIRDS LEGS
The legs of small birds can be completed with
rows of Running Stitch or Satin Stitch. Legs of
larger birds (eagles, cranes) require more
attention to detail.
The legs of small birds can be completed with
rows of Running Stitch or Satin Stitch. Legs of
larger birds (eagles, cranes) require more
attention to detail.
46
46
LARGE LEGS
!
The floppy skin area should
be completed first. Line pad
along the bottom edge and fill
in on an angle with Satin
Stitch.
!
Pad the entire leg and each
toe. If the upper leg had a
dividing line running down the
center, stitch this line with a
different colour of thread. This
is to ensure that the exact
location of the line is not lost
when working the top layer.
LARGE LEGS
Leg
!
The floppy skin area should
be completed first. Line pad
along the bottom edge and fill
in on an angle with Satin
Stitch.
!
Pad the entire leg and each
toe. If the upper leg had a
dividing line running down the
center, stitch this line with a
different colour of thread. This
is to ensure that the exact
location of the line is not lost
when working the top layer.
Toe
Leg
Toe
!
Using 3/4 Polished Thread in the appropriate
colour, stitch over the padding with single
length stitches in a horizontal direction. Use
Seaming technique into the line running up the
middle of the leg.
!
Using 3/4 Polished Thread in the appropriate
colour, stitch over the padding with single
length stitches in a horizontal direction. Use
Seaming technique into the line running up the
middle of the leg.
!
Use 3/4 Polished Thread for
the detail lines running
across the toes and leg.
Some crane's legs have
French Knots added using
whole and 3/4 pull thread.
Refer to insert.
!
Use 3/4 Polished Thread for
the detail lines running
across the toes and leg.
Some crane's legs have
French Knots added using
whole and 3/4 pull thread.
Refer to insert.
!
To complete the toenails, please refer to the
section Birds, Beaks and Claws.
!
To complete the toenails, please refer to the
section Birds, Beaks and Claws.
47
LARGE LEGS
!
The floppy skin area should
be completed first. Line pad
along the bottom edge and fill
in on an angle with Satin
Stitch.
!
Pad the entire leg and each
toe. If the upper leg had a
dividing line running down the
center, stitch this line with a
different colour of thread. This
is to ensure that the exact
location of the line is not lost
when working the top layer.
47
LARGE LEGS
Leg
!
The floppy skin area should
be completed first. Line pad
along the bottom edge and fill
in on an angle with Satin
Stitch.
!
Pad the entire leg and each
toe. If the upper leg had a
dividing line running down the
center, stitch this line with a
different colour of thread. This
is to ensure that the exact
location of the line is not lost
when working the top layer.
Toe
Leg
Toe
!
Using 3/4 Polished Thread in the appropriate
colour, stitch over the padding with single
length stitches in a horizontal direction. Use
Seaming technique into the line running up the
middle of the leg.
!
Using 3/4 Polished Thread in the appropriate
colour, stitch over the padding with single
length stitches in a horizontal direction. Use
Seaming technique into the line running up the
middle of the leg.
!
Use 3/4 Polished Thread for
the detail lines running
across the toes and leg.
Some crane's legs have
French Knots added using
whole and 3/4 pull thread.
Refer to insert.
!
Use 3/4 Polished Thread for
the detail lines running
across the toes and leg.
Some crane's legs have
French Knots added using
whole and 3/4 pull thread.
Refer to insert.
!
To complete the toenails, please refer to the
section Birds, Beaks and Claws.
47
!
To complete the toenails, please refer to the
section Birds, Beaks and Claws.
47
BIRDS, STITCH ORDER
BIRDS, STITCH ORDER
It is very important that the proper stitch order is
followed so that each area is clearly
distinguishable.
It is very important that the proper stitch order is
followed so that each area is clearly
distinguishable.
The legs are usually completed first because they
are under the feathers.
The legs are usually completed first because they
are under the feathers.
General rule of thumb for all birds, is to work from
the tail feathers up to the head. In this way, each
feather will overlap the previous ones. When
stitching a wing, start with the outermost feathers
and work in towards the body
General rule of thumb for all birds, is to work from
the tail feathers up to the head. In this way, each
feather will overlap the previous ones. When
stitching a wing, start with the outermost feathers
and work in towards the body
BLANKET EDGE STITCH
BLANKET EDGE STITCH
It is used to decorate the edge of the opening on
the Secondary Canvas of a Double Canvas
picture using 3/4 pull thread and a regular bunka
needle. This stitch requires some practice and
patience to achieve the desired results and is a
technique that should be learned from a qualified
instructor. Refer to Double Canvas for details on
preparing the secondary canvas. See also
Double Canvas.
It is used to decorate the edge of the opening on
the Secondary Canvas of a Double Canvas
picture using 3/4 pull thread and a regular bunka
needle. This stitch requires some practice and
patience to achieve the desired results and is a
technique that should be learned from a qualified
instructor. Refer to Double Canvas for details on
preparing the secondary canvas. See also
Double Canvas.
TECHNIQUE
TECHNIQUE
!
Thread 3/4 polished thread in flat needle.
!
48
Thread 3/4 polished thread in flat needle.
48
BIRDS, STITCH ORDER
BIRDS, STITCH ORDER
It is very important that the proper stitch order is
followed so that each area is clearly
distinguishable.
It is very important that the proper stitch order is
followed so that each area is clearly
distinguishable.
The legs are usually completed first because they
are under the feathers.
The legs are usually completed first because they
are under the feathers.
General rule of thumb for all birds, is to work from
the tail feathers up to the head. In this way, each
feather will overlap the previous ones. When
stitching a wing, start with the outermost feathers
and work in towards the body
General rule of thumb for all birds, is to work from
the tail feathers up to the head. In this way, each
feather will overlap the previous ones. When
stitching a wing, start with the outermost feathers
and work in towards the body
BLANKET EDGE STITCH
BLANKET EDGE STITCH
It is used to decorate the edge of the opening on
the Secondary Canvas of a Double Canvas
picture using 3/4 pull thread and a regular bunka
needle. This stitch requires some practice and
patience to achieve the desired results and is a
technique that should be learned from a qualified
instructor. Refer to Double Canvas for details on
preparing the secondary canvas. See also
Double Canvas.
It is used to decorate the edge of the opening on
the Secondary Canvas of a Double Canvas
picture using 3/4 pull thread and a regular bunka
needle. This stitch requires some practice and
patience to achieve the desired results and is a
technique that should be learned from a qualified
instructor. Refer to Double Canvas for details on
preparing the secondary canvas. See also
Double Canvas.
TECHNIQUE
TECHNIQUE
!
Thread 3/4 polished thread in flat needle.
48
!
Thread 3/4 polished thread in flat needle.
48
!
Punch in 1/2" out from the
glued and basted edge of
the opening.
!
Punch in 1/2" out from the
glued and basted edge of
the opening.
!
Pull tail of excess thread to
the back of canvas.
!
Pull tail of excess thread to
the back of canvas.
!
Take one small stitch
(approx. 1mm) to the side
(anchor stitch).
!
Take one small stitch
(approx. 1mm) to the side
(anchor stitch).
!
With your 'non-stitching' hand under the
canvas, grab the loop and pull through some
excess thread - approx. 1-1.5".
!
With your 'non-stitching' hand under the
canvas, grab the loop and pull through some
excess thread - approx. 1-1.5".
!
** Pull this loop up through
the opening and over the
edge.
!
** Pull this loop up through
the opening and over the
edge.
!
Adjust the length of the loop
by pulling the needle until it
is the desired length.
!
Adjust the length of the loop
by pulling the needle until it
is the desired length.
!
Hold the loop flat to the canvas by pressing on
it with the fingers of the left hand.
!
Hold the loop flat to the canvas by pressing on
it with the fingers of the left hand.
49
49
!
Punch in 1/2" out from the
glued and basted edge of
the opening.
!
Punch in 1/2" out from the
glued and basted edge of
the opening.
!
Pull tail of excess thread to
the back of canvas.
!
Pull tail of excess thread to
the back of canvas.
!
Take one small stitch
(approx. 1mm) to the side
(anchor stitch).
!
Take one small stitch
(approx. 1mm) to the side
(anchor stitch).
!
With your 'non-stitching' hand under the
canvas, grab the loop and pull through some
excess thread - approx. 1-1.5".
!
With your 'non-stitching' hand under the
canvas, grab the loop and pull through some
excess thread - approx. 1-1.5".
!
** Pull this loop up through
the opening and over the
edge.
!
** Pull this loop up through
the opening and over the
edge.
!
Adjust the length of the loop
by pulling the needle until it
is the desired length.
!
Adjust the length of the loop
by pulling the needle until it
is the desired length.
!
Hold the loop flat to the canvas by pressing on
it with the fingers of the left hand.
!
Hold the loop flat to the canvas by pressing on
it with the fingers of the left hand.
49
49
!
Bring the needle over the
loop and punch directly
under the loop (Couching
Stitch).
DO NOT WITHDRAW THE
NEEDLE.**
!
Bring the needle over the
loop and punch directly
under the loop (Couching
Stitch).
DO NOT WITHDRAW THE
NEEDLE.**
!
Reach through the canvas; grab and pull the
next loop off the needle. Repeat from ** to**.
!
Reach through the canvas; grab and pull the
next loop off the needle. Repeat from ** to**.
!
Continue all around the oval
opening.
!
Continue all around the oval
opening.
!
To end - on the last Couching Stitch, hold the
loop, lift out the needle, cut the thread and pull
to the back of the canvas.
!
To end - on the last Couching Stitch, hold the
loop, lift out the needle, cut the thread and pull
to the back of the canvas.
CREATING A PATTERN
CREATING A PATTERN
By experimenting with the
length of the loop and
repeating the pattern of the
stitches, you can create some
lovely designs.
By experimenting with the
length of the loop and
repeating the pattern of the
stitches, you can create some
lovely designs.
50
50
!
Bring the needle over the
loop and punch directly
under the loop (Couching
Stitch).
DO NOT WITHDRAW THE
NEEDLE.**
!
Bring the needle over the
loop and punch directly
under the loop (Couching
Stitch).
DO NOT WITHDRAW THE
NEEDLE.**
!
Reach through the canvas; grab and pull the
next loop off the needle. Repeat from ** to**.
!
Reach through the canvas; grab and pull the
next loop off the needle. Repeat from ** to**.
!
Continue all around the oval
opening.
!
Continue all around the oval
opening.
!
To end - on the last Couching Stitch, hold the
loop, lift out the needle, cut the thread and pull
to the back of the canvas.
!
To end - on the last Couching Stitch, hold the
loop, lift out the needle, cut the thread and pull
to the back of the canvas.
CREATING A PATTERN
CREATING A PATTERN
By experimenting with the
length of the loop and
repeating the pattern of the
stitches, you can create some
lovely designs.
By experimenting with the
length of the loop and
repeating the pattern of the
stitches, you can create some
lovely designs.
50
50
BLENDING
BLENDING
Blending is an extremely important aspect of
Japanese embroidery. Simply in methodology,
it is a technique that requires much practice to
achieve a smooth, natural-looking change from
one shade to the next.
Blending is an extremely important aspect of
Japanese embroidery. Simply in methodology,
it is a technique that requires much practice to
achieve a smooth, natural-looking change from
one shade to the next.
Various symbols or markings on the canvas are
used to indicate which technique to use (see
Symbols). Two symbols which are used to
indicate blending are:
Various symbols or markings on the canvas are
used to indicate which technique to use (see
Symbols). Two symbols which are used to
indicate blending are:
Row Blending
Stitch Blending
Row Blending
Stitch Blending
The blending lines on the canvas tells the stitcher
2 things:
The blending lines on the canvas tells the stitcher
2 things:
1. Blend the colours together, and
1. Blend the colours together, and
2. Stitch direction - stitches are worked in the
direction of the points or lines.
2. Stitch direction - stitches are worked in the
direction of the points or lines.
APPLICATION
APPLICATION
All areas of Bunka Shishu embroidery.
All areas of Bunka Shishu embroidery.
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51
BLENDING
BLENDING
Blending is an extremely important aspect of
Japanese embroidery. Simply in methodology,
it is a technique that requires much practice to
achieve a smooth, natural-looking change from
one shade to the next.
Blending is an extremely important aspect of
Japanese embroidery. Simply in methodology,
it is a technique that requires much practice to
achieve a smooth, natural-looking change from
one shade to the next.
Various symbols or markings on the canvas are
used to indicate which technique to use (see
Symbols). Two symbols which are used to
indicate blending are:
Various symbols or markings on the canvas are
used to indicate which technique to use (see
Symbols). Two symbols which are used to
indicate blending are:
Row Blending
Stitch Blending
Row Blending
Stitch Blending
The blending lines on the canvas tells the stitcher
2 things:
The blending lines on the canvas tells the stitcher
2 things:
1. Blend the colours together, and
1. Blend the colours together, and
2. Stitch direction - stitches are worked in the
direction of the points or lines.
2. Stitch direction - stitches are worked in the
direction of the points or lines.
APPLICATION
APPLICATION
All areas of Bunka Shishu embroidery.
All areas of Bunka Shishu embroidery.
51
51
TECHNIQUE
TECHNIQUE
Blending is a combination of
long and short stitches or
rows combining two areas of
colour.
The line of demarcation
between the two areas of
colour should be very
irregular to create a smooth
gradual change in shading.
Blending is a combination of
long and short stitches or
rows combining two areas of
colour.
The line of demarcation
between the two areas of
colour should be very
irregular to create a smooth
gradual change in shading.
If this area is not irregular, an unnatural striped
effect is created which should be avoided.
If this area is not irregular, an unnatural striped
effect is created which should be avoided.
STITCH BLENDING
STITCH BLENDING
Stitch Blending areas are
marked with extremely
pointed, zig zag lines.
Stitch Blending areas are
marked with extremely
pointed, zig zag lines.
The direction of the stitches
should be worked in the
direction of the points.
However, this marking is only
a guide to the area for
blending and does not have to
be followed exactly.
The direction of the stitches
should be worked in the
direction of the points.
However, this marking is only
a guide to the area for
blending and does not have to
be followed exactly.
52
52
TECHNIQUE
TECHNIQUE
Blending is a combination of
long and short stitches or
rows combining two areas of
colour.
The line of demarcation
between the two areas of
colour should be very
irregular to create a smooth
gradual change in shading.
Blending is a combination of
long and short stitches or
rows combining two areas of
colour.
The line of demarcation
between the two areas of
colour should be very
irregular to create a smooth
gradual change in shading.
If this area is not irregular, an unnatural striped
effect is created which should be avoided.
If this area is not irregular, an unnatural striped
effect is created which should be avoided.
STITCH BLENDING
STITCH BLENDING
Stitch Blending areas are
marked with extremely
pointed, zig zag lines.
Stitch Blending areas are
marked with extremely
pointed, zig zag lines.
The direction of the stitches
should be worked in the
direction of the points.
However, this marking is only
a guide to the area for
blending and does not have to
be followed exactly.
The direction of the stitches
should be worked in the
direction of the points.
However, this marking is only
a guide to the area for
blending and does not have to
be followed exactly.
52
52
The stitches should still be
staggered in 1/2" intervals. In
areas smaller than 1/2", single
length stitches are used.
The stitches should still be
staggered in 1/2" intervals. In
areas smaller than 1/2", single
length stitches are used.
Every so often the thread
should be extended quite far
into the stitching above and/or
below and then cut. This
single thickness of thread
running into another colour will
create a very fine merging of
the two colours.
Every so often the thread
should be extended quite far
into the stitching above and/or
below and then cut. This
single thickness of thread
running into another colour will
create a very fine merging of
the two colours.
ROW BLENDING
ROW BLENDING
Colour changes in Flat Stitch
areas (such as sky or water)
are indicated by groups of
horizontal dash lines. These
lines are called the 'Area of
Change'. A soft transition from
one colour to another is
developed within this area.
Colour changes in Flat Stitch
areas (such as sky or water)
are indicated by groups of
horizontal dash lines. These
lines are called the 'Area of
Change'. A soft transition from
one colour to another is
developed within this area.
!
Complete the top area (A)
with flat stitching down to
the first set of lines in the
Area of Change.
!
Complete the top area (A)
with flat stitching down to
the first set of lines in the
Area of Change.
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53
The stitches should still be
staggered in 1/2" intervals. In
areas smaller than 1/2", single
length stitches are used.
The stitches should still be
staggered in 1/2" intervals. In
areas smaller than 1/2", single
length stitches are used.
Every so often the thread
should be extended quite far
into the stitching above and/or
below and then cut. This
single thickness of thread
running into another colour will
create a very fine merging of
the two colours.
Every so often the thread
should be extended quite far
into the stitching above and/or
below and then cut. This
single thickness of thread
running into another colour will
create a very fine merging of
the two colours.
ROW BLENDING
ROW BLENDING
Colour changes in Flat Stitch
areas (such as sky or water)
are indicated by groups of
horizontal dash lines. These
lines are called the 'Area of
Change'. A soft transition from
one colour to another is
developed within this area.
Colour changes in Flat Stitch
areas (such as sky or water)
are indicated by groups of
horizontal dash lines. These
lines are called the 'Area of
Change'. A soft transition from
one colour to another is
developed within this area.
!
Complete the top area (A)
with flat stitching down to
the first set of lines in the
Area of Change.
!
53
Complete the top area (A)
with flat stitching down to
the first set of lines in the
Area of Change.
53
!
Begin shortening the length of the rows,
working down to the last set of lines in the
Area of Change. Vary the length of each row.
!
Begin shortening the length of the rows,
working down to the last set of lines in the
Area of Change. Vary the length of each row.
!
To complete the Area of
Change, rows of the
second colour (B) should
be worked between the
rows of A. To do this,
keep the tip of the needle
on the canvas and
scratch it along through
the threads of colour A,
turn the needle and stitch
back out.
!
To complete the Area of
Change, rows of the
second colour (B) should
be worked between the
rows of A. To do this,
keep the tip of the needle
on the canvas and
scratch it along through
the threads of colour A,
turn the needle and stitch
back out.
!
!
To soften the blending
even further about every
third or fourth row, run
colour B very deep
through colour A and end
the thread.
Stitch & Cuts consisting
of one or two stitches will
also help create a natural
Area of Change; colour A
into colour B; colour B
into colour A.
!
!
54
To soften the blending
even further about every
third or fourth row, run
colour B very deep
through colour A and end
the thread.
Stitch & Cuts consisting
of one or two stitches will
also help create a natural
Area of Change; colour A
into colour B; colour B
into colour A.
54
!
Begin shortening the length of the rows,
working down to the last set of lines in the
Area of Change. Vary the length of each row.
!
Begin shortening the length of the rows,
working down to the last set of lines in the
Area of Change. Vary the length of each row.
!
To complete the Area of
Change, rows of the
second colour (B) should
be worked between the
rows of A. To do this,
keep the tip of the needle
on the canvas and
scratch it along through
the threads of colour A,
turn the needle and stitch
back out.
!
To complete the Area of
Change, rows of the
second colour (B) should
be worked between the
rows of A. To do this,
keep the tip of the needle
on the canvas and
scratch it along through
the threads of colour A,
turn the needle and stitch
back out.
!
!
To soften the blending
even further about every
third or fourth row, run
colour B very deep
through colour A and end
the thread.
Stitch & Cuts consisting
of one or two stitches will
also help create a natural
Area of Change; colour A
into colour B; colour B
into colour A.
54
!
!
To soften the blending
even further about every
third or fourth row, run
colour B very deep
through colour A and end
the thread.
Stitch & Cuts consisting
of one or two stitches will
also help create a natural
Area of Change; colour A
into colour B; colour B
into colour A.
54
BLIZZARD STITCH
BLIZZARD STITCH
Blizzard stitch is an obscure mass of short
stitches that is used wherever a misty or turbulent
effect is desired, such as along the crest of a
wave or the misty area across the base of a
mountain. The coloured insert will indicate where
Blizzard Stitch is to be applied but is a technique
that relies on individual creativity. It is usually
stitched over a layer of base stitching.
Blizzard stitch is an obscure mass of short
stitches that is used wherever a misty or turbulent
effect is desired, such as along the crest of a
wave or the misty area across the base of a
mountain. The coloured insert will indicate where
Blizzard Stitch is to be applied but is a technique
that relies on individual creativity. It is usually
stitched over a layer of base stitching.
APPLICATION
APPLICATION
Flower centers, base of waterfalls/mountains.
Flower centers, base of waterfalls/mountains.
TECHNIQUE
TECHNIQUE
!
using a maximum stitch length of 1/4" work a
pattern of twisted triangles/squares as in the
drawing below.
!
using a maximum stitch length of 1/4" work a
pattern of twisted triangles/squares as in the
drawing below.
CHAIN STITCH
CHAIN STITCH
Chain Stitch utilizes whole bunka thread in a
bunka needle. Loops of un-pulled thread are
created by punching up from the back side of the
canvas. Please refer to 'How To Thread The
Needle With Whole Thread'.
Chain Stitch utilizes whole bunka thread in a
bunka needle. Loops of un-pulled thread are
created by punching up from the back side of the
canvas. Please refer to 'How To Thread The
Needle With Whole Thread'.
55
55
BLIZZARD STITCH
BLIZZARD STITCH
Blizzard stitch is an obscure mass of short
stitches that is used wherever a misty or turbulent
effect is desired, such as along the crest of a
wave or the misty area across the base of a
mountain. The coloured insert will indicate where
Blizzard Stitch is to be applied but is a technique
that relies on individual creativity. It is usually
stitched over a layer of base stitching.
Blizzard stitch is an obscure mass of short
stitches that is used wherever a misty or turbulent
effect is desired, such as along the crest of a
wave or the misty area across the base of a
mountain. The coloured insert will indicate where
Blizzard Stitch is to be applied but is a technique
that relies on individual creativity. It is usually
stitched over a layer of base stitching.
APPLICATION
APPLICATION
Flower centers, base of waterfalls/mountains.
Flower centers, base of waterfalls/mountains.
TECHNIQUE
TECHNIQUE
!
using a maximum stitch length of 1/4" work a
pattern of twisted triangles/squares as in the
drawing below.
!
using a maximum stitch length of 1/4" work a
pattern of twisted triangles/squares as in the
drawing below.
CHAIN STITCH
CHAIN STITCH
Chain Stitch utilizes whole bunka thread in a
bunka needle. Loops of un-pulled thread are
created by punching up from the back side of the
canvas. Please refer to 'How To Thread The
Needle With Whole Thread'.
Chain Stitch utilizes whole bunka thread in a
bunka needle. Loops of un-pulled thread are
created by punching up from the back side of the
canvas. Please refer to 'How To Thread The
Needle With Whole Thread'.
55
55
APPLICATION
APPLICATION
Decorative stitch used for fancy trim to create a
rope or macrame effect.
Decorative stitch used for fancy trim to create a
rope or macrame effect.
TECHNIQUE
TECHNIQUE
!
!
Have about 1.5" of un-pulled thread extending
from the eye of the needle.
Punch needle with whole thread up from the
back of the canvas through to the front.
!
!
Have about 1.5" of un-pulled thread extending
from the eye of the needle.
Punch needle with whole thread up from the
back of the canvas through to the front.
!
Still holding the needle, pinch the loop of
thread from the side of the needle with the
other hand.
!
Still holding the needle, pinch the loop of
thread from the side of the needle with the
other hand.
!
Slowly withdraw the needle, still holding the
loop in your left hand. Adjust the length of the
loop by pulling either up or down on the
thread.
!
Slowly withdraw the needle, still holding the
loop in your left hand. Adjust the length of the
loop by pulling either up or down on the
thread.
!
Flatten the loop onto the canvas with your left
hand. Move the needle along the back of the
canvas to position the point under the tip of
the flattened loop. Pull the needle down to get
some extra thread to work with if more length
is required.
!
Flatten the loop onto the canvas with your left
hand. Move the needle along the back of the
canvas to position the point under the tip of
the flattened loop. Pull the needle down to get
some extra thread to work with if more length
is required.
!
Punch up inside the loop close to the tip end.
!
Punch up inside the loop close to the tip end.
Grab the thread from the
side of the needle
!
Repeat above steps until chain is desired length
- loops should be the same length.
Grab the thread from the
side of the needle
!
56
Repeat above steps until chain is desired length
- loops should be the same length.
56
APPLICATION
APPLICATION
Decorative stitch used for fancy trim to create a
rope or macrame effect.
Decorative stitch used for fancy trim to create a
rope or macrame effect.
TECHNIQUE
TECHNIQUE
!
!
Have about 1.5" of un-pulled thread extending
from the eye of the needle.
Punch needle with whole thread up from the
back of the canvas through to the front.
!
!
Have about 1.5" of un-pulled thread extending
from the eye of the needle.
Punch needle with whole thread up from the
back of the canvas through to the front.
!
Still holding the needle, pinch the loop of
thread from the side of the needle with the
other hand.
!
Still holding the needle, pinch the loop of
thread from the side of the needle with the
other hand.
!
Slowly withdraw the needle, still holding the
loop in your left hand. Adjust the length of the
loop by pulling either up or down on the
thread.
!
Slowly withdraw the needle, still holding the
loop in your left hand. Adjust the length of the
loop by pulling either up or down on the
thread.
!
Flatten the loop onto the canvas with your left
hand. Move the needle along the back of the
canvas to position the point under the tip of
the flattened loop. Pull the needle down to get
some extra thread to work with if more length
is required.
!
Flatten the loop onto the canvas with your left
hand. Move the needle along the back of the
canvas to position the point under the tip of
the flattened loop. Pull the needle down to get
some extra thread to work with if more length
is required.
!
Punch up inside the loop close to the tip end.
!
Punch up inside the loop close to the tip end.
Grab the thread from the
side of the needle
!
Repeat above steps until chain is desired length
- loops should be the same length.
56
Grab the thread from the
side of the needle
!
Repeat above steps until chain is desired length
- loops should be the same length.
56
!
To end the chain, punch up to make one last
loop; withdraw the needle, holding the loop in
the other hand.
!
To end the chain, punch up to make one last
loop; withdraw the needle, holding the loop in
the other hand.
!
Cut the loop in half (one half is the end of the
thread in the needle, one half is the end of the
chain thread).
!
Cut the loop in half (one half is the end of the
thread in the needle, one half is the end of the
chain thread).
!
Withdraw the needle to pull out one end of the
loop.
!
Withdraw the needle to pull out one end of the
loop.
!
!
Insert a needle threader from the back of the
canvas close to end of the chain stitch.
Feed the end through the needle threader and
pull to the back.
!
!
Insert a needle threader from the back of the
canvas close to end of the chain stitch.
Feed the end through the needle threader and
pull to the back.
CLAW STITCH
CLAW STITCH
This stitch creates a 3-pronged effect resembling
the claw print of a bird. Please refer to Leaves,
Cluster to create groupings of Claw Stitch.
This stitch creates a 3-pronged effect resembling
the claw print of a bird. Please refer to Leaves,
Cluster to create groupings of Claw Stitch.
APPLICATION
APPLICATION
Used for triple-pointed leaves (birch trees); as a
decorative stitch creates a lacy pattern.
Used for triple-pointed leaves (birch trees); as a
decorative stitch creates a lacy pattern.
57
57
!
To end the chain, punch up to make one last
loop; withdraw the needle, holding the loop in
the other hand.
!
To end the chain, punch up to make one last
loop; withdraw the needle, holding the loop in
the other hand.
!
Cut the loop in half (one half is the end of the
thread in the needle, one half is the end of the
chain thread).
!
Cut the loop in half (one half is the end of the
thread in the needle, one half is the end of the
chain thread).
!
Withdraw the needle to pull out one end of the
loop.
!
Withdraw the needle to pull out one end of the
loop.
!
!
Insert a needle threader from the back of the
canvas close to end of the chain stitch.
Feed the end through the needle threader and
pull to the back.
!
!
Insert a needle threader from the back of the
canvas close to end of the chain stitch.
Feed the end through the needle threader and
pull to the back.
CLAW STITCH
CLAW STITCH
This stitch creates a 3-pronged effect resembling
the claw print of a bird. Please refer to Leaves,
Cluster to create groupings of Claw Stitch.
This stitch creates a 3-pronged effect resembling
the claw print of a bird. Please refer to Leaves,
Cluster to create groupings of Claw Stitch.
APPLICATION
APPLICATION
Used for triple-pointed leaves (birch trees); as a
decorative stitch creates a lacy pattern.
Used for triple-pointed leaves (birch trees); as a
decorative stitch creates a lacy pattern.
57
57
TECHNIQUE
TECHNIQUE
!
With 2/4 pull thread in a flat needle, punch in
and pull thread to the back of the canvas. This
punch mark will serve as the base point of the
Claw Stitch.
!
With 2/4 pull thread in a flat needle, punch in
and pull thread to the back of the canvas. This
punch mark will serve as the base point of the
Claw Stitch.
!
Take a 1/4" stitch on an
angle to the left of the
base point.
!
Take a 1/4" stitch on an
angle to the left of the
base point.
!
Stitch back to the base
point but not in the same
punch mark.
!
Stitch back to the base
point but not in the same
punch mark.
Actual Size
Actual Size
!
Take a 1/4" stitch
perpendicular to the base point.
!
Take a 1/4" stitch
perpendicular to the base point.
!
Stitch back to the base point but not in the
same Punch mark.
!
Stitch back to the base point but not in the
same Punch mark.
!
Take a 1/4" stitch on an angle to the right of
the base point.
!
Take a 1/4" stitch on an angle to the right of
the base point.
!
Stitch back to the base point.
!
Stitch back to the base point.
CLIP STITCH
CLIP STITCH
Creates small dots of thread similar to Reverse
Stitch but fluffier in appearance.
Creates small dots of thread similar to Reverse
Stitch but fluffier in appearance.
APPLICATION
APPLICATION
Many areas - examples: water areas to simulate
water droplets; centers of flowers, etc.
Many areas - examples: water areas to simulate
water droplets; centers of flowers, etc.
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58
TECHNIQUE
TECHNIQUE
!
With 2/4 pull thread in a flat needle, punch in
and pull thread to the back of the canvas. This
punch mark will serve as the base point of the
Claw Stitch.
!
With 2/4 pull thread in a flat needle, punch in
and pull thread to the back of the canvas. This
punch mark will serve as the base point of the
Claw Stitch.
!
Take a 1/4" stitch on an
angle to the left of the
base point.
!
Take a 1/4" stitch on an
angle to the left of the
base point.
!
Stitch back to the base
point but not in the same
punch mark.
!
Stitch back to the base
point but not in the same
punch mark.
Actual Size
Actual Size
!
Take a 1/4" stitch
perpendicular to the base point.
!
Take a 1/4" stitch
perpendicular to the base point.
!
Stitch back to the base point but not in the
same Punch mark.
!
Stitch back to the base point but not in the
same Punch mark.
!
Take a 1/4" stitch on an angle to the right of
the base point.
!
Take a 1/4" stitch on an angle to the right of
the base point.
!
Stitch back to the base point.
!
Stitch back to the base point.
CLIP STITCH
CLIP STITCH
Creates small dots of thread similar to Reverse
Stitch but fluffier in appearance.
Creates small dots of thread similar to Reverse
Stitch but fluffier in appearance.
APPLICATION
APPLICATION
Many areas - examples: water areas to simulate
water droplets; centers of flowers, etc.
Many areas - examples: water areas to simulate
water droplets; centers of flowers, etc.
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58
TECHNIQUE
TECHNIQUE
!
2/4 pull thread in a flat needle.
!
2/4 pull thread in a flat needle.
!
Punch in - pull the end to
the back of the canvas.
!
Punch in - pull the end to
the back of the canvas.
!
Lift the needle up about 1/4"
off the canvas.
!
Lift the needle up about 1/4"
off the canvas.
!
Cut the thread.
!
Cut the thread.
!
Adjust the height by pulling on the ends.
!
Adjust the height by pulling on the ends.
CORD STITCH
CORD STITCH
The different variations of Cord Stitch can be
used for stitching single lines where a slightly
thicker effect than Running Stitch is desired and
also for completing solid areas. Cord Stitch uses
twice the amount of thread than normal Flat
Stitching.
The different variations of Cord Stitch can be
used for stitching single lines where a slightly
thicker effect than Running Stitch is desired and
also for completing solid areas. Cord Stitch uses
twice the amount of thread than normal Flat
Stitching.
APPLICATION
APPLICATION
Flower stems, borders, breasts of birds, hair, etc.
Flower stems, borders, breasts of birds, hair, etc.
TECHNIQUE
TECHNIQUE
BASIC TECHNIQUE
BASIC TECHNIQUE
!
Take a normal 1/2" stitch
!
Take a normal 1/2" stitch
!
Go 1/2 way back along this stitch and
punch into the line.
!
Go 1/2 way back along this stitch and
punch into the line.
59
TECHNIQUE
59
TECHNIQUE
!
2/4 pull thread in a flat needle.
!
2/4 pull thread in a flat needle.
!
Punch in - pull the end to
the back of the canvas.
!
Punch in - pull the end to
the back of the canvas.
!
Lift the needle up about 1/4"
off the canvas.
!
Lift the needle up about 1/4"
off the canvas.
!
Cut the thread.
!
Cut the thread.
!
Adjust the height by pulling on the ends.
!
Adjust the height by pulling on the ends.
CORD STITCH
CORD STITCH
The different variations of Cord Stitch can be
used for stitching single lines where a slightly
thicker effect than Running Stitch is desired and
also for completing solid areas. Cord Stitch uses
twice the amount of thread than normal Flat
Stitching.
The different variations of Cord Stitch can be
used for stitching single lines where a slightly
thicker effect than Running Stitch is desired and
also for completing solid areas. Cord Stitch uses
twice the amount of thread than normal Flat
Stitching.
APPLICATION
APPLICATION
Flower stems, borders, breasts of birds, hair, etc.
Flower stems, borders, breasts of birds, hair, etc.
TECHNIQUE
TECHNIQUE
BASIC TECHNIQUE
BASIC TECHNIQUE
!
Take a normal 1/2" stitch
!
Take a normal 1/2" stitch
!
Go 1/2 way back along this stitch and
punch into the line.
!
Go 1/2 way back along this stitch and
punch into the line.
59
59
!
!
Take another 1/2" stitch.
Take a step 1/2 way back,
on the same side that you
punched back on the first
stitch and punch. Repeat.
!
!
Take another 1/2" stitch.
Take a step 1/2 way back,
on the same side that you
punched back on the first
stitch and punch. Repeat.
For Cord Stitch to look attractive
it is important that the 'step back
stitch' is always punched on the
same side of the main stitch.
For Cord Stitch to look attractive
it is important that the 'step back
stitch' is always punched on the
same side of the main stitch.
Shorten the stitch length when
working on a curve.
Shorten the stitch length when
working on a curve.
CORD STITCH VARIATIONS
CORD STITCH VARIATIONS
Varying the length of the back-up stitch will
produce different designs.
Varying the length of the back-up stitch will
produce different designs.
FOR STITCHING SINGLE LINES
FOR STITCHING SINGLE LINES
Short Cord :
Short Cord :
Length of back-up stitch = 1/4 to 1/3 the length of the main
stitch.
Long Cord :
Length of back-up stitch = 1/4 to 1/3 the length of the main
stitch.
Long Cord :
Length of back-up stitch = 1/2 to 2/3 the length of the main
stitch.
Length of back-up stitch = 1/2 to 2/3 the length of the main
stitch.
60
!
!
Take another 1/2" stitch.
Take a step 1/2 way back,
on the same side that you
punched back on the first
stitch and punch. Repeat.
60
!
!
Take another 1/2" stitch.
Take a step 1/2 way back,
on the same side that you
punched back on the first
stitch and punch. Repeat.
For Cord Stitch to look attractive
it is important that the 'step back
stitch' is always punched on the
same side of the main stitch.
For Cord Stitch to look attractive
it is important that the 'step back
stitch' is always punched on the
same side of the main stitch.
Shorten the stitch length when
working on a curve.
Shorten the stitch length when
working on a curve.
CORD STITCH VARIATIONS
CORD STITCH VARIATIONS
Varying the length of the back-up stitch will
produce different designs.
Varying the length of the back-up stitch will
produce different designs.
FOR STITCHING SINGLE LINES
FOR STITCHING SINGLE LINES
Short Cord :
Short Cord :
Length of back-up stitch = 1/4 to 1/3 the length of the main
stitch.
Long Cord :
Length of back-up stitch = 1/2 to 2/3 the length of the main
stitch.
60
Length of back-up stitch = 1/4 to 1/3 the length of the main
stitch.
Long Cord :
Length of back-up stitch = 1/2 to 2/3 the length of the main
stitch.
60
Tight Cord :
Tight Cord :
Length of back-up stitch = full length of the main stitch
Length of back-up stitch = full length of the main stitch
Single Cord :
Single Cord :
One back-up stitch between two main stitches.
One back-up stitch between two main stitches.
TO FILL IN AN AREA WITH CORD STITCH
TO FILL IN AN AREA WITH CORD STITCH
Solid Cord: (also referred to as Toss Stitch)
Rows of Cord Stitch are worked back and forth within the
area.
Solid Cord: (also referred to as Toss Stitch)
Rows of Cord Stitch are worked back and forth within the
area.
COUCHING STITCH
COUCHING STITCH
This is a fastening stitch used to secure other
threads to the canvas.
This is a fastening stitch used to secure other
threads to the canvas.
APPLICATION
APPLICATION
- Used with Ring Stitch to tack down each loop
to create a daisy effect.
- Used with Ring Stitch to tack down each loop
to create a daisy effect.
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61
Tight Cord :
Tight Cord :
Length of back-up stitch = full length of the main stitch
Length of back-up stitch = full length of the main stitch
Single Cord :
Single Cord :
One back-up stitch between two main stitches.
One back-up stitch between two main stitches.
TO FILL IN AN AREA WITH CORD STITCH
TO FILL IN AN AREA WITH CORD STITCH
Solid Cord: (also referred to as Toss Stitch)
Rows of Cord Stitch are worked back and forth within the
area.
Solid Cord: (also referred to as Toss Stitch)
Rows of Cord Stitch are worked back and forth within the
area.
COUCHING STITCH
COUCHING STITCH
This is a fastening stitch used to secure other
threads to the canvas.
This is a fastening stitch used to secure other
threads to the canvas.
APPLICATION
APPLICATION
- Used with Ring Stitch to tack down each loop
to create a daisy effect.
- Used with Ring Stitch to tack down each loop
to create a daisy effect.
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61
- Also used with Inlay Stitch to hold down the line
of whole thread. This line is then later
overstitched with Satin Stitch.
- Also used with Inlay Stitch to hold down the line
of whole thread. This line is then later
overstitched with Satin Stitch.
TECHNIQUE
TECHNIQUE
TO TACK DOWN INLAY STITCH
TO TACK DOWN INLAY STITCH
There are two methods - Method 1 is worked on
the front of the canvas; Method 2 is worked from
underneath the canvas.
There are two methods - Method 1 is worked on
the front of the canvas; Method 2 is worked from
underneath the canvas.
Method 1
Method 1
- Using 2/4 pull thread in a flat stitch needle,
punch directly under the whole thread.
- Using 2/4 pull thread in a flat stitch needle,
punch directly under the whole thread.
- Pull the end to the back.
- Pull the end to the back.
- Lift the needle over the
thread and punch directly
under the whole thread.
- Lift the needle over the
thread and punch directly
under the whole thread.
- Pull the end to the back.
One Couching Stitch
completed.
- Pull the end to the back.
One Couching Stitch
completed.
- Place small Couching Stitches about every 1/2"
along the length of the whole thread.
- Place small Couching Stitches about every 1/2"
along the length of the whole thread.
Method 2
Method 2
- With a bunka needle threaded with 2/4 pull
under the canvas, punch up through to the
front, on the line where the whole thread will lay.
- With a bunka needle threaded with 2/4 pull
under the canvas, punch up through to the
front, on the line where the whole thread will lay.
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62
- Also used with Inlay Stitch to hold down the line
of whole thread. This line is then later
overstitched with Satin Stitch.
- Also used with Inlay Stitch to hold down the line
of whole thread. This line is then later
overstitched with Satin Stitch.
TECHNIQUE
TECHNIQUE
TO TACK DOWN INLAY STITCH
TO TACK DOWN INLAY STITCH
There are two methods - Method 1 is worked on
the front of the canvas; Method 2 is worked from
underneath the canvas.
There are two methods - Method 1 is worked on
the front of the canvas; Method 2 is worked from
underneath the canvas.
Method 1
Method 1
- Using 2/4 pull thread in a flat stitch needle,
punch directly under the whole thread.
- Using 2/4 pull thread in a flat stitch needle,
punch directly under the whole thread.
- Pull the end to the back.
- Pull the end to the back.
- Lift the needle over the
thread and punch directly
under the whole thread.
- Lift the needle over the
thread and punch directly
under the whole thread.
- Pull the end to the back.
One Couching Stitch
completed.
- Pull the end to the back.
One Couching Stitch
completed.
- Place small Couching Stitches about every 1/2"
along the length of the whole thread.
- Place small Couching Stitches about every 1/2"
along the length of the whole thread.
Method 2
Method 2
- With a bunka needle threaded with 2/4 pull
under the canvas, punch up through to the
front, on the line where the whole thread will lay.
- With a bunka needle threaded with 2/4 pull
under the canvas, punch up through to the
front, on the line where the whole thread will lay.
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62
- Lift off the loop of thread.
- Lift off the loop of thread.
- Slide the end of a length of whole thread
through the loop.
- Slide the end of a length of whole thread
through the loop.
- Tighten the loop over the
whole thread by pulling
down on the needle.
- Tighten the loop over the
whole thread by pulling
down on the needle.
- Continue along the line,
approx. every 1/2".
- Continue along the line,
approx. every 1/2".
TO TACK DOWN RING STITCH
TO TACK DOWN RING STITCH
- Press the loop flat to the
canvas.
- Press the loop flat to the
canvas.
- Punch directly under the
center point of the tip of
the loop.
- Punch directly under the
center point of the tip of
the loop.
- Lift over the loop and punch
directly under the loop.
- Lift over the loop and punch
directly under the loop.
- Pull the end to the back.
- Pull the end to the back.
CURVES
CURVES
Stitch direction in Bunka Shishu embroidery is
extremely important to the overall beauty of the
picture. With curved stitching, the stitch length,
regardless of which technique is being used, must
be shortened to ensure proper stitch alignment
and direction but returning to the normal 1/2"
stitch length wherever possible.
Stitch direction in Bunka Shishu embroidery is
extremely important to the overall beauty of the
picture. With curved stitching, the stitch length,
regardless of which technique is being used, must
be shortened to ensure proper stitch alignment
and direction but returning to the normal 1/2"
stitch length wherever possible.
63
63
- Lift off the loop of thread.
- Lift off the loop of thread.
- Slide the end of a length of whole thread
through the loop.
- Slide the end of a length of whole thread
through the loop.
- Tighten the loop over the
whole thread by pulling
down on the needle.
- Tighten the loop over the
whole thread by pulling
down on the needle.
- Continue along the line,
approx. every 1/2".
- Continue along the line,
approx. every 1/2".
TO TACK DOWN RING STITCH
TO TACK DOWN RING STITCH
- Press the loop flat to the
canvas.
- Press the loop flat to the
canvas.
- Punch directly under the
center point of the tip of
the loop.
- Punch directly under the
center point of the tip of
the loop.
- Lift over the loop and punch
directly under the loop.
- Lift over the loop and punch
directly under the loop.
- Pull the end to the back.
- Pull the end to the back.
CURVES
CURVES
Stitch direction in Bunka Shishu embroidery is
extremely important to the overall beauty of the
picture. With curved stitching, the stitch length,
regardless of which technique is being used, must
be shortened to ensure proper stitch alignment
and direction but returning to the normal 1/2"
stitch length wherever possible.
Stitch direction in Bunka Shishu embroidery is
extremely important to the overall beauty of the
picture. With curved stitching, the stitch length,
regardless of which technique is being used, must
be shortened to ensure proper stitch alignment
and direction but returning to the normal 1/2"
stitch length wherever possible.
63
63
This is relatively simple for single line designs.
This is relatively simple for single line designs.
To fill in a section with solid flat stitching where a
drastic curve is required (round objects such as a
wheel or a ball) it can become a little more
difficult to master. Because shorter stitches can
sometimes create a knobby or 'terry cloth effect, it
is important that the stitch alignment of these
large curved areas be consistent with the level of
the surrounding work.
To fill in a section with solid flat stitching where a
drastic curve is required (round objects such as a
wheel or a ball) it can become a little more
difficult to master. Because shorter stitches can
sometimes create a knobby or 'terry cloth effect, it
is important that the stitch alignment of these
large curved areas be consistent with the level of
the surrounding work.
DOUBLE CANVAS
DOUBLE CANVAS
It is recommended that this advanced technique
be learned from a qualified teacher.
It is recommended that this advanced technique
be learned from a qualified teacher.
The completed picture consists of 2 canvases;
the primary canvas which is the main picture and
the secondary canvas which is placed over the
primary canvas with an opening cut out which
acts as a 'window' for the primary design.
The completed picture consists of 2 canvases;
the primary canvas which is the main picture and
the secondary canvas which is placed over the
primary canvas with an opening cut out which
acts as a 'window' for the primary design.
The secondary canvas can have decorative
stitching placed around the opening, in each
corner, etc. The design on the secondary canvas
should be kept very simple but should compliment
the primary canvas. For example, if the primary
canvas is a bouquet of flowers, small flowers or a
design in the same colours could enhance the
perimeter of the opening on the secondary
canvas.
The secondary canvas can have decorative
stitching placed around the opening, in each
corner, etc. The design on the secondary canvas
should be kept very simple but should compliment
the primary canvas. For example, if the primary
canvas is a bouquet of flowers, small flowers or a
design in the same colours could enhance the
perimeter of the opening on the secondary
canvas.
64
64
This is relatively simple for single line designs.
This is relatively simple for single line designs.
To fill in a section with solid flat stitching where a
drastic curve is required (round objects such as a
wheel or a ball) it can become a little more
difficult to master. Because shorter stitches can
sometimes create a knobby or 'terry cloth effect, it
is important that the stitch alignment of these
large curved areas be consistent with the level of
the surrounding work.
To fill in a section with solid flat stitching where a
drastic curve is required (round objects such as a
wheel or a ball) it can become a little more
difficult to master. Because shorter stitches can
sometimes create a knobby or 'terry cloth effect, it
is important that the stitch alignment of these
large curved areas be consistent with the level of
the surrounding work.
DOUBLE CANVAS
DOUBLE CANVAS
It is recommended that this advanced technique
be learned from a qualified teacher.
It is recommended that this advanced technique
be learned from a qualified teacher.
The completed picture consists of 2 canvases;
the primary canvas which is the main picture and
the secondary canvas which is placed over the
primary canvas with an opening cut out which
acts as a 'window' for the primary design.
The completed picture consists of 2 canvases;
the primary canvas which is the main picture and
the secondary canvas which is placed over the
primary canvas with an opening cut out which
acts as a 'window' for the primary design.
The secondary canvas can have decorative
stitching placed around the opening, in each
corner, etc. The design on the secondary canvas
should be kept very simple but should compliment
the primary canvas. For example, if the primary
canvas is a bouquet of flowers, small flowers or a
design in the same colours could enhance the
perimeter of the opening on the secondary
canvas.
The secondary canvas can have decorative
stitching placed around the opening, in each
corner, etc. The design on the secondary canvas
should be kept very simple but should compliment
the primary canvas. For example, if the primary
canvas is a bouquet of flowers, small flowers or a
design in the same colours could enhance the
perimeter of the opening on the secondary
canvas.
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64
Canvas 1
Primary
Canvas 2
Secondary
Canvas 1+2
Combined
Canvas 1
Primary
Canvas 2
Secondary
Canvas 1+2
Combined
APPLICATION
APPLICATION
Original Stitchery at Stitcher's Discretion.
Original Stitchery at Stitcher's Discretion.
TECHNIQUE
TECHNIQUE
Primary Canvas
Primary Canvas
!
Upon completion of the picture, remove the
canvas from the work frame and stretch the
secondary canvas.
Secondary Canvas
!
!
Upon completion of the picture, remove the
canvas from the work frame and stretch the
secondary canvas.
Secondary Canvas
Draw and oval design,
centered on a stretched
canvas (best to use a
template).
!
Draw and oval design,
centered on a stretched
canvas (best to use a
template).
!
To reinforce the circular
shape, sew a basting line on
the drawn using small
stitches with a regular sewing needle and
thread. STEP 1
!
To reinforce the circular
shape, sew a basting line on
the drawn using small
stitches with a regular sewing needle and
thread. STEP 1
!
To lock in this basting line, sew a second
basting line on top of the first, reversing the
stitches; STEP 2
!
To lock in this basting line, sew a second
basting line on top of the first, reversing the
stitches; STEP 2
65
Canvas 1
Primary
Canvas 2
Secondary
65
Canvas 1+2
Combined
Canvas 1
Primary
Canvas 2
Secondary
Canvas 1+2
Combined
APPLICATION
APPLICATION
Original Stitchery at Stitcher's Discretion.
Original Stitchery at Stitcher's Discretion.
TECHNIQUE
TECHNIQUE
Primary Canvas
Primary Canvas
!
Upon completion of the picture, remove the
canvas from the work frame and stretch the
secondary canvas.
Secondary Canvas
!
!
Upon completion of the picture, remove the
canvas from the work frame and stretch the
secondary canvas.
Secondary Canvas
Draw and oval design,
centered on a stretched
canvas (best to use a
template).
!
Draw and oval design,
centered on a stretched
canvas (best to use a
template).
!
To reinforce the circular
shape, sew a basting line on
the drawn using small
stitches with a regular sewing needle and
thread. STEP 1
!
To reinforce the circular
shape, sew a basting line on
the drawn using small
stitches with a regular sewing needle and
thread. STEP 1
!
To lock in this basting line, sew a second
basting line on top of the first, reversing the
stitches; STEP 2
!
To lock in this basting line, sew a second
basting line on top of the first, reversing the
stitches; STEP 2
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65
Step 1
Step 1
Canvas
Canvas
Step 2
Step 2
Canvas
Canvas
TO COMPLETE THE OPENING
TO COMPLETE THE OPENING
1. A 1/2" hem will be turned and glued to the
back.
1. A 1/2" hem will be turned and glued to the
back.
!
Trace any design work onto the canvas and
complete the stitching before proceeding with
the following steps.
!
Trace any design work onto the canvas and
complete the stitching before proceeding with
the following steps.
!
On the back of your canvas, place a line of
rice glue on top of the basting stitches.
!
On the back of your canvas, place a line of
rice glue on top of the basting stitches.
!
When cutting out the oval, the cutting line will
allow for a 1/2" seam allowance which will be
turned to the back, over the glue line. the
cutting line can be marked lightly with a
pencil.
!
When cutting out the oval, the cutting line will
allow for a 1/2" seam allowance which will be
turned to the back, over the glue line. the
cutting line can be marked lightly with a
pencil.
!
Begin by using very
sharp scissors and snip
the canvas 1/2" inside
the line basting (towards
the center of the oval).
!
Begin by using very
sharp scissors and snip
the canvas 1/2" inside
the line basting (towards
the center of the oval).
!
Continue to carefully cut
1/2" in all the way
around the oval.
!
Continue to carefully cut
1/2" in all the way
around the oval.
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66
Step 1
Step 1
Canvas
Canvas
Step 2
Step 2
Canvas
Canvas
TO COMPLETE THE OPENING
TO COMPLETE THE OPENING
1. A 1/2" hem will be turned and glued to the
back.
1. A 1/2" hem will be turned and glued to the
back.
!
Trace any design work onto the canvas and
complete the stitching before proceeding with
the following steps.
!
Trace any design work onto the canvas and
complete the stitching before proceeding with
the following steps.
!
On the back of your canvas, place a line of
rice glue on top of the basting stitches.
!
On the back of your canvas, place a line of
rice glue on top of the basting stitches.
!
When cutting out the oval, the cutting line will
allow for a 1/2" seam allowance which will be
turned to the back, over the glue line. the
cutting line can be marked lightly with a
pencil.
!
When cutting out the oval, the cutting line will
allow for a 1/2" seam allowance which will be
turned to the back, over the glue line. the
cutting line can be marked lightly with a
pencil.
!
Begin by using very
sharp scissors and snip
the canvas 1/2" inside
the line basting (towards
the center of the oval).
!
Begin by using very
sharp scissors and snip
the canvas 1/2" inside
the line basting (towards
the center of the oval).
!
Continue to carefully cut
1/2" in all the way
around the oval.
!
Continue to carefully cut
1/2" in all the way
around the oval.
66
66
!
To ease the curve, cut into
the seam allowance to the
basting line, about every
3/4".
!
To ease the curve, cut into
the seam allowance to the
basting line, about every
3/4".
!
Turn these 'flaps' to the
back and over the glue
line.
!
Turn these 'flaps' to the
back and over the glue
line.
!
Sew in another basting line
to secure the rough edges
about 1/4" out from the
finished edge.
!
Sew in another basting line
to secure the rough edges
about 1/4" out from the
finished edge.
!
Blanket Edge Stitching is
used to create a decorative
border on the edge of the
oval. (see Blanket Stitch)
!
Blanket Edge Stitching is
used to create a decorative
border on the edge of the
oval. (see Blanket Stitch)
DOUBLE STITCHING
DOUBLE STITCHING
See Padding, Double Stitching
See Padding, Double Stitching
EYES, GOLD RIBBON
EYES, GOLD RIBBON
Since the eyes are the focal point of the picture it
is very important that they are constructed as
neatly as possible. The eyes along with the
mouth and body position set the mood of the
picture, creating the aspect of either gentleness
or fierceness. The step-by-step instructions are
specific to a tiger's eye, however, the basic steps,
such as creating the pupil, padding, gluing the
gold ribbon will apply to all gold ribbon eye
applications. Refer to the insert to see if the
accents such as the eyeliner are required for your
picture.
Since the eyes are the focal point of the picture it
is very important that they are constructed as
neatly as possible. The eyes along with the
mouth and body position set the mood of the
picture, creating the aspect of either gentleness
or fierceness. The step-by-step instructions are
specific to a tiger's eye, however, the basic steps,
such as creating the pupil, padding, gluing the
gold ribbon will apply to all gold ribbon eye
applications. Refer to the insert to see if the
accents such as the eyeliner are required for your
picture.
67
67
!
To ease the curve, cut into
the seam allowance to the
basting line, about every
3/4".
!
To ease the curve, cut into
the seam allowance to the
basting line, about every
3/4".
!
Turn these 'flaps' to the
back and over the glue
line.
!
Turn these 'flaps' to the
back and over the glue
line.
!
Sew in another basting line
to secure the rough edges
about 1/4" out from the
finished edge.
!
Sew in another basting line
to secure the rough edges
about 1/4" out from the
finished edge.
!
Blanket Edge Stitching is
used to create a decorative
border on the edge of the
oval. (see Blanket Stitch)
!
Blanket Edge Stitching is
used to create a decorative
border on the edge of the
oval. (see Blanket Stitch)
DOUBLE STITCHING
DOUBLE STITCHING
See Padding, Double Stitching
See Padding, Double Stitching
EYES, GOLD RIBBON
EYES, GOLD RIBBON
Since the eyes are the focal point of the picture it
is very important that they are constructed as
neatly as possible. The eyes along with the
mouth and body position set the mood of the
picture, creating the aspect of either gentleness
or fierceness. The step-by-step instructions are
specific to a tiger's eye, however, the basic steps,
such as creating the pupil, padding, gluing the
gold ribbon will apply to all gold ribbon eye
applications. Refer to the insert to see if the
accents such as the eyeliner are required for your
picture.
Since the eyes are the focal point of the picture it
is very important that they are constructed as
neatly as possible. The eyes along with the
mouth and body position set the mood of the
picture, creating the aspect of either gentleness
or fierceness. The step-by-step instructions are
specific to a tiger's eye, however, the basic steps,
such as creating the pupil, padding, gluing the
gold ribbon will apply to all gold ribbon eye
applications. Refer to the insert to see if the
accents such as the eyeliner are required for your
picture.
67
67
Because of the adhesive material used with this
method, there should not be any stitching around
the eye area.
Because of the adhesive material used with this
method, there should not be any stitching around
the eye area.
A Gold Ribbon eye consists of :
A Gold Ribbon eye consists of :
1. Layer of padding
3. Pupil
1. Layer of padding
3. Pupil
2. Gold Ribbon
4. Outline
2. Gold Ribbon
4. Outline
Considerable preparatory work is needed prior to
working directly on the canvas.
Considerable preparatory work is needed prior to
working directly on the canvas.
Supplies you will need:
Supplies you will need:
Rice Glue
Toothpick
Scissors
Masking Tape
Straight Pin
STEP 1 - Tracing the Patterns
!
Stick a small piece of
masking tape behind
the eye to the back of
the canvas. For lightcoloured canvas, hold
Masking tape
the work frame up to
the light and trace the
outline of the whole
eye onto the masking tape. For black canvas,
use the straight pin to punch holes through the
masking tape from the front of the canvas
following the outline of the eye.
Rice Glue
Toothpick
Scissors
Masking Tape
Straight Pin
STEP 1 - Tracing the Patterns
!
68
Stick a small piece of
masking tape behind
the eye to the back of
the canvas. For lightcoloured canvas, hold
Masking tape
the work frame up to
the light and trace the
outline of the whole
eye onto the masking tape. For black canvas,
use the straight pin to punch holes through the
masking tape from the front of the canvas
following the outline of the eye.
68
Because of the adhesive material used with this
method, there should not be any stitching around
the eye area.
Because of the adhesive material used with this
method, there should not be any stitching around
the eye area.
A Gold Ribbon eye consists of :
A Gold Ribbon eye consists of :
1. Layer of padding
3. Pupil
1. Layer of padding
3. Pupil
2. Gold Ribbon
4. Outline
2. Gold Ribbon
4. Outline
Considerable preparatory work is needed prior to
working directly on the canvas.
Considerable preparatory work is needed prior to
working directly on the canvas.
Supplies you will need:
Supplies you will need:
Rice Glue
Toothpick
Scissors
Masking Tape
Straight Pin
STEP 1 - Tracing the Patterns
!
Stick a small piece of
masking tape behind
the eye to the back of
the canvas. For lightcoloured canvas, hold
Masking tape
the work frame up to
the light and trace the
outline of the whole
eye onto the masking tape. For black canvas,
use the straight pin to punch holes through the
masking tape from the front of the canvas
following the outline of the eye.
68
Rice Glue
Toothpick
Scissors
Masking Tape
Straight Pin
STEP 1 - Tracing the Patterns
!
Stick a small piece of
masking tape behind
the eye to the back of
the canvas. For lightcoloured canvas, hold
Masking tape
the work frame up to
the light and trace the
outline of the whole
eye onto the masking tape. For black canvas,
use the straight pin to punch holes through the
masking tape from the front of the canvas
following the outline of the eye.
68
!
Remove the tape and stick
to the gold ribbon so that
the grain in the ribbon
matches the
direction used in the
coloured insert.
!
Gold ribbon
Cut out
Remove the tape and stick
to the gold ribbon so that
the grain in the ribbon
matches the
direction used in the
coloured insert.
Gold ribbon
Cut out
!
Cut out the eye from the gold ribbon. With
your finger and thumb, curve the gold ribbon
to create a bulge in the middle.
!
Cut out the eye from the gold ribbon. With
your finger and thumb, curve the gold ribbon
to create a bulge in the middle.
!
Kits may include a piece of adhesive white
satin ribbon. Peel off the paper backing and
use the white ribbon in the same manner as
the masking tape.
!
Kits may include a piece of adhesive white
satin ribbon. Peel off the paper backing and
use the white ribbon in the same manner as
the masking tape.
!
Trace the pattern of the
pupil onto another piece of
masking tape in the same
manner as above.
!
Trace the pattern of the
pupil onto another piece of
masking tape in the same
manner as above.
STEP 2 - Making the Pupil
!
!
!
Taper the end of whole
black bunka thread by
cutting it on an angle.
STEP 2 - Making the Pupil
Glued unpulled thread
Masking tape
Stick this cut end to the
center of the pupil design
on the sticky side of the masking tape.
!
!
Coil the whole thread around the center point
until it covers the entire circle. If you are
having difficulty starting the coil, use a
toothpick or straight pin to hold down the
thread in the center.
!
Taper the end of whole
black bunka thread by
cutting it on an angle.
Glued unpulled thread
Masking tape
Stick this cut end to the
center of the pupil design
on the sticky side of the masking tape.
Coil the whole thread around the center point
until it covers the entire circle. If you are
having difficulty starting the coil, use a
toothpick or straight pin to hold down the
thread in the center.
69
!
Remove the tape and stick
to the gold ribbon so that
the grain in the ribbon
matches the
direction used in the
coloured insert.
69
!
Gold ribbon
Cut out
Remove the tape and stick
to the gold ribbon so that
the grain in the ribbon
matches the
direction used in the
coloured insert.
Gold ribbon
Cut out
!
Cut out the eye from the gold ribbon. With
your finger and thumb, curve the gold ribbon
to create a bulge in the middle.
!
Cut out the eye from the gold ribbon. With
your finger and thumb, curve the gold ribbon
to create a bulge in the middle.
!
Kits may include a piece of adhesive white
satin ribbon. Peel off the paper backing and
use the white ribbon in the same manner as
the masking tape.
!
Kits may include a piece of adhesive white
satin ribbon. Peel off the paper backing and
use the white ribbon in the same manner as
the masking tape.
!
Trace the pattern of the
pupil onto another piece of
masking tape in the same
manner as above.
!
Trace the pattern of the
pupil onto another piece of
masking tape in the same
manner as above.
STEP 2 - Making the Pupil
!
!
!
Taper the end of whole
black bunka thread by
cutting it on an angle.
STEP 2 - Making the Pupil
Glued unpulled thread
Masking tape
Stick this cut end to the
center of the pupil design
on the sticky side of the masking tape.
!
!
Coil the whole thread around the center point
until it covers the entire circle. If you are
having difficulty starting the coil, use a
toothpick or straight pin to hold down the
thread in the center.
69
!
Taper the end of whole
black bunka thread by
cutting it on an angle.
Glued unpulled thread
Masking tape
Stick this cut end to the
center of the pupil design
on the sticky side of the masking tape.
Coil the whole thread around the center point
until it covers the entire circle. If you are
having difficulty starting the coil, use a
toothpick or straight pin to hold down the
thread in the center.
69
!
Cut the end on an angle and tuck it tight
against the coil.
!
Cut the end on an angle and tuck it tight
against the coil.
!
Spread a thin layer of rice glue over the coil
and set aside to dry.
!
Spread a thin layer of rice glue over the coil
and set aside to dry.
STEP 3 - Padding
STEP 3 - Padding
The entire eye should be padded with
progressively larger sections of 3 levels of flat
stitching to create a mound or bulge in the top
center area. Each padding level should be
stitched in a different direction.
The entire eye should be padded with
progressively larger sections of 3 levels of flat
stitching to create a mound or bulge in the top
center area. Each padding level should be
stitched in a different direction.
!
First layer: Stitch the pupil
area.
!
First layer: Stitch the pupil
area.
!
Change direction and stitch
a second, larger layer over
the first layer, covering
approx. 2/3 of the entire eye
area.
!
Change direction and stitch
a second, larger layer over
the first layer, covering
approx. 2/3 of the entire eye
area.
!
Change direction, stitch the
third layer over the first two
layers, covering the whole
eye area but staying inside
the printed design line.
!
Change direction, stitch the
third layer over the first two
layers, covering the whole
eye area but staying inside
the printed design line.
70
70
!
Cut the end on an angle and tuck it tight
against the coil.
!
Cut the end on an angle and tuck it tight
against the coil.
!
Spread a thin layer of rice glue over the coil
and set aside to dry.
!
Spread a thin layer of rice glue over the coil
and set aside to dry.
STEP 3 - Padding
STEP 3 - Padding
The entire eye should be padded with
progressively larger sections of 3 levels of flat
stitching to create a mound or bulge in the top
center area. Each padding level should be
stitched in a different direction.
The entire eye should be padded with
progressively larger sections of 3 levels of flat
stitching to create a mound or bulge in the top
center area. Each padding level should be
stitched in a different direction.
!
First layer: Stitch the pupil
area.
!
First layer: Stitch the pupil
area.
!
Change direction and stitch
a second, larger layer over
the first layer, covering
approx. 2/3 of the entire eye
area.
!
Change direction and stitch
a second, larger layer over
the first layer, covering
approx. 2/3 of the entire eye
area.
!
Change direction, stitch the
third layer over the first two
layers, covering the whole
eye area but staying inside
the printed design line.
!
Change direction, stitch the
third layer over the first two
layers, covering the whole
eye area but staying inside
the printed design line.
70
70
STEP 4 - Gluing the Gold Ribbon
STEP 4 - Gluing the Gold Ribbon
!
Spread a layer of rice glue evenly over the
surface and edges of the padding.
!
Spread a layer of rice glue evenly over the
surface and edges of the padding.
!
Place the gold ribbon masking tape side down
over the glue.
!
Place the gold ribbon masking tape side down
over the glue.
!
Press and hold with your fingers until the
ribbon is secure.
!
Press and hold with your fingers until the
ribbon is secure.
STEP 5
!
STEP 5
Complete the surrounding flat stitching up to
the eye area.
STEP 6 - Attaching the Pupil
!
Complete the surrounding flat stitching up to
the eye area.
STEP 6 - Attaching the Pupil
!
Carefully peel the pupil off of the masking tape.
!
Carefully peel the pupil off of the masking tape.
!
Spread another thin layer
of glue to the same side
that was glued originally.
!
Spread another thin layer
of glue to the same side
that was glued originally.
!
Place glue side down, to
the top center of the gold
ribbon.
!
Place glue side down, to
the top center of the gold
ribbon.
Gold Ribbon
STEP 7 - Eyeliners
STEP 7 - Eyeliners
Around the pupil:
Around the pupil:
!
Carefully spread a thin,
circular line of glue around
the pupil as shown in the
diagram.
!
Gold Ribbon
Carefully spread a thin,
circular line of glue around
the pupil as shown in the
diagram.
71
STEP 4 - Gluing the Gold Ribbon
71
STEP 4 - Gluing the Gold Ribbon
!
Spread a layer of rice glue evenly over the
surface and edges of the padding.
!
Spread a layer of rice glue evenly over the
surface and edges of the padding.
!
Place the gold ribbon masking tape side down
over the glue.
!
Place the gold ribbon masking tape side down
over the glue.
!
Press and hold with your fingers until the
ribbon is secure.
!
Press and hold with your fingers until the
ribbon is secure.
STEP 5
!
STEP 5
Complete the surrounding flat stitching up to
the eye area.
STEP 6 - Attaching the Pupil
!
Complete the surrounding flat stitching up to
the eye area.
STEP 6 - Attaching the Pupil
!
Carefully peel the pupil off of the masking tape.
!
Carefully peel the pupil off of the masking tape.
!
Spread another thin layer
of glue to the same side
that was glued originally.
!
Spread another thin layer
of glue to the same side
that was glued originally.
!
Place glue side down, to
the top center of the gold
ribbon.
!
Place glue side down, to
the top center of the gold
ribbon.
Gold Ribbon
STEP 7 - Eyeliners
STEP 7 - Eyeliners
Around the pupil:
Around the pupil:
!
Carefully spread a thin,
circular line of glue around
the pupil as shown in the
diagram.
!
71
Gold Ribbon
Carefully spread a thin,
circular line of glue around
the pupil as shown in the
diagram.
71
!
Lay 2/4 pull along the glue
line.
!
Lay 2/4 pull along the glue
line.
STEP 8
STEP 8
Around the Entire Eye:
Around the Entire Eye:
!
Angle cut the end of whole
black thread.
!
Angle cut the end of whole
black thread.
!
Spread a line of glue along
the top and bottom edge of
the gold ribbon.
!
Spread a line of glue along
the top and bottom edge of
the gold ribbon.
Threads touching
!
Lay the whole thread along
the top edge, from corner to
corner. Cut the end on an
angle.
!
Lay the whole thread along
the top edge, from corner to
corner. Cut the end on an
angle.
!
Repeat for the bottom edge,
tucking in the cut ends to
keep it nice and neat.
!
Repeat for the bottom edge,
tucking in the cut ends to
keep it nice and neat.
!
Along the upper edge, glue
a second line of whole
thread above the first line.
!
Along the upper edge, glue
a second line of whole
thread above the first line.
Threads touching
STEP 9 - Highlight
STEP 9 - Highlight
The highlight is usually located at either 2:00
o'clock or 10:00. Refer to the coloured insert for
exact placement, some pictures have two
highlights in the same eye.
The highlight is usually located at either 2:00
o'clock or 10:00. Refer to the coloured insert for
exact placement, some pictures have two
highlights in the same eye.
72
!
72
Lay 2/4 pull along the glue
line.
!
Lay 2/4 pull along the glue
line.
STEP 8
STEP 8
Around the Entire Eye:
Around the Entire Eye:
!
Angle cut the end of whole
black thread.
!
Angle cut the end of whole
black thread.
!
Spread a line of glue along
the top and bottom edge of
the gold ribbon.
!
Spread a line of glue along
the top and bottom edge of
the gold ribbon.
Threads touching
!
Lay the whole thread along
the top edge, from corner to
corner. Cut the end on an
angle.
!
Lay the whole thread along
the top edge, from corner to
corner. Cut the end on an
angle.
!
Repeat for the bottom edge,
tucking in the cut ends to
keep it nice and neat.
!
Repeat for the bottom edge,
tucking in the cut ends to
keep it nice and neat.
!
Along the upper edge, glue
a second line of whole
thread above the first line.
!
Along the upper edge, glue
a second line of whole
thread above the first line.
Threads touching
STEP 9 - Highlight
STEP 9 - Highlight
The highlight is usually located at either 2:00
o'clock or 10:00. Refer to the coloured insert for
exact placement, some pictures have two
highlights in the same eye.
The highlight is usually located at either 2:00
o'clock or 10:00. Refer to the coloured insert for
exact placement, some pictures have two
highlights in the same eye.
72
72
Method 1
Method 1
!
Tie a knot in a short piece of white 3/4 pull
thread.
!
Tie a knot in a short piece of white 3/4 pull
thread.
!
Clip off the thread at both sides of the knot this leaves a small ball of thread.
!
Clip off the thread at both sides of the knot this leaves a small ball of thread.
!
Stick to the gold ribbon with a small dot of glue.
!
Stick to the gold ribbon with a small dot of glue.
Method 2
!
Method 2
Using whole (un-pulled) thread, cut off a tiny
piece (approx. 2 mm long) and glue onto the
gold ribbon.
SUMMARY
PROCEDURE FOR GOLD RIBBON
TIGER'S EYE
!
Using whole (un-pulled) thread, cut off a tiny
piece (approx. 2 mm long) and glue onto the
gold ribbon.
SUMMARY
PROCEDURE FOR GOLD RIBBON
TIGER'S EYE
Step 1
Trace the pattern for the whole eye and
the pupil onto masking tape.
Step 1
Trace the pattern for the whole eye and
the pupil onto masking tape.
Step 2
Make the pupil using whole thread.
Glue & set aside to dry.
Step 2
Make the pupil using whole thread.
Glue & set aside to dry.
Step 3
Pad the eye.
Step 3
Pad the eye.
Step 4
Glue the gold ribbon over the padding.
Step 4
Glue the gold ribbon over the padding.
Step 5
Complete any flat stitching right up to
the gold ribbon.
Step 5
Complete any flat stitching right up to
the gold ribbon.
Step 6
Glue the pupil to the top center of the
gold ribbon.
Step 6
Glue the pupil to the top center of the
gold ribbon.
Step 7
Glue circular line of 2/4 pull black thread to
the gold ribbon, around the pupil.
Step 7
Glue circular line of 2/4 pull black thread to
the gold ribbon, around the pupil.
Step 8
Glue 2 rows of whole thread above the eye
and 1 row below the eye.
Step 8
Glue 2 rows of whole thread above the eye
and 1 row below the eye.
Step 9
Glue highlight.
Step 9
Glue highlight.
73
Method 1
73
Method 1
!
Tie a knot in a short piece of white 3/4 pull
thread.
!
Tie a knot in a short piece of white 3/4 pull
thread.
!
Clip off the thread at both sides of the knot this leaves a small ball of thread.
!
Clip off the thread at both sides of the knot this leaves a small ball of thread.
!
Stick to the gold ribbon with a small dot of glue.
!
Stick to the gold ribbon with a small dot of glue.
Method 2
!
Method 2
Using whole (un-pulled) thread, cut off a tiny
piece (approx. 2 mm long) and glue onto the
gold ribbon.
SUMMARY
PROCEDURE FOR GOLD RIBBON
TIGER'S EYE
!
Using whole (un-pulled) thread, cut off a tiny
piece (approx. 2 mm long) and glue onto the
gold ribbon.
SUMMARY
PROCEDURE FOR GOLD RIBBON
TIGER'S EYE
Step 1
Trace the pattern for the whole eye and
the pupil onto masking tape.
Step 1
Trace the pattern for the whole eye and
the pupil onto masking tape.
Step 2
Make the pupil using whole thread.
Glue & set aside to dry.
Step 2
Make the pupil using whole thread.
Glue & set aside to dry.
Step 3
Pad the eye.
Step 3
Pad the eye.
Step 4
Glue the gold ribbon over the padding.
Step 4
Glue the gold ribbon over the padding.
Step 5
Complete any flat stitching right up to
the gold ribbon.
Step 5
Complete any flat stitching right up to
the gold ribbon.
Step 6
Glue the pupil to the top center of the
gold ribbon.
Step 6
Glue the pupil to the top center of the
gold ribbon.
Step 7
Glue circular line of 2/4 pull black thread to
the gold ribbon, around the pupil.
Step 7
Glue circular line of 2/4 pull black thread to
the gold ribbon, around the pupil.
Step 8
Glue 2 rows of whole thread above the eye
and 1 row below the eye.
Step 8
Glue 2 rows of whole thread above the eye
and 1 row below the eye.
Step 9
Glue highlight.
Step 9
Glue highlight.
73
73
EYES STITCHED
EYES STITCHED
The stitched eye is much softer in appearance as
compared to gold ribbon eye that lends a more
fierce appearance. Either 1/4 Pull or 2/4 Pull
Thread can be used.
The stitched eye is much softer in appearance as
compared to gold ribbon eye that lends a more
fierce appearance. Either 1/4 Pull or 2/4 Pull
Thread can be used.
APPLICATION
APPLICATION
Animals, birds, fish, people.
Animals, birds, fish, people.
TECHNIQUE
TECHNIQUE
!
Outline the whole eye area first. This will help
you retain the exact shape of the eye.
!
Outline the whole eye area first. This will help
you retain the exact shape of the eye.
!
Outline the top edge of the iris.
!
Outline the top edge of the iris.
!
Stitch the iris with the
appropriate colour,
working over the top and
bottom outlines.
!
Stitch the iris with the
appropriate colour,
working over the top and
bottom outlines.
!
Stitch and cuts with a complimentary colour
may be added for accent.
!
Stitch and cuts with a complimentary colour
may be added for accent.
!
Pad the pupil area, reversing stitch direction
with each layer. The number of layers may
vary depending on the size and image.
Overstitch padding with smooth Satin Stitch.
Recouvrir le rembourrage en point de plumetis
(Satin Stitch) lisse.
!
Pad the pupil area, reversing stitch direction
with each layer. The number of layers may
vary depending on the size and image.
Overstitch padding with smooth Satin Stitch.
Recouvrir le rembourrage en point de plumetis
(Satin Stitch) lisse.
74
74
EYES STITCHED
EYES STITCHED
The stitched eye is much softer in appearance as
compared to gold ribbon eye that lends a more
fierce appearance. Either 1/4 Pull or 2/4 Pull
Thread can be used.
The stitched eye is much softer in appearance as
compared to gold ribbon eye that lends a more
fierce appearance. Either 1/4 Pull or 2/4 Pull
Thread can be used.
APPLICATION
APPLICATION
Animals, birds, fish, people.
Animals, birds, fish, people.
TECHNIQUE
TECHNIQUE
!
Outline the whole eye area first. This will help
you retain the exact shape of the eye.
!
Outline the whole eye area first. This will help
you retain the exact shape of the eye.
!
Outline the top edge of the iris.
!
Outline the top edge of the iris.
!
Stitch the iris with the
appropriate colour,
working over the top and
bottom outlines.
!
Stitch the iris with the
appropriate colour,
working over the top and
bottom outlines.
!
Stitch and cuts with a complimentary colour
may be added for accent.
!
Stitch and cuts with a complimentary colour
may be added for accent.
!
Pad the pupil area, reversing stitch direction
with each layer. The number of layers may
vary depending on the size and image.
Overstitch padding with smooth Satin Stitch.
Recouvrir le rembourrage en point de plumetis
(Satin Stitch) lisse.
!
Pad the pupil area, reversing stitch direction
with each layer. The number of layers may
vary depending on the size and image.
Overstitch padding with smooth Satin Stitch.
Recouvrir le rembourrage en point de plumetis
(Satin Stitch) lisse.
74
74
!
Lashes - place a mixture of
short and long Pine Needle
Stitches and Stitch & Cuts
along the top edge of the
pupil.
!
Lashes - place a mixture of
short and long Pine Needle
Stitches and Stitch & Cuts
along the top edge of the
pupil.
!
Use either a Clip Stitch, Reverse Stitch or Picot
to place a highlight on the same spot for both
eyes.
!
Use either a Clip Stitch, Reverse Stitch or Picot
to place a highlight on the same spot for both
eyes.
FACES
FACES
To create the proper contours
for facial features, stitch
direction and shading are
extremely important. Faint
guidelines should be drawn on
the canvas with pencil to ensure
the correct flow of stitches.
To create the proper contours
for facial features, stitch
direction and shading are
extremely important. Faint
guidelines should be drawn on
the canvas with pencil to ensure
the correct flow of stitches.
!
Stitch the outline of the eye
with bunka thread so that
the exact size and shape of
the eye is not lost when
working on the surrounding
areas.
!
Stitch the outline of the eye
with bunka thread so that
the exact size and shape of
the eye is not lost when
working on the surrounding
areas.
75
75
!
Lashes - place a mixture of
short and long Pine Needle
Stitches and Stitch & Cuts
along the top edge of the
pupil.
!
Lashes - place a mixture of
short and long Pine Needle
Stitches and Stitch & Cuts
along the top edge of the
pupil.
!
Use either a Clip Stitch, Reverse Stitch or Picot
to place a highlight on the same spot for both
eyes.
!
Use either a Clip Stitch, Reverse Stitch or Picot
to place a highlight on the same spot for both
eyes.
FACES
FACES
To create the proper contours
for facial features, stitch
direction and shading are
extremely important. Faint
guidelines should be drawn on
the canvas with pencil to ensure
the correct flow of stitches.
To create the proper contours
for facial features, stitch
direction and shading are
extremely important. Faint
guidelines should be drawn on
the canvas with pencil to ensure
the correct flow of stitches.
!
Stitch the outline of the eye
with bunka thread so that
the exact size and shape of
the eye is not lost when
working on the surrounding
areas.
!
75
Stitch the outline of the eye
with bunka thread so that
the exact size and shape of
the eye is not lost when
working on the surrounding
areas.
75
!
First, stitch the white area of
the eye in a horizontal
direction.
!
First, stitch the white area of
the eye in a horizontal
direction.
!
Second, complete the iris or
coloured part in a circular
direction with smooth short
stitches.
!
Second, complete the iris or
coloured part in a circular
direction with smooth short
stitches.
!
Third, complete the pupil or
black center area of the eye
in circulation direction. Place
small Stitch & cuts around
the iris.
!
Third, complete the pupil or
black center area of the eye
in circulation direction. Place
small Stitch & cuts around
the iris.
!
Fourth, place a small stitch
on the pupil to create a
highlight and to give the eye
a focal point.
!
Fourth, place a small stitch
on the pupil to create a
highlight and to give the eye
a focal point.
Highlight
Highlight
!
The large skin areas (cheeks, forehead) are
stitched next with Flat Stitch, carefully following
the penciled guidelines. Work as smooth as
possible with special attention given to good
blending.
!
The large skin areas (cheeks, forehead) are
stitched next with Flat Stitch, carefully following
the penciled guidelines. Work as smooth as
possible with special attention given to good
blending.
!
Nose:
!
Nose:
!
The nostrils should be stitched first with small
stitches. Pull down each stitch to make sure
they are as close to the canvas as possible.
!
The nostrils should be stitched first with small
stitches. Pull down each stitch to make sure
they are as close to the canvas as possible.
!
The tip and bridge of the
nose should be lightly
padded to give a raised
effect.
!
The tip and bridge of the
nose should be lightly
padded to give a raised
effect.
76
76
!
First, stitch the white area of
the eye in a horizontal
direction.
!
First, stitch the white area of
the eye in a horizontal
direction.
!
Second, complete the iris or
coloured part in a circular
direction with smooth short
stitches.
!
Second, complete the iris or
coloured part in a circular
direction with smooth short
stitches.
!
Third, complete the pupil or
black center area of the eye
in circulation direction. Place
small Stitch & cuts around
the iris.
!
Third, complete the pupil or
black center area of the eye
in circulation direction. Place
small Stitch & cuts around
the iris.
!
Fourth, place a small stitch
on the pupil to create a
highlight and to give the eye
a focal point.
!
Fourth, place a small stitch
on the pupil to create a
highlight and to give the eye
a focal point.
Highlight
Highlight
!
The large skin areas (cheeks, forehead) are
stitched next with Flat Stitch, carefully following
the penciled guidelines. Work as smooth as
possible with special attention given to good
blending.
!
The large skin areas (cheeks, forehead) are
stitched next with Flat Stitch, carefully following
the penciled guidelines. Work as smooth as
possible with special attention given to good
blending.
!
Nose:
!
Nose:
!
The nostrils should be stitched first with small
stitches. Pull down each stitch to make sure
they are as close to the canvas as possible.
!
The nostrils should be stitched first with small
stitches. Pull down each stitch to make sure
they are as close to the canvas as possible.
!
The tip and bridge of the
nose should be lightly
padded to give a raised
effect.
!
The tip and bridge of the
nose should be lightly
padded to give a raised
effect.
76
76
Eyebrows :
!
Eyebrows :
!
!
Horizontal direction gives a
defined effect, preferable
for ladies faces.
!
Horizontal direction gives a
defined effect, preferable
for ladies faces.
!
Stitches worked vertically
on a slight angle creates a more shaggy
effect.
!
Stitches worked vertically
on a slight angle creates a more shaggy
effect.
Outlines:
!
Outlines:
!
An outline around the face and hands is
evident on some kits. Rather than a stitched
row of Running Stitch, a strand of 2/4 pull
thread is glued on which creates a more
natural, subtle effect.
Place a small amount of rice glue on your
Fingers. Run 12" of 2/4 pull thread in the
appropriate colour between your fingers and
through the glue. This will stretch out the
thread to a single straight thread removing all
the curl. Carefully place glued thread along
desired areas. Refer to the insert.
!
An outline around the face and hands is
evident on some kits. Rather than a stitched
row of Running Stitch, a strand of 2/4 pull
thread is glued on which creates a more
natural, subtle effect.
Place a small amount of rice glue on your
Fingers. Run 12" of 2/4 pull thread in the
appropriate colour between your fingers and
through the glue. This will stretch out the
thread to a single straight thread removing all
the curl. Carefully place glued thread along
desired areas. Refer to the insert.
!
FEATHERING STITCH
FEATHERING STITCH
Creates a soft downy, or misty appearance
to a specified location. Feathering stitch should
look very different from the fluffy stitch.
Feathering stitch should be very transparent
and lays flat on your base layer of stitching.
Creates a soft downy, or misty appearance
to a specified location. Feathering stitch should
look very different from the fluffy stitch.
Feathering stitch should be very transparent
and lays flat on your base layer of stitching.
77
Eyebrows :
!
77
Eyebrows :
!
!
Horizontal direction gives a
defined effect, preferable
for ladies faces.
!
Horizontal direction gives a
defined effect, preferable
for ladies faces.
!
Stitches worked vertically
on a slight angle creates a more shaggy
effect.
!
Stitches worked vertically
on a slight angle creates a more shaggy
effect.
!
Outlines:
!
An outline around the face and hands is
evident on some kits. Rather than a stitched
row of Running Stitch, a strand of 2/4 pull
thread is glued on which creates a more
natural, subtle effect.
!
Place a small amount of rice glue on your
Fingers. Run 12" of 2/4 pull thread in the
appropriate colour between your fingers and
through the glue. This will stretch out the
thread to a single straight thread removing all
the curl. Carefully place glued thread along
desired areas. Refer to the insert.
Outlines:
An outline around the face and hands is
evident on some kits. Rather than a stitched
row of Running Stitch, a strand of 2/4 pull
thread is glued on which creates a more
natural, subtle effect.
!
Place a small amount of rice glue on your
Fingers. Run 12" of 2/4 pull thread in the
appropriate colour between your fingers and
through the glue. This will stretch out the
thread to a single straight thread removing all
the curl. Carefully place glued thread along
desired areas. Refer to the insert.
FEATHERING STITCH
FEATHERING STITCH
Creates a soft downy, or misty appearance
to a specified location. Feathering stitch should
look very different from the fluffy stitch.
Feathering stitch should be very transparent
and lays flat on your base layer of stitching.
Creates a soft downy, or misty appearance
to a specified location. Feathering stitch should
look very different from the fluffy stitch.
Feathering stitch should be very transparent
and lays flat on your base layer of stitching.
77
77
APPLICATION
APPLICATION
Used in soft fur on an animal, mist at the
bottom of a mountain, center of petals.
Used in soft fur on an animal, mist at the
bottom of a mountain, center of petals.
TECHNIQUE
TECHNIQUE
!
stitch a base layer of regular stitching, 2/4
thread pull and 3/8" length stitches to cover
your area
!
stitch a base layer of regular stitching, 2/4
thread pull and 3/8" length stitches to cover
your area
!
overlay every third row of flat stitches with 1/4
thread pull, stitches 3/8" in length, in the same
direction as the under base stitching
!
overlay every third row of flat stitches with 1/4
thread pull, stitches 3/8" in length, in the same
direction as the under base stitching
!
using a firm toothbrush, brush top of stitching
!
using a firm toothbrush, brush top of stitching
!
!
use your fingers on your empty hand to apply
pressure underneath the canvas. This will help
in raising the stitched area
for areas requiring a longer silkier look - use a
percolator brush.
TOOTHBRUSH
!
!
use your fingers on your empty hand to apply
pressure underneath the canvas. This will help
in raising the stitched area
for areas requiring a longer silkier look - use a
percolator brush.
PERCOLATOR BRUSH
TOOTHBRUSH
COMPLETED FEATHERING
PERCOLATOR BRUSH
COMPLETED FEATHERING
78
78
APPLICATION
APPLICATION
Used in soft fur on an animal, mist at the
bottom of a mountain, center of petals.
Used in soft fur on an animal, mist at the
bottom of a mountain, center of petals.
TECHNIQUE
TECHNIQUE
!
stitch a base layer of regular stitching, 2/4
thread pull and 3/8" length stitches to cover
your area
!
stitch a base layer of regular stitching, 2/4
thread pull and 3/8" length stitches to cover
your area
!
overlay every third row of flat stitches with 1/4
thread pull, stitches 3/8" in length, in the same
direction as the under base stitching
!
overlay every third row of flat stitches with 1/4
thread pull, stitches 3/8" in length, in the same
direction as the under base stitching
!
using a firm toothbrush, brush top of stitching
!
using a firm toothbrush, brush top of stitching
!
!
use your fingers on your empty hand to apply
pressure underneath the canvas. This will help
in raising the stitched area
for areas requiring a longer silkier look - use a
percolator brush.
TOOTHBRUSH
!
!
use your fingers on your empty hand to apply
pressure underneath the canvas. This will help
in raising the stitched area
for areas requiring a longer silkier look - use a
percolator brush.
PERCOLATOR BRUSH
TOOTHBRUSH
COMPLETED FEATHERING
78
PERCOLATOR BRUSH
COMPLETED FEATHERING
78
TRIMMING AND SHAPING
!
TRIMMING AND SHAPING
the slant ended clippers are the easiest
instrument to use for trimming.
!
Picture "A"
the slant ended clippers are the easiest
instrument to use for trimming.
Picture "A"
TRIM
TRIM
!
brush the feathering FLAT to the surface of
the canvas in the proper direction
!
brush the feathering FLAT to the surface of
the canvas in the proper direction
!
edges may be smooth or ragged.
!
edges may be smooth or ragged.
!
check insert of individual pictures for
requirements.
!
check insert of individual pictures for
requirements.
Picture "B"
Picture "B"
FISH EYES
FISH EYES
The circular area of a fish eye is stitched first with
regular 2/4 thread. To ensure that the shape and
size of the pupil are kept as precise as possible,
take a pattern of the pupil area with masking tape
before doing any stitching. The pupil is made out
of whole thread and later glued on top of the
stitched area.
The circular area of a fish eye is stitched first with
regular 2/4 thread. To ensure that the shape and
size of the pupil are kept as precise as possible,
take a pattern of the pupil area with masking tape
before doing any stitching. The pupil is made out
of whole thread and later glued on top of the
stitched area.
79
TRIMMING AND SHAPING
!
79
TRIMMING AND SHAPING
the slant ended clippers are the easiest
instrument to use for trimming.
!
Picture "A"
the slant ended clippers are the easiest
instrument to use for trimming.
Picture "A"
TRIM
TRIM
!
brush the feathering FLAT to the surface of
the canvas in the proper direction
!
brush the feathering FLAT to the surface of
the canvas in the proper direction
!
edges may be smooth or ragged.
!
edges may be smooth or ragged.
!
check insert of individual pictures for
requirements.
!
check insert of individual pictures for
requirements.
Picture "B"
Picture "B"
FISH EYES
FISH EYES
The circular area of a fish eye is stitched first with
regular 2/4 thread. To ensure that the shape and
size of the pupil are kept as precise as possible,
take a pattern of the pupil area with masking tape
before doing any stitching. The pupil is made out
of whole thread and later glued on top of the
stitched area.
The circular area of a fish eye is stitched first with
regular 2/4 thread. To ensure that the shape and
size of the pupil are kept as precise as possible,
take a pattern of the pupil area with masking tape
before doing any stitching. The pupil is made out
of whole thread and later glued on top of the
stitched area.
79
79
Supplies you will need:
Rice Glue
Scissors
Masking tape
Straight Pin
Toothpick
STEP 1 - PATTERN OF PUPIL
!
Supplies you will need:
Stick a small piece of
masking tape behind the eye
on the back of the canvas.
For light-coloured canvas,
hold the work frame up
to the light and trace the
outline of the whole eye onto the
masking tape. For black canvas, use the
straight pin to punch holes through the masking
tape from the front of the canvas following the
outline of the eye.
STEP 2 - MAKING THE PUPIL
Rice Glue
Scissors
Masking tape
Straight Pin
Toothpick
STEP 1 - PATTERN OF PUPIL
!
Stick a small piece of
masking tape behind the eye
on the back of the canvas.
For light-coloured canvas,
hold the work frame up
to the light and trace the
outline of the whole eye onto the
masking tape. For black canvas, use the
straight pin to punch holes through the masking
tape from the front of the canvas following the
outline of the eye.
STEP 2 - MAKING THE PUPIL
!
Taper the end of whole black
bunka thread by cutting it on
an angle.
!
Taper the end of whole black
bunka thread by cutting it on
an angle.
!
Stick this cut end to the center of the masking
tape tracing.
!
Stick this cut end to the center of the masking
tape tracing.
!
Coil the whole thread around
the center point until it covers
the entire circle. If you are
having difficulty starting the
coil, use a toothpick or
straight pin to hold down the
thread in the center.
!
Coil the whole thread around
the center point until it covers
the entire circle. If you are
having difficulty starting the
coil, use a toothpick or
straight pin to hold down the
thread in the center.
80
80
Supplies you will need:
Rice Glue
Scissors
Masking tape
Straight Pin
Toothpick
STEP 1 - PATTERN OF PUPIL
!
Supplies you will need:
Stick a small piece of
masking tape behind the eye
on the back of the canvas.
For light-coloured canvas,
hold the work frame up
to the light and trace the
outline of the whole eye onto the
masking tape. For black canvas, use the
straight pin to punch holes through the masking
tape from the front of the canvas following the
outline of the eye.
STEP 2 - MAKING THE PUPIL
Rice Glue
Scissors
Masking tape
Straight Pin
Toothpick
STEP 1 - PATTERN OF PUPIL
!
Stick a small piece of
masking tape behind the eye
on the back of the canvas.
For light-coloured canvas,
hold the work frame up
to the light and trace the
outline of the whole eye onto the
masking tape. For black canvas, use the
straight pin to punch holes through the masking
tape from the front of the canvas following the
outline of the eye.
STEP 2 - MAKING THE PUPIL
!
Taper the end of whole black
bunka thread by cutting it on
an angle.
!
Taper the end of whole black
bunka thread by cutting it on
an angle.
!
Stick this cut end to the center of the masking
tape tracing.
!
Stick this cut end to the center of the masking
tape tracing.
!
Coil the whole thread around
the center point until it covers
the entire circle. If you are
having difficulty starting the
coil, use a toothpick or
straight pin to hold down the
thread in the center.
!
Coil the whole thread around
the center point until it covers
the entire circle. If you are
having difficulty starting the
coil, use a toothpick or
straight pin to hold down the
thread in the center.
80
80
!
Cut the end on an angle and tuck it tight
against the coil.
!
Cut the end on an angle and tuck it tight
against the coil.
!
Spread a thin layer of rice glue over the coil.
Set aside to dry.
!
Spread a thin layer of rice glue over the coil.
Set aside to dry.
STEP 3 - STITCHING
!
!
STEP 3 - STITCHING
Stitch each section of the
eye with Satin Stitch in the
appropriate colour.
!
When stitching the round
part, use Seaming technique
to mark the outline of the
pupil.
!
STEP 4 - PLACEMENT OF PUPIL
Stitch each section of the
eye with Satin Stitch in the
appropriate colour.
When stitching the round
part, use Seaming technique
to mark the outline of the
pupil.
STEP 4 - PLACEMENT OF PUPIL
!
Carefully peel the pupil from the masking tape.
!
Carefully peel the pupil from the masking tape.
!
Apply another thin layer of rice glue over the
same side as was previously glued.
!
Apply another thin layer of rice glue over the
same side as was previously glued.
!
Place on the stitching.
!
Place on the stitching.
!
Fish pupils do not have highlights.
!
Fish pupils do not have highlights.
STEP 5 - OUTLINE
!
STEP 5 - OUTLINE
Some of the edges can be outlined with a row
of Running Stitch - refer to the insert.
!
Some of the edges can be outlined with a row
of Running Stitch - refer to the insert.
81
81
!
Cut the end on an angle and tuck it tight
against the coil.
!
Cut the end on an angle and tuck it tight
against the coil.
!
Spread a thin layer of rice glue over the coil.
Set aside to dry.
!
Spread a thin layer of rice glue over the coil.
Set aside to dry.
STEP 3 - STITCHING
!
!
STEP 3 - STITCHING
Stitch each section of the
eye with Satin Stitch in the
appropriate colour.
!
When stitching the round
part, use Seaming technique
to mark the outline of the
pupil.
!
STEP 4 - PLACEMENT OF PUPIL
Stitch each section of the
eye with Satin Stitch in the
appropriate colour.
When stitching the round
part, use Seaming technique
to mark the outline of the
pupil.
STEP 4 - PLACEMENT OF PUPIL
!
Carefully peel the pupil from the masking tape.
!
Carefully peel the pupil from the masking tape.
!
Apply another thin layer of rice glue over the
same side as was previously glued.
!
Apply another thin layer of rice glue over the
same side as was previously glued.
!
Place on the stitching.
!
Place on the stitching.
!
Fish pupils do not have highlights.
!
Fish pupils do not have highlights.
STEP 5 - OUTLINE
!
STEP 5 - OUTLINE
Some of the edges can be outlined with a row
of Running Stitch - refer to the insert.
81
!
Some of the edges can be outlined with a row
of Running Stitch - refer to the insert.
81
FISH, FEELERS & MOUTH
FISH, FEELERS & MOUTH
These areas are stitched after the head area is
completed. 3/4 Polished Thread is placed over a
padding layer.
These areas are stitched after the head area is
completed. 3/4 Polished Thread is placed over a
padding layer.
TECHNIQUE
TECHNIQUE
!
Line pad around each feeler
and around the mouth or lip
area.
!
Line pad around each feeler
and around the mouth or lip
area.
!
Fill in with Solid Padding in
the direction indicated by
the Padding Symbol.
!
Fill in with Solid Padding in
the direction indicated by
the Padding Symbol.
!
With 3/4 Polished Thread in
the appropriate colour, work
over the padding with Satin
Stitch on an angle. All the
edges should be smooth
and neat.
!
With 3/4 Polished Thread in
the appropriate colour, work
over the padding with Satin
Stitch on an angle. All the
edges should be smooth
and neat.
The tip of each feeler should end with a single
thread to make it look sharp & pointed.
!
Finish off by running an
outline along the bottom
edge of each feeler and
the mouth. Refer to the
insert.
The tip of each feeler should end with a single
thread to make it look sharp & pointed.
!
82
Finish off by running an
outline along the bottom
edge of each feeler and
the mouth. Refer to the
insert.
82
FISH, FEELERS & MOUTH
FISH, FEELERS & MOUTH
These areas are stitched after the head area is
completed. 3/4 Polished Thread is placed over a
padding layer.
These areas are stitched after the head area is
completed. 3/4 Polished Thread is placed over a
padding layer.
TECHNIQUE
TECHNIQUE
!
Line pad around each feeler
and around the mouth or lip
area.
!
Line pad around each feeler
and around the mouth or lip
area.
!
Fill in with Solid Padding in
the direction indicated by
the Padding Symbol.
!
Fill in with Solid Padding in
the direction indicated by
the Padding Symbol.
!
With 3/4 Polished Thread in
the appropriate colour, work
over the padding with Satin
Stitch on an angle. All the
edges should be smooth
and neat.
!
With 3/4 Polished Thread in
the appropriate colour, work
over the padding with Satin
Stitch on an angle. All the
edges should be smooth
and neat.
The tip of each feeler should end with a single
thread to make it look sharp & pointed.
!
Finish off by running an
outline along the bottom
edge of each feeler and
the mouth. Refer to the
insert.
82
The tip of each feeler should end with a single
thread to make it look sharp & pointed.
!
Finish off by running an
outline along the bottom
edge of each feeler and
the mouth. Refer to the
insert.
82
FISH, SCALES
FISH, SCALES
Scales are stitched two times using Padding,
Double Stitching technique. The top layer can be
a different colour from the padding layer.
Scales are stitched two times using Padding,
Double Stitching technique. The top layer can be
a different colour from the padding layer.
Each scale should be
clearly defined with a
smooth indentation around
the outer edge. Some
scales are screen-printed
with dark lines. The dark,
thick screen-printing
should be left showing
between the scales
thereby creating a definite
space. The scales with
light screen-printing will
appear closer together and
will be outlined.
Each scale should be
clearly defined with a
smooth indentation around
the outer edge. Some
scales are screen-printed
with dark lines. The dark,
thick screen-printing
should be left showing
between the scales
thereby creating a definite
space. The scales with
light screen-printing will
appear closer together and
will be outlined.
TECHNIQUE
TECHNIQUE
!
Stitch direction for each scale follows the flow
of the body from the tail up to the head.
!
Stitch direction for each scale follows the flow
of the body from the tail up to the head.
!
To follow the natural overlapping effect of fish
scales, complete one scale at a time, starting
with the scales closest to the tail and working
up to the head.
!
To follow the natural overlapping effect of fish
scales, complete one scale at a time, starting
with the scales closest to the tail and working
up to the head.
!
Fill in with Satin Stitch, working inside the
Screen-printed line.
!
Fill in with Satin Stitch, working inside the
Screen-printed line.
!
To work the second layer, you do not have to
cut the thread - On the last punch, leave the
needle in the canvas, turn the work frame and
stitch the top layer.
!
To work the second layer, you do not have to
cut the thread - On the last punch, leave the
needle in the canvas, turn the work frame and
stitch the top layer.
83
83
FISH, SCALES
FISH, SCALES
Scales are stitched two times using Padding,
Double Stitching technique. The top layer can be
a different colour from the padding layer.
Scales are stitched two times using Padding,
Double Stitching technique. The top layer can be
a different colour from the padding layer.
Each scale should be
clearly defined with a
smooth indentation around
the outer edge. Some
scales are screen-printed
with dark lines. The dark,
thick screen-printing
should be left showing
between the scales
thereby creating a definite
space. The scales with
light screen-printing will
appear closer together and
will be outlined.
Each scale should be
clearly defined with a
smooth indentation around
the outer edge. Some
scales are screen-printed
with dark lines. The dark,
thick screen-printing
should be left showing
between the scales
thereby creating a definite
space. The scales with
light screen-printing will
appear closer together and
will be outlined.
TECHNIQUE
TECHNIQUE
!
Stitch direction for each scale follows the flow
of the body from the tail up to the head.
!
Stitch direction for each scale follows the flow
of the body from the tail up to the head.
!
To follow the natural overlapping effect of fish
scales, complete one scale at a time, starting
with the scales closest to the tail and working
up to the head.
!
To follow the natural overlapping effect of fish
scales, complete one scale at a time, starting
with the scales closest to the tail and working
up to the head.
!
Fill in with Satin Stitch, working inside the
Screen-printed line.
!
Fill in with Satin Stitch, working inside the
Screen-printed line.
!
To work the second layer, you do not have to
cut the thread - On the last punch, leave the
needle in the canvas, turn the work frame and
stitch the top layer.
!
To work the second layer, you do not have to
cut the thread - On the last punch, leave the
needle in the canvas, turn the work frame and
stitch the top layer.
83
83
!
Outline the scales which were screen-printed
with the light lines one at a time with the
appropriate colour.
FISH, STITCH ORDER
!
Outline the scales which were screen-printed
with the light lines one at a time with the
appropriate colour.
FISH, STITCH ORDER
!
Complete any fins that are behind the body of
the fish.
!
Complete any fins that are behind the body of
the fish.
!
Stitch the scales starting from the tail and
working towards the head.
!
Stitch the scales starting from the tail and
working towards the head.
!
Stitch the head.
!
Stitch the head.
!
Stitch the eye.
!
Stitch the eye.
!
Pad and stitch the mouth and feelers.
!
Pad and stitch the mouth and feelers.
!
Complete the dorsal fin and any fins that are in
front of the body.
!
Complete the dorsal fin and any fins that are in
front of the body.
FLAT STITCH
FLAT STITCH
(also referred to as Sky Stitch)
(also referred to as Sky Stitch)
Consists of rows of Running Stitch stitched sideby-side creating an area of very smooth, even
stitching which lies very flat to the canvas.
Consists of rows of Running Stitch stitched sideby-side creating an area of very smooth, even
stitching which lies very flat to the canvas.
APPLICATION
APPLICATION
All areas that require 2 or more stitches to cover;
example: sky, water, etc. Rows of sky or water
areas should always be perfectly horizontal.
All areas that require 2 or more stitches to cover;
example: sky, water, etc. Rows of sky or water
areas should always be perfectly horizontal.
84
!
Outline the scales which were screen-printed
with the light lines one at a time with the
appropriate colour.
FISH, STITCH ORDER
84
!
Outline the scales which were screen-printed
with the light lines one at a time with the
appropriate colour.
FISH, STITCH ORDER
!
Complete any fins that are behind the body of
the fish.
!
Complete any fins that are behind the body of
the fish.
!
Stitch the scales starting from the tail and
working towards the head.
!
Stitch the scales starting from the tail and
working towards the head.
!
Stitch the head.
!
Stitch the head.
!
Stitch the eye.
!
Stitch the eye.
!
Pad and stitch the mouth and feelers.
!
Pad and stitch the mouth and feelers.
!
Complete the dorsal fin and any fins that are in
front of the body.
!
Complete the dorsal fin and any fins that are in
front of the body.
FLAT STITCH
FLAT STITCH
(also referred to as Sky Stitch)
(also referred to as Sky Stitch)
Consists of rows of Running Stitch stitched sideby-side creating an area of very smooth, even
stitching which lies very flat to the canvas.
Consists of rows of Running Stitch stitched sideby-side creating an area of very smooth, even
stitching which lies very flat to the canvas.
APPLICATION
APPLICATION
All areas that require 2 or more stitches to cover;
example: sky, water, etc. Rows of sky or water
areas should always be perfectly horizontal.
All areas that require 2 or more stitches to cover;
example: sky, water, etc. Rows of sky or water
areas should always be perfectly horizontal.
84
84
TECHNIQUE
TECHNIQUE
!
Important - use one of
the fingers of your left
hand under the canvas.
As the needle is
withdrawn, press your
fingertip gently on the
point of the needle.
When the needle is
pulled completely back,
the loop of the thread is
pressed securely under your finger. Proceed to
the next stitch and repeat. Your left hand finger
will move along the back of the canvas in this
manner. With experience, this action will
become automatic. Be careful not to punch
your finger!
!
Important - use one of
the fingers of your left
hand under the canvas.
As the needle is
withdrawn, press your
fingertip gently on the
point of the needle.
When the needle is
pulled completely back,
the loop of the thread is
pressed securely under your finger. Proceed to
the next stitch and repeat. Your left hand finger
will move along the back of the canvas in this
manner. With experience, this action will
become automatic. Be careful not to punch
your finger!
!
Turn the work frame so that the rows are
worked up and down the area, moving left to
right across the canvas. For proper stitch
alignment, never try to do Flat Stitching by
working horizontally across the canvas.
!
Turn the work frame so that the rows are
worked up and down the area, moving left to
right across the canvas. For proper stitch
alignment, never try to do Flat Stitching by
working horizontally across the canvas.
!
Turn the work frame so
that the top of the area
is positioned on the left
hand side. When you
start stitching the rows
the needle should be
moving towards and
away from your body.
!
Turn the work frame so
that the top of the area
is positioned on the left
hand side. When you
start stitching the rows
the needle should be
moving towards and
away from your body.
85
TECHNIQUE
85
TECHNIQUE
!
Important - use one of
the fingers of your left
hand under the canvas.
As the needle is
withdrawn, press your
fingertip gently on the
point of the needle.
When the needle is
pulled completely back,
the loop of the thread is
pressed securely under your finger. Proceed to
the next stitch and repeat. Your left hand finger
will move along the back of the canvas in this
manner. With experience, this action will
become automatic. Be careful not to punch
your finger!
!
Important - use one of
the fingers of your left
hand under the canvas.
As the needle is
withdrawn, press your
fingertip gently on the
point of the needle.
When the needle is
pulled completely back,
the loop of the thread is
pressed securely under your finger. Proceed to
the next stitch and repeat. Your left hand finger
will move along the back of the canvas in this
manner. With experience, this action will
become automatic. Be careful not to punch
your finger!
!
Turn the work frame so that the rows are
worked up and down the area, moving left to
right across the canvas. For proper stitch
alignment, never try to do Flat Stitching by
working horizontally across the canvas.
!
Turn the work frame so that the rows are
worked up and down the area, moving left to
right across the canvas. For proper stitch
alignment, never try to do Flat Stitching by
working horizontally across the canvas.
!
Turn the work frame so
that the top of the area
is positioned on the left
hand side. When you
start stitching the rows
the needle should be
moving towards and
away from your body.
!
Turn the work frame so
that the top of the area
is positioned on the left
hand side. When you
start stitching the rows
the needle should be
moving towards and
away from your body.
85
85
!
Since a 'punch mark' is
created at the point where
the needle has gone
through the canvas, it is
necessary to stagger the
stitch length on subsequent
rows to avoid creating a
line of punch marks. To do
this vary the stitch length
from 1/4" to 3/4" (never
any longer than this).
!
Since a 'punch mark' is
created at the point where
the needle has gone
through the canvas, it is
necessary to stagger the
stitch length on subsequent
rows to avoid creating a
line of punch marks. To do
this vary the stitch length
from 1/4" to 3/4" (never
any longer than this).
!
When stitching the
background area (sky,
water, etc.) the stitches
run in horizontal rows,
back and forth. If a
cloud or mountain is in
the stitching path, you
must work your rows back and forth from this
item. After you have finished working along
one side of the cloud, cut your thread and
return back to the other side and continue.
Use Seaming technique to mark thin line
markings (eg. tip of tree branch).
!
When stitching the
background area (sky,
water, etc.) the stitches
run in horizontal rows,
back and forth. If a
cloud or mountain is in
the stitching path, you
must work your rows back and forth from this
item. After you have finished working along
one side of the cloud, cut your thread and
return back to the other side and continue.
Use Seaming technique to mark thin line
markings (eg. tip of tree branch).
FIRST ROW
FIRST ROW
1. With a flat stitch needle (short shank)
threaded with 2/4 pull thread, punch in and
pull the end to the back of the canvas.
1. With a flat stitch needle (short shank)
threaded with 2/4 pull thread, punch in and
pull the end to the back of the canvas.
2. Work one row of Running Stitch with the
Headlight pointing in the stitch direction.
2. Work one row of Running Stitch with the
Headlight pointing in the stitch direction.
3. On the last stitch of the row, turn the Headlight
so that it is pointing back along the first row.
3. On the last stitch of the row, turn the Headlight
so that it is pointing back along the first row.
86
86
!
Since a 'punch mark' is
created at the point where
the needle has gone
through the canvas, it is
necessary to stagger the
stitch length on subsequent
rows to avoid creating a
line of punch marks. To do
this vary the stitch length
from 1/4" to 3/4" (never
any longer than this).
!
Since a 'punch mark' is
created at the point where
the needle has gone
through the canvas, it is
necessary to stagger the
stitch length on subsequent
rows to avoid creating a
line of punch marks. To do
this vary the stitch length
from 1/4" to 3/4" (never
any longer than this).
!
When stitching the
background area (sky,
water, etc.) the stitches
run in horizontal rows,
back and forth. If a
cloud or mountain is in
the stitching path, you
must work your rows back and forth from this
item. After you have finished working along
one side of the cloud, cut your thread and
return back to the other side and continue.
Use Seaming technique to mark thin line
markings (eg. tip of tree branch).
!
When stitching the
background area (sky,
water, etc.) the stitches
run in horizontal rows,
back and forth. If a
cloud or mountain is in
the stitching path, you
must work your rows back and forth from this
item. After you have finished working along
one side of the cloud, cut your thread and
return back to the other side and continue.
Use Seaming technique to mark thin line
markings (eg. tip of tree branch).
FIRST ROW
FIRST ROW
1. With a flat stitch needle (short shank)
threaded with 2/4 pull thread, punch in and
pull the end to the back of the canvas.
1. With a flat stitch needle (short shank)
threaded with 2/4 pull thread, punch in and
pull the end to the back of the canvas.
2. Work one row of Running Stitch with the
Headlight pointing in the stitch direction.
2. Work one row of Running Stitch with the
Headlight pointing in the stitch direction.
3. On the last stitch of the row, turn the Headlight
so that it is pointing back along the first row.
3. On the last stitch of the row, turn the Headlight
so that it is pointing back along the first row.
86
86
SECOND ROW
SECOND ROW
4. Vary the stitch length on this
row so that the punch marks
are staggered. The thread
should be laying right beside
the first row; not on top, no
spaces in between.
4. Vary the stitch length on this
row so that the punch marks
are staggered. The thread
should be laying right beside
the first row; not on top, no
spaces in between.
Continue working the rows in this
manner, trying to keep the stitching flat to the
canvas; no spaces between the rows; but not
bunched together.
Continue working the rows in this
manner, trying to keep the stitching flat to the
canvas; no spaces between the rows; but not
bunched together.
To blend rows of Flat Stitch use the technique
described in 'Row Blending'.
To blend rows of Flat Stitch use the technique
described in 'Row Blending'.
FLOWERS, CENTRES
FLOWERS, CENTRES
Techniques used for completing the center area
of a flower are unique to each picture. Some kits
will give instructions for stitching this area, if not
refer to the coloured side of the insert.
Techniques used for completing the center area
of a flower are unique to each picture. Some kits
will give instructions for stitching this area, if not
refer to the coloured side of the insert.
TECHNIQUE
TECHNIQUE
Some commonly used stitches are Reverse,
Satin, Blizzard, Outline.
Some commonly used stitches are Reverse,
Satin, Blizzard, Outline.
Reverse
Satin
Blizzard
Reverse
Satin
Blizzard
87
87
SECOND ROW
SECOND ROW
4. Vary the stitch length on this
row so that the punch marks
are staggered. The thread
should be laying right beside
the first row; not on top, no
spaces in between.
4. Vary the stitch length on this
row so that the punch marks
are staggered. The thread
should be laying right beside
the first row; not on top, no
spaces in between.
Continue working the rows in this
manner, trying to keep the stitching flat to the
canvas; no spaces between the rows; but not
bunched together.
Continue working the rows in this
manner, trying to keep the stitching flat to the
canvas; no spaces between the rows; but not
bunched together.
To blend rows of Flat Stitch use the technique
described in 'Row Blending'.
To blend rows of Flat Stitch use the technique
described in 'Row Blending'.
FLOWERS, CENTRES
FLOWERS, CENTRES
Techniques used for completing the center area
of a flower are unique to each picture. Some kits
will give instructions for stitching this area, if not
refer to the coloured side of the insert.
Techniques used for completing the center area
of a flower are unique to each picture. Some kits
will give instructions for stitching this area, if not
refer to the coloured side of the insert.
TECHNIQUE
TECHNIQUE
Some commonly used stitches are Reverse,
Satin, Blizzard, Outline.
Some commonly used stitches are Reverse,
Satin, Blizzard, Outline.
Reverse
Satin
Blizzard
87
Reverse
Satin
Blizzard
87
FLOWERS, PETAL SEPARATION
FLOWERS, PETAL SEPARATION
This technique, also
referred to as Voiding
creates a distinct space
between each petal by
leaving approx. 1 - 2mm of
blank canvas around each
petal.
This technique, also
referred to as Voiding
creates a distinct space
between each petal by
leaving approx. 1 - 2mm of
blank canvas around each
petal.
VOID
APPLICATION - FLOWERS
APPLICATION - FLOWERS
TECHNIQUE
TECHNIQUE
!
!
Line pad the outer edge of the petal.
!
Stitch the topmost section of each petal first,
then the second blending, etc. working down to
the bottom edge of each petal. This stitch
order will help to judge the distance of space
before going on to the next petal.
!
88
Line pad the outer edge of the petal.
Stitch the topmost section of each petal first,
then the second blending, etc. working down to
the bottom edge of each petal. This stitch
order will help to judge the distance of space
before going on to the next petal.
88
FLOWERS, PETAL SEPARATION
FLOWERS, PETAL SEPARATION
This technique, also
referred to as Voiding
creates a distinct space
between each petal by
leaving approx. 1 - 2mm of
blank canvas around each
petal.
This technique, also
referred to as Voiding
creates a distinct space
between each petal by
leaving approx. 1 - 2mm of
blank canvas around each
petal.
VOID
APPLICATION - FLOWERS
APPLICATION - FLOWERS
TECHNIQUE
TECHNIQUE
!
!
Line pad the outer edge of the petal.
Stitch the topmost section of each petal first,
then the second blending, etc. working down to
the bottom edge of each petal. This stitch
order will help to judge the distance of space
before going on to the next petal.
88
VOID
!
!
VOID
Line pad the outer edge of the petal.
Stitch the topmost section of each petal first,
then the second blending, etc. working down to
the bottom edge of each petal. This stitch
order will help to judge the distance of space
before going on to the next petal.
88
FLOWERS, ROLLOVERS/ ROLLUNDERS
FLOWERS, ROLLOVERS/ ROLLUNDERS
Petals of many flowers have turned edges which
are called rollovers or rollunders.
Petals of many flowers have turned edges which
are called rollovers or rollunders.
1. ROLLOVER
1. ROLLOVER
The rollover is turned forward to the
foreground and must therefore be completed
after the body of the petal. Each rollover is
usually marked with the Solid Padding
Symbol (
).
The rollover is turned forward to the
foreground and must therefore be completed
after the body of the petal. Each rollover is
usually marked with the Solid Padding
Symbol (
).
TECHNIQUE
TECHNIQUE
!
Line pad entire rollover
!
Line pad entire rollover
!
Fill in with solid
padding - the single
line of the symbol
indicates direction for
the padding.
!
Fill in with solid
padding - the single
line of the symbol
indicates direction for
the padding.
!
Overstitch in the
direction of the double
line of the Padding
symbol with single
length Satin Stitch.
!
Overstitch in the
direction of the double
line of the Padding
symbol with single
length Satin Stitch.
89
89
FLOWERS, ROLLOVERS/ ROLLUNDERS
FLOWERS, ROLLOVERS/ ROLLUNDERS
Petals of many flowers have turned edges which
are called rollovers or rollunders.
Petals of many flowers have turned edges which
are called rollovers or rollunders.
1. ROLLOVER
1. ROLLOVER
The rollover is turned forward to the
foreground and must therefore be completed
after the body of the petal. Each rollover is
usually marked with the Solid Padding
Symbol (
).
The rollover is turned forward to the
foreground and must therefore be completed
after the body of the petal. Each rollover is
usually marked with the Solid Padding
Symbol (
).
TECHNIQUE
TECHNIQUE
!
Line pad entire rollover
!
Line pad entire rollover
!
Fill in with solid
padding - the single
line of the symbol
indicates direction for
the padding.
!
Fill in with solid
padding - the single
line of the symbol
indicates direction for
the padding.
!
Overstitch in the
direction of the double
line of the Padding
symbol with single
length Satin Stitch.
!
Overstitch in the
direction of the double
line of the Padding
symbol with single
length Satin Stitch.
89
89
2. ROLLUNDER
2. ROLLUNDER
The roll under is turned back to the
background and should therefore be
completed before the body of the petal.
The roll under is turned back to the
background and should therefore be
completed before the body of the petal.
TECHNIQUE
TECHNIQUE
!
Line pad around the
outside edge.
!
Line pad around the
outside edge.
!
Stitch in the proper
direction (no other
padding required).
!
Stitch in the proper
direction (no other
padding required).
Complete the body of
the petal.
Complete the body of
the petal.
FLOWERS, STEMS
FLOWERS, STEMS
TYPE OF STEM
POSSIBLE TECHNIQUES
TYPE OF STEM
POSSIBLE TECHNIQUES
Thin Stems
Running Stitch, Split Stitch,
Cord Stitch.
Thin Stems
Running Stitch, Split Stitch,
Cord Stitch.
Medium Stem
Flat Stitch (2-3 rows of Running
Stitch placed side by side).
Satin Stitch.
Medium Stem
Flat Stitch (2-3 rows of Running
Stitch placed side by side).
Satin Stitch.
Thick Stems
Solid Padding, Satin Stitch,
Flat Stitch, Inlay.
Thick Stems
Solid Padding, Satin Stitch,
Flat Stitch, Inlay.
90
90
2. ROLLUNDER
2. ROLLUNDER
The roll under is turned back to the
background and should therefore be
completed before the body of the petal.
The roll under is turned back to the
background and should therefore be
completed before the body of the petal.
TECHNIQUE
TECHNIQUE
!
Line pad around the
outside edge.
!
Line pad around the
outside edge.
!
Stitch in the proper
direction (no other
padding required).
!
Stitch in the proper
direction (no other
padding required).
Complete the body of
the petal.
Complete the body of
the petal.
FLOWERS, STEMS
FLOWERS, STEMS
TYPE OF STEM
POSSIBLE TECHNIQUES
TYPE OF STEM
POSSIBLE TECHNIQUES
Thin Stems
Running Stitch, Split Stitch,
Cord Stitch.
Thin Stems
Running Stitch, Split Stitch,
Cord Stitch.
Medium Stem
Flat Stitch (2-3 rows of Running
Stitch placed side by side).
Satin Stitch.
Medium Stem
Flat Stitch (2-3 rows of Running
Stitch placed side by side).
Satin Stitch.
Thick Stems
Solid Padding, Satin Stitch,
Flat Stitch, Inlay.
Thick Stems
Solid Padding, Satin Stitch,
Flat Stitch, Inlay.
90
90
FLOWERS, ORDER OF STITCHERY
FLOWERS, ORDER OF STITCHERY
The sequence that the petals are stitched is
extremely important. The basic concept of
stitching the background first applies even more
so for floral stitchery.
The sequence that the petals are stitched is
extremely important. The basic concept of
stitching the background first applies even more
so for floral stitchery.
Floral pictures utilize a wide variety of stitch
techniques, such as Line Padding, Solid Padding,
Satin Stitch, Reverse Stitch, etc.
Floral pictures utilize a wide variety of stitch
techniques, such as Line Padding, Solid Padding,
Satin Stitch, Reverse Stitch, etc.
TECHNIQUE
TECHNIQUE
!
Start with the petal that is farthest away. Each
petal must be completely finished before
moving on to the petal in front of it.
!
Start with the petal that is farthest away. Each
petal must be completely finished before
moving on to the petal in front of it.
!
Line pad around the outer edge. Complete the
petal.
!
Line pad around the outer edge. Complete the
petal.
!
Move to the next furthest petal; line pad and
stitch.
!
Move to the next furthest petal; line pad and
stitch.
91
91
FLOWERS, ORDER OF STITCHERY
FLOWERS, ORDER OF STITCHERY
The sequence that the petals are stitched is
extremely important. The basic concept of
stitching the background first applies even more
so for floral stitchery.
The sequence that the petals are stitched is
extremely important. The basic concept of
stitching the background first applies even more
so for floral stitchery.
Floral pictures utilize a wide variety of stitch
techniques, such as Line Padding, Solid Padding,
Satin Stitch, Reverse Stitch, etc.
Floral pictures utilize a wide variety of stitch
techniques, such as Line Padding, Solid Padding,
Satin Stitch, Reverse Stitch, etc.
TECHNIQUE
TECHNIQUE
!
Start with the petal that is farthest away. Each
petal must be completely finished before
moving on to the petal in front of it.
!
Start with the petal that is farthest away. Each
petal must be completely finished before
moving on to the petal in front of it.
!
Line pad around the outer edge. Complete the
petal.
!
Line pad around the outer edge. Complete the
petal.
!
Move to the next furthest petal; line pad and
stitch.
!
Move to the next furthest petal; line pad and
stitch.
91
91
Rollovers are the last area to be stitched on a
flower.
Rollovers are the last area to be stitched on a
flower.
Roll under should be stitched before the body of
the petal. (see Flower, Rollover/Rollunder).
Roll under should be stitched before the body of
the petal. (see Flower, Rollover/Rollunder).
Buds:
Buds:
!
The overlapping petals of the
bud must be stitched from
the background to the
foreground.
!
The overlapping petals of the
bud must be stitched from
the background to the
foreground.
!
The body of the bud should
be stitched before the calyx.
The calyx should be line
padded along the upper edge
where it meets the bud.
!
The body of the bud should
be stitched before the calyx.
The calyx should be line
padded along the upper edge
where it meets the bud.
FLUFFY STITCH
FLUFFY STITCH
(See also Fluffy Pictures)
(See also Fluffy Pictures)
Fluffy or Pile stitch is worked on the screenprinted side, of the canvas. This will be the back
or wrong side of the finished picture. By turning
over the work frame to the right side, you can see
the loops left by the needle. These loops will be
brushed out with a special bunka brush which
separates the thread into soft mohair-like fibers.
If there is any flat stitching on the picture, all the
fluffy areas must be completed first since the
brushing action will easily pull out the flat
stitching.
Fluffy or Pile stitch is worked on the screenprinted side, of the canvas. This will be the back
or wrong side of the finished picture. By turning
over the work frame to the right side, you can see
the loops left by the needle. These loops will be
brushed out with a special bunka brush which
separates the thread into soft mohair-like fibers.
If there is any flat stitching on the picture, all the
fluffy areas must be completed first since the
brushing action will easily pull out the flat
stitching.
92
92
Rollovers are the last area to be stitched on a
flower.
Rollovers are the last area to be stitched on a
flower.
Roll under should be stitched before the body of
the petal. (see Flower, Rollover/Rollunder).
Roll under should be stitched before the body of
the petal. (see Flower, Rollover/Rollunder).
Buds:
Buds:
!
The overlapping petals of the
bud must be stitched from
the background to the
foreground.
!
The overlapping petals of the
bud must be stitched from
the background to the
foreground.
!
The body of the bud should
be stitched before the calyx.
The calyx should be line
padded along the upper edge
where it meets the bud.
!
The body of the bud should
be stitched before the calyx.
The calyx should be line
padded along the upper edge
where it meets the bud.
FLUFFY STITCH
FLUFFY STITCH
(See also Fluffy Pictures)
(See also Fluffy Pictures)
Fluffy or Pile stitch is worked on the screenprinted side, of the canvas. This will be the back
or wrong side of the finished picture. By turning
over the work frame to the right side, you can see
the loops left by the needle. These loops will be
brushed out with a special bunka brush which
separates the thread into soft mohair-like fibers.
If there is any flat stitching on the picture, all the
fluffy areas must be completed first since the
brushing action will easily pull out the flat
stitching.
Fluffy or Pile stitch is worked on the screenprinted side, of the canvas. This will be the back
or wrong side of the finished picture. By turning
over the work frame to the right side, you can see
the loops left by the needle. These loops will be
brushed out with a special bunka brush which
separates the thread into soft mohair-like fibers.
If there is any flat stitching on the picture, all the
fluffy areas must be completed first since the
brushing action will easily pull out the flat
stitching.
92
92
Fluffy pictures can be stitched using either the
fluffy needle (long shank) or the flat needle (short
shank). The loops created on the back of the
canvas by a fluffy needle will be much longer than
those created by a flat needle due to the longer
shank which results in longer loops. For new
stitchers working on their first fluffy, the fluffy
needle is recommended since the longer loops
are easier to brush out.
Fluffy pictures can be stitched using either the
fluffy needle (long shank) or the flat needle (short
shank). The loops created on the back of the
canvas by a fluffy needle will be much longer than
those created by a flat needle due to the longer
shank which results in longer loops. For new
stitchers working on their first fluffy, the fluffy
needle is recommended since the longer loops
are easier to brush out.
2/4 pull and 1/4 pull thread can be used. Due to
the thickness of 3/4 pull, it will not brush out
and must be avoided on fluffy work at all
times.
2/4 pull and 1/4 pull thread can be used. Due to
the thickness of 3/4 pull, it will not brush out
and must be avoided on fluffy work at all
times.
APPLICATION
APPLICATION
As well as being used for full pictures, fluffy stitch
can also be used for small accent areas on a flat
stitch picture such as flower centers; as a padding
layer (eg. Ballerina Kit), etc..
As well as being used for full pictures, fluffy stitch
can also be used for small accent areas on a flat
stitch picture such as flower centers; as a padding
layer (eg. Ballerina Kit), etc..
TECHNIQUE
TECHNIQUE
!
It is important that the needle be inserted to the
full depth of the shank with each stitch to
produce the desired loop height.
!
It is important that the needle be inserted to the
full depth of the shank with each stitch to
produce the desired loop height.
!
The motion of the needle when working Fluffy
stitch can be compared to the up and down
movement of a sewing machine needle.
!
The motion of the needle when working Fluffy
stitch can be compared to the up and down
movement of a sewing machine needle.
93
93
Fluffy pictures can be stitched using either the
fluffy needle (long shank) or the flat needle (short
shank). The loops created on the back of the
canvas by a fluffy needle will be much longer than
those created by a flat needle due to the longer
shank which results in longer loops. For new
stitchers working on their first fluffy, the fluffy
needle is recommended since the longer loops
are easier to brush out.
Fluffy pictures can be stitched using either the
fluffy needle (long shank) or the flat needle (short
shank). The loops created on the back of the
canvas by a fluffy needle will be much longer than
those created by a flat needle due to the longer
shank which results in longer loops. For new
stitchers working on their first fluffy, the fluffy
needle is recommended since the longer loops
are easier to brush out.
2/4 pull and 1/4 pull thread can be used. Due to
the thickness of 3/4 pull, it will not brush out
and must be avoided on fluffy work at all
times.
2/4 pull and 1/4 pull thread can be used. Due to
the thickness of 3/4 pull, it will not brush out
and must be avoided on fluffy work at all
times.
APPLICATION
APPLICATION
As well as being used for full pictures, fluffy stitch
can also be used for small accent areas on a flat
stitch picture such as flower centers; as a padding
layer (eg. Ballerina Kit), etc..
As well as being used for full pictures, fluffy stitch
can also be used for small accent areas on a flat
stitch picture such as flower centers; as a padding
layer (eg. Ballerina Kit), etc..
TECHNIQUE
TECHNIQUE
!
It is important that the needle be inserted to the
full depth of the shank with each stitch to
produce the desired loop height.
!
It is important that the needle be inserted to the
full depth of the shank with each stitch to
produce the desired loop height.
!
The motion of the needle when working Fluffy
stitch can be compared to the up and down
movement of a sewing machine needle.
!
The motion of the needle when working Fluffy
stitch can be compared to the up and down
movement of a sewing machine needle.
93
93
!
Position the needle so that the Headlight is
pointing in the direction of stitching.
!
Position the needle so that the Headlight is
pointing in the direction of stitching.
!
To ensure that the small areas remain welldefined it is important that the larger areas are
stitched first, then the smaller sections.
!
To ensure that the small areas remain welldefined it is important that the larger areas are
stitched first, then the smaller sections.
!
Light coloured areas should be stitched slightly
thicker than the dark shades.
!
Light coloured areas should be stitched slightly
thicker than the dark shades.
!
The areas shaded with lines are not to be
stitched. These are spaces usually allotted for
insertion of a plastic nose or eyes after
stitching is completed.
!
The areas shaded with lines are not to be
stitched. These are spaces usually allotted for
insertion of a plastic nose or eyes after
stitching is completed.
!
Rows of fluffy stitches can be done in any
direction. The stiitches should be about 1/16"
apart and the rows about 1/8" apart so that on
the stitching side some canvas will be visible
between the rows; on the brushing side, the
area should be completely covered with evenly
spaced loose - not crammed together.
!
Rows of fluffy stitches can be done in any
direction. The stiitches should be about 1/16"
apart and the rows about 1/8" apart so that on
the stitching side some canvas will be visible
between the rows; on the brushing side, the
area should be completely covered with evenly
spaced loose - not crammed together.
START
START
1.
Thread up the fluffy (long shank) needle with
2/4 pull in a colour form one of the larger
areas of the picture.
1.
Thread up the fluffy (long shank) needle with
2/4 pull in a colour form one of the larger
areas of the picture.
2.
With the printed side facing you, push your
chair back until the top edge of the work
frame is resting comfortably between a table
edge and your lap. To avoid damaging the
needle it is important that there is nothing
under the canvas that the needle could hit.
2.
With the printed side facing you, push your
chair back until the top edge of the work
frame is resting comfortably between a table
edge and your lap. To avoid damaging the
needle it is important that there is nothing
under the canvas that the needle could hit.
94
94
!
Position the needle so that the Headlight is
pointing in the direction of stitching.
!
Position the needle so that the Headlight is
pointing in the direction of stitching.
!
To ensure that the small areas remain welldefined it is important that the larger areas are
stitched first, then the smaller sections.
!
To ensure that the small areas remain welldefined it is important that the larger areas are
stitched first, then the smaller sections.
!
Light coloured areas should be stitched slightly
thicker than the dark shades.
!
Light coloured areas should be stitched slightly
thicker than the dark shades.
!
The areas shaded with lines are not to be
stitched. These are spaces usually allotted for
insertion of a plastic nose or eyes after
stitching is completed.
!
The areas shaded with lines are not to be
stitched. These are spaces usually allotted for
insertion of a plastic nose or eyes after
stitching is completed.
!
Rows of fluffy stitches can be done in any
direction. The stiitches should be about 1/16"
apart and the rows about 1/8" apart so that on
the stitching side some canvas will be visible
between the rows; on the brushing side, the
area should be completely covered with evenly
spaced loose - not crammed together.
!
Rows of fluffy stitches can be done in any
direction. The stiitches should be about 1/16"
apart and the rows about 1/8" apart so that on
the stitching side some canvas will be visible
between the rows; on the brushing side, the
area should be completely covered with evenly
spaced loose - not crammed together.
START
START
1.
Thread up the fluffy (long shank) needle with
2/4 pull in a colour form one of the larger
areas of the picture.
1.
Thread up the fluffy (long shank) needle with
2/4 pull in a colour form one of the larger
areas of the picture.
2.
With the printed side facing you, push your
chair back until the top edge of the work
frame is resting comfortably between a table
edge and your lap. To avoid damaging the
needle it is important that there is nothing
under the canvas that the needle could hit.
2.
With the printed side facing you, push your
chair back until the top edge of the work
frame is resting comfortably between a table
edge and your lap. To avoid damaging the
needle it is important that there is nothing
under the canvas that the needle could hit.
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94
3.
Hold the needle like a pencil,
resting the edge of your hand
on the canvas.
3.
Hold the needle like a pencil,
resting the edge of your hand
on the canvas.
4.
Punch the needle through to
its full depth.
4.
Punch the needle through to
its full depth.
5.
Slowly raise the
1/8” stitches
needle up out of
Stitching side
the canvas,
keeping the
Finished side
point as close
as possible to
the canvas - Do
not lift the needle away from the surface
of the canvas - and punch right down again.
The stitch will be about 1/16" long.
5.
Slowly raise the
1/8” stitches
needle up out of
Stitching side
the canvas,
keeping the
Finished side
point as close
as possible to
the canvas - Do
not lift the needle away from the surface
of the canvas - and punch right down again.
The stitch will be about 1/16" long.
The thread must be anchored at the
beginning and end of an area to prevent it
from pulling out during the brushing stage.
The thread must be anchored at the
beginning and end of an area to prevent it
from pulling out during the brushing stage.
6.
To anchor the thread punch three stitches; turn the
headlight and punch back
directly on top of the first
three stitches.
6.
To anchor the thread punch three stitches; turn the
headlight and punch back
directly on top of the first
three stitches.
7.
Continue on with the first row in the direction
of your choice.
7.
Continue on with the first row in the direction
of your choice.
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95
3.
Hold the needle like a pencil,
resting the edge of your hand
on the canvas.
3.
Hold the needle like a pencil,
resting the edge of your hand
on the canvas.
4.
Punch the needle through to
its full depth.
4.
Punch the needle through to
its full depth.
5.
Slowly raise the
1/8” stitches
needle up out of
Stitching side
the canvas,
keeping the
Finished side
point as close
as possible to
the canvas - Do
not lift the needle away from the surface
of the canvas - and punch right down again.
The stitch will be about 1/16" long.
5.
Slowly raise the
1/8” stitches
needle up out of
Stitching side
the canvas,
keeping the
Finished side
point as close
as possible to
the canvas - Do
not lift the needle away from the surface
of the canvas - and punch right down again.
The stitch will be about 1/16" long.
The thread must be anchored at the
beginning and end of an area to prevent it
from pulling out during the brushing stage.
The thread must be anchored at the
beginning and end of an area to prevent it
from pulling out during the brushing stage.
6.
To anchor the thread punch three stitches; turn the
headlight and punch back
directly on top of the first
three stitches.
6.
To anchor the thread punch three stitches; turn the
headlight and punch back
directly on top of the first
three stitches.
7.
Continue on with the first row in the direction
of your choice.
7.
Continue on with the first row in the direction
of your choice.
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95
8.
On each subsequent row,
turn the headlight until it
is pointing back along the
direction of the first or
previous row.
8.
On each subsequent row,
turn the headlight until it
is pointing back along the
direction of the first or
previous row.
9.
Rows should be spaced
approx. 1/8" apart.
Continue working the rows
in this manner until the
area is filled.
9.
Rows should be spaced
approx. 1/8" apart.
Continue working the rows
in this manner until the
area is filled.
TO STOP
TO STOP
10. When an area is completed, the thread must
be anchored by back-tracking directly on top
of the previous three stitches.
10. When an area is completed, the thread must
be anchored by back-tracking directly on top
of the previous three stitches.
11. Lift the needle out of the
canvas until there is about
1/4" of thread. Cut the
thread close to the needle.
11. Lift the needle out of the
canvas until there is about
1/4" of thread. Cut the
thread close to the needle.
BRUSHING
BRUSHING
The brushing is performed on the loop side of the
canvas, i.e. turn the stitching side of the canvas
over so that the loops are facing you. The
purpose of brushing is to turn all the knobs or
loops of thread into a fluffy mohair-like texture.
The brushing is performed on the loop side of the
canvas, i.e. turn the stitching side of the canvas
over so that the loops are facing you. The
purpose of brushing is to turn all the knobs or
loops of thread into a fluffy mohair-like texture.
The metal brush is specially designed to grip and
separate the thread. For easier handling the
brush can be attached to a 6" wooden dowel by
removing the staple which joins the two ends of
the rubber strap on the brush and re-stapling it
onto the dowel.
The metal brush is specially designed to grip and
separate the thread. For easier handling the
brush can be attached to a 6" wooden dowel by
removing the staple which joins the two ends of
the rubber strap on the brush and re-stapling it
onto the dowel.
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96
8.
On each subsequent row,
turn the headlight until it
is pointing back along the
direction of the first or
previous row.
8.
On each subsequent row,
turn the headlight until it
is pointing back along the
direction of the first or
previous row.
9.
Rows should be spaced
approx. 1/8" apart.
Continue working the rows
in this manner until the
area is filled.
9.
Rows should be spaced
approx. 1/8" apart.
Continue working the rows
in this manner until the
area is filled.
TO STOP
TO STOP
10. When an area is completed, the thread must
be anchored by back-tracking directly on top
of the previous three stitches.
10. When an area is completed, the thread must
be anchored by back-tracking directly on top
of the previous three stitches.
11. Lift the needle out of the
canvas until there is about
1/4" of thread. Cut the
thread close to the needle.
11. Lift the needle out of the
canvas until there is about
1/4" of thread. Cut the
thread close to the needle.
BRUSHING
BRUSHING
The brushing is performed on the loop side of the
canvas, i.e. turn the stitching side of the canvas
over so that the loops are facing you. The
purpose of brushing is to turn all the knobs or
loops of thread into a fluffy mohair-like texture.
The brushing is performed on the loop side of the
canvas, i.e. turn the stitching side of the canvas
over so that the loops are facing you. The
purpose of brushing is to turn all the knobs or
loops of thread into a fluffy mohair-like texture.
The metal brush is specially designed to grip and
separate the thread. For easier handling the
brush can be attached to a 6" wooden dowel by
removing the staple which joins the two ends of
the rubber strap on the brush and re-stapling it
onto the dowel.
The metal brush is specially designed to grip and
separate the thread. For easier handling the
brush can be attached to a 6" wooden dowel by
removing the staple which joins the two ends of
the rubber strap on the brush and re-stapling it
onto the dowel.
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96
1.
To protect the canvas from the effects of the
brush, place a row of masking tape around
the picture by tearing off small pieces and
placing them as close to the stitching as
possible without catching any loops.
1.
To protect the canvas from the effects of the
brush, place a row of masking tape around
the picture by tearing off small pieces and
placing them as close to the stitching as
possible without catching any loops.
2.
Place a second row of tape around the first.
2.
Place a second row of tape around the first.
3.
Hold the brush so that the teeth are bent
towards you. Push the brush firmly down into
the loops. Bring the brush up through the
loops with a lifting motion. By using this
lifting technique, the thread will start to
separate.
3.
Hold the brush so that the teeth are bent
towards you. Push the brush firmly down into
the loops. Bring the brush up through the
loops with a lifting motion. By using this
lifting technique, the thread will start to
separate.
4.
The odd time an end (either a 'start' or a
'stop') that has not been anchored properly
will pull free. It is very important to cut this
thread to prevent the other stitches from
unraveling - clip the end to the same height
as the surrounding loops.
4.
The odd time an end (either a 'start' or a
'stop') that has not been anchored properly
will pull free. It is very important to cut this
thread to prevent the other stitches from
unraveling - clip the end to the same height
as the surrounding loops.
5.
To produce full, soft fluff it is important that
most of the loops are brushed out. By
massaging your finger down through the
threads, you will be able to feel the knobs of
un-brushed thread. Separate the threads and
try to get at as many of these knobs as
possible.
5.
To produce full, soft fluff it is important that
most of the loops are brushed out. By
massaging your finger down through the
threads, you will be able to feel the knobs of
un-brushed thread. Separate the threads and
try to get at as many of these knobs as
possible.
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97
1.
To protect the canvas from the effects of the
brush, place a row of masking tape around
the picture by tearing off small pieces and
placing them as close to the stitching as
possible without catching any loops.
1.
To protect the canvas from the effects of the
brush, place a row of masking tape around
the picture by tearing off small pieces and
placing them as close to the stitching as
possible without catching any loops.
2.
Place a second row of tape around the first.
2.
Place a second row of tape around the first.
3.
Hold the brush so that the teeth are bent
towards you. Push the brush firmly down into
the loops. Bring the brush up through the
loops with a lifting motion. By using this
lifting technique, the thread will start to
separate.
3.
Hold the brush so that the teeth are bent
towards you. Push the brush firmly down into
the loops. Bring the brush up through the
loops with a lifting motion. By using this
lifting technique, the thread will start to
separate.
4.
The odd time an end (either a 'start' or a
'stop') that has not been anchored properly
will pull free. It is very important to cut this
thread to prevent the other stitches from
unraveling - clip the end to the same height
as the surrounding loops.
4.
The odd time an end (either a 'start' or a
'stop') that has not been anchored properly
will pull free. It is very important to cut this
thread to prevent the other stitches from
unraveling - clip the end to the same height
as the surrounding loops.
5.
To produce full, soft fluff it is important that
most of the loops are brushed out. By
massaging your finger down through the
threads, you will be able to feel the knobs of
un-brushed thread. Separate the threads and
try to get at as many of these knobs as
possible.
5.
To produce full, soft fluff it is important that
most of the loops are brushed out. By
massaging your finger down through the
threads, you will be able to feel the knobs of
un-brushed thread. Separate the threads and
try to get at as many of these knobs as
possible.
97
97
The knobs at the edges of fluffy areas are
some times difficult to get completely
brushed out. Use the point of a bunka needle
to carefully pick at these loops to get them to
fluff.
6.
The knobs at the edges of fluffy areas are
some times difficult to get completely
brushed out. Use the point of a bunka needle
to carefully pick at these loops to get them to
fluff.
6.
SCULPTURING
SCULPTURING
By trimming down the fluff the design areas
become more distinct and instead of being fluffy,
the stitching will take on a more velvety texture.
With your bunka brush raise the fluff so that it is
standing straight up, then start cutting off the
desired amount. The edges of a sculptured
design look nicer when they have
been angled on a smooth down to the canvas.
By trimming down the fluff the design areas
become more distinct and instead of being fluffy,
the stitching will take on a more velvety texture.
With your bunka brush raise the fluff so that it is
standing straight up, then start cutting off the
desired amount. The edges of a sculptured
design look nicer when they have
been angled on a smooth down to the canvas.
FLUFFY ANIMALS
FLUFFY ANIMALS
Finishing Touches:
Finishing Touches:
PLASTIC EYES AND NOSE - Cut a small hole in
the center of the area and push through the post
of the eye/nose.
PLASTIC EYES AND NOSE - Cut a small hole in
the center of the area and push through the post
of the eye/nose.
FLOWERS - Can be sewn on with needle and
thread or insert the end through a small hole cut
in the canvas. Secure on the back with a piece of
tape.
FLOWERS - Can be sewn on with needle and
thread or insert the end through a small hole cut
in the canvas. Secure on the back with a piece of
tape.
98
98
The knobs at the edges of fluffy areas are
some times difficult to get completely
brushed out. Use the point of a bunka needle
to carefully pick at these loops to get them to
fluff.
6.
The knobs at the edges of fluffy areas are
some times difficult to get completely
brushed out. Use the point of a bunka needle
to carefully pick at these loops to get them to
fluff.
6.
SCULPTURING
SCULPTURING
By trimming down the fluff the design areas
become more distinct and instead of being fluffy,
the stitching will take on a more velvety texture.
With your bunka brush raise the fluff so that it is
standing straight up, then start cutting off the
desired amount. The edges of a sculptured
design look nicer when they have
been angled on a smooth down to the canvas.
By trimming down the fluff the design areas
become more distinct and instead of being fluffy,
the stitching will take on a more velvety texture.
With your bunka brush raise the fluff so that it is
standing straight up, then start cutting off the
desired amount. The edges of a sculptured
design look nicer when they have
been angled on a smooth down to the canvas.
FLUFFY ANIMALS
FLUFFY ANIMALS
Finishing Touches:
Finishing Touches:
PLASTIC EYES AND NOSE - Cut a small hole in
the center of the area and push through the post
of the eye/nose.
PLASTIC EYES AND NOSE - Cut a small hole in
the center of the area and push through the post
of the eye/nose.
FLOWERS - Can be sewn on with needle and
thread or insert the end through a small hole cut
in the canvas. Secure on the back with a piece of
tape.
FLOWERS - Can be sewn on with needle and
thread or insert the end through a small hole cut
in the canvas. Secure on the back with a piece of
tape.
98
98
FOAM STITCH
FOAM STITCH
This stitch is a variation of the Twisted Picot.
Where each Twisted Picot is joined with a 'Lead
Stitch'. See Twisted Picot Stitch
This stitch is a variation of the Twisted Picot.
Where each Twisted Picot is joined with a 'Lead
Stitch'. See Twisted Picot Stitch
APPLICATION
APPLICATION
Can be used in water areas where a turbulent
effect is desired, such as the crest of a wave or
the base of a waterfall.
Can be used in water areas where a turbulent
effect is desired, such as the crest of a wave or
the base of a waterfall.
TECHNIQUE
TECHNIQUE
!
Stitch the area first (i.e. the body of the wave).
!
Stitch the area first (i.e. the body of the wave).
!
Punch on the edge of the wave, using one of
the lighter shades of thread.
!
Punch on the edge of the wave, using one of
the lighter shades of thread.
!
Make a Twisted Picot.
!
Make a Twisted Picot.
!
Take a short 1/8" Lead Stitch to where you
want the next Picot.
!
Take a short 1/8" Lead Stitch to where you
want the next Picot.
!
Repeat. For a natural effect, do not line up the
Twisted Picots neatly in a line. They should be
staggered along different areas of the wave.
!
Repeat. For a natural effect, do not line up the
Twisted Picots neatly in a line. They should be
staggered along different areas of the wave.
99
99
FOAM STITCH
FOAM STITCH
This stitch is a variation of the Twisted Picot.
Where each Twisted Picot is joined with a 'Lead
Stitch'. See Twisted Picot Stitch
This stitch is a variation of the Twisted Picot.
Where each Twisted Picot is joined with a 'Lead
Stitch'. See Twisted Picot Stitch
APPLICATION
APPLICATION
Can be used in water areas where a turbulent
effect is desired, such as the crest of a wave or
the base of a waterfall.
Can be used in water areas where a turbulent
effect is desired, such as the crest of a wave or
the base of a waterfall.
TECHNIQUE
TECHNIQUE
!
Stitch the area first (i.e. the body of the wave).
!
Stitch the area first (i.e. the body of the wave).
!
Punch on the edge of the wave, using one of
the lighter shades of thread.
!
Punch on the edge of the wave, using one of
the lighter shades of thread.
!
Make a Twisted Picot.
!
Make a Twisted Picot.
!
Take a short 1/8" Lead Stitch to where you
want the next Picot.
!
Take a short 1/8" Lead Stitch to where you
want the next Picot.
!
Repeat. For a natural effect, do not line up the
Twisted Picots neatly in a line. They should be
staggered along different areas of the wave.
!
Repeat. For a natural effect, do not line up the
Twisted Picots neatly in a line. They should be
staggered along different areas of the wave.
99
99
FRENCH KNOT
FRENCH KNOT
Utilizes a regular tapestry needle and either
whole or 3/4 pull bunka thread. Not advisable to
use any pull less than 3/4.
Utilizes a regular tapestry needle and either
whole or 3/4 pull bunka thread. Not advisable to
use any pull less than 3/4.
APPLICATION
APPLICATION
Centers of Flowers; Accents on Bird's Legs;
Decorative Stitch.
Centers of Flowers; Accents on Bird's Legs;
Decorative Stitch.
TECHNIQUE
TECHNIQUE
The technique is very similar to the method used
in traditional embroidery however in Bunka
Shishu work the thread is wrapped around the
needle only once.
The technique is very similar to the method used
in traditional embroidery however in Bunka
Shishu work the thread is wrapped around the
needle only once.
!
Thread about 12" of whole bunka thread into
the tapestry needle and tie a knot in the end.
!
Thread about 12" of whole bunka thread into
the tapestry needle and tie a knot in the end.
!
Bring the tapestry needle up from the back of
the canvas to the front.
!
Bring the tapestry needle up from the back of
the canvas to the front.
!
Hold the thread taut with
your left hand and wrap the
needle once around the
thread.
!
Hold the thread taut with
your left hand and wrap the
needle once around the
thread.
!
Important - Keep a tight
hold on the thread with
the left hand.
!
Important - Keep a tight
hold on the thread with
the left hand.
!
Take the needle to the back of the canvas
1mm away from the thread and slowly draw
the entire length of thread to the back.
!
Take the needle to the back of the canvas
1mm away from the thread and slowly draw
the entire length of thread to the back.
100
100
FRENCH KNOT
FRENCH KNOT
Utilizes a regular tapestry needle and either
whole or 3/4 pull bunka thread. Not advisable to
use any pull less than 3/4.
Utilizes a regular tapestry needle and either
whole or 3/4 pull bunka thread. Not advisable to
use any pull less than 3/4.
APPLICATION
APPLICATION
Centers of Flowers; Accents on Bird's Legs;
Decorative Stitch.
Centers of Flowers; Accents on Bird's Legs;
Decorative Stitch.
TECHNIQUE
TECHNIQUE
The technique is very similar to the method used
in traditional embroidery however in Bunka
Shishu work the thread is wrapped around the
needle only once.
The technique is very similar to the method used
in traditional embroidery however in Bunka
Shishu work the thread is wrapped around the
needle only once.
!
Thread about 12" of whole bunka thread into
the tapestry needle and tie a knot in the end.
!
Thread about 12" of whole bunka thread into
the tapestry needle and tie a knot in the end.
!
Bring the tapestry needle up from the back of
the canvas to the front.
!
Bring the tapestry needle up from the back of
the canvas to the front.
!
Hold the thread taut with
your left hand and wrap the
needle once around the
thread.
!
Hold the thread taut with
your left hand and wrap the
needle once around the
thread.
!
Important - Keep a tight
hold on the thread with
the left hand.
!
Important - Keep a tight
hold on the thread with
the left hand.
!
Take the needle to the back of the canvas
1mm away from the thread and slowly draw
the entire length of thread to the back.
!
Take the needle to the back of the canvas
1mm away from the thread and slowly draw
the entire length of thread to the back.
100
100
!
It is not necessary to cut the thread if
additional knots are required in close proximity
to each other. However, if a space of more
than 1" is necessary between French Knots it
is advisable to cut the thread after completing
each one.
!
It is not necessary to cut the thread if
additional knots are required in close proximity
to each other. However, if a space of more
than 1" is necessary between French Knots it
is advisable to cut the thread after completing
each one.
GRASS STITCH
GRASS STITCH
(See Claw Stitch)
(See Claw Stitch)
HAIR, HAIRPLANTING
HAIR, HAIRPLANTING
Hair planting is an advanced technique used to
create a natural-looking hairline. Requires the use
of rice glue and a regular sewing needle.
Hair planting is an advanced technique used to
create a natural-looking hairline. Requires the use
of rice glue and a regular sewing needle.
APPLICATION
APPLICATION
Masuhato Kits of Japanese Ladies.
Masuhato Kits of Japanese Ladies.
TECHNIQUE
TECHNIQUE
!
Cut 12" lengths of 2/4 pull thread in the
required colours - at least 3, light-grey,
medium-grey and black.
!
Cut 12" lengths of 2/4 pull thread in the
required colours - at least 3, light-grey,
medium-grey and black.
!
Place a small amount of glue between your
fingers and run each thread through your
fingers and glue until all the curl has been
straightened out. Set aside to dry.
!
Place a small amount of glue between your
fingers and run each thread through your
fingers and glue until all the curl has been
straightened out. Set aside to dry.
!
Using a regular sewing needle, bring the
thread up from the back of the canvas to front
just below the edge of the hair.
!
Using a regular sewing needle, bring the
thread up from the back of the canvas to front
just below the edge of the hair.
101
!
It is not necessary to cut the thread if
additional knots are required in close proximity
to each other. However, if a space of more
than 1" is necessary between French Knots it
is advisable to cut the thread after completing
each one.
101
!
It is not necessary to cut the thread if
additional knots are required in close proximity
to each other. However, if a space of more
than 1" is necessary between French Knots it
is advisable to cut the thread after completing
each one.
GRASS STITCH
GRASS STITCH
(See Claw Stitch)
(See Claw Stitch)
HAIR, HAIRPLANTING
HAIR, HAIRPLANTING
Hair planting is an advanced technique used to
create a natural-looking hairline. Requires the use
of rice glue and a regular sewing needle.
Hair planting is an advanced technique used to
create a natural-looking hairline. Requires the use
of rice glue and a regular sewing needle.
APPLICATION
APPLICATION
Masuhato Kits of Japanese Ladies.
Masuhato Kits of Japanese Ladies.
TECHNIQUE
TECHNIQUE
!
Cut 12" lengths of 2/4 pull thread in the
required colours - at least 3, light-grey,
medium-grey and black.
!
Cut 12" lengths of 2/4 pull thread in the
required colours - at least 3, light-grey,
medium-grey and black.
!
Place a small amount of glue between your
fingers and run each thread through your
fingers and glue until all the curl has been
straightened out. Set aside to dry.
!
Place a small amount of glue between your
fingers and run each thread through your
fingers and glue until all the curl has been
straightened out. Set aside to dry.
!
Using a regular sewing needle, bring the
thread up from the back of the canvas to front
just below the edge of the hair.
!
Using a regular sewing needle, bring the
thread up from the back of the canvas to front
just below the edge of the hair.
101
101
!
Take a 1/2" to 1"
stitch over into the
hair. Repeat, placing
varying lengths and
colours of the glued
thread throughout the
hairline.
!
Take a 1/2" to 1"
stitch over into the
hair. Repeat, placing
varying lengths and
colours of the glued
thread throughout the
hairline.
HAIR, LAYERS
HAIR, LAYERS
(see Layered Stitching)
(see Layered Stitching)
HAIR, STYLING
HAIR, STYLING
Styling involves rolling strands of brushed Fluffy
Stitch using either a curling iron or two bunka
needles to roll the fluff into curls. The curling iron
makes large, loose curls and is usually used on
larger pictures. The bunka needle method creates
tighter, smaller curls and works beautifully when
the hair has been stitched with 2 shades of 1/4
pull although it can also be done with 2/4 pull
Fluffy thread. With both methods, it is
recommended that you work with small sections of
the fluff at a time.
Styling involves rolling strands of brushed Fluffy
Stitch using either a curling iron or two bunka
needles to roll the fluff into curls. The curling iron
makes large, loose curls and is usually used on
larger pictures. The bunka needle method creates
tighter, smaller curls and works beautifully when
the hair has been stitched with 2 shades of 1/4
pull although it can also be done with 2/4 pull
Fluffy thread. With both methods, it is
recommended that you work with small sections of
the fluff at a time.
1/4 pull Fluffy stitch, as on the
Ballerina Rose, are done with
two shades of brown in 1/4 pull
thread. The outline of each curl
is stitched 2x with Fluffy Stitch
using a fluffy needle. The
inside area of each curl is then
filled in with the second colour.
1/4 pull Fluffy stitch, as on the
Ballerina Rose, are done with
two shades of brown in 1/4 pull
thread. The outline of each curl
is stitched 2x with Fluffy Stitch
using a fluffy needle. The
inside area of each curl is then
filled in with the second colour.
102
!
Take a 1/2" to 1"
stitch over into the
hair. Repeat, placing
varying lengths and
colours of the glued
thread throughout the
hairline.
102
!
Take a 1/2" to 1"
stitch over into the
hair. Repeat, placing
varying lengths and
colours of the glued
thread throughout the
hairline.
HAIR, LAYERS
HAIR, LAYERS
(see Layered Stitching)
(see Layered Stitching)
HAIR, STYLING
HAIR, STYLING
Styling involves rolling strands of brushed Fluffy
Stitch using either a curling iron or two bunka
needles to roll the fluff into curls. The curling iron
makes large, loose curls and is usually used on
larger pictures. The bunka needle method creates
tighter, smaller curls and works beautifully when
the hair has been stitched with 2 shades of 1/4
pull although it can also be done with 2/4 pull
Fluffy thread. With both methods, it is
recommended that you work with small sections of
the fluff at a time.
Styling involves rolling strands of brushed Fluffy
Stitch using either a curling iron or two bunka
needles to roll the fluff into curls. The curling iron
makes large, loose curls and is usually used on
larger pictures. The bunka needle method creates
tighter, smaller curls and works beautifully when
the hair has been stitched with 2 shades of 1/4
pull although it can also be done with 2/4 pull
Fluffy thread. With both methods, it is
recommended that you work with small sections of
the fluff at a time.
1/4 pull Fluffy stitch, as on the
Ballerina Rose, are done with
two shades of brown in 1/4 pull
thread. The outline of each curl
is stitched 2x with Fluffy Stitch
using a fluffy needle. The
inside area of each curl is then
filled in with the second colour.
1/4 pull Fluffy stitch, as on the
Ballerina Rose, are done with
two shades of brown in 1/4 pull
thread. The outline of each curl
is stitched 2x with Fluffy Stitch
using a fluffy needle. The
inside area of each curl is then
filled in with the second colour.
102
102
APPLICATION
APPLICATION
Ballerina Rose, Stitcher's discretion.
Ballerina Rose, Stitcher's discretion.
TECHNIQUE - BUNKA NEEDLE METHOD
TECHNIQUE - BUNKA NEEDLE METHOD
!
!
!
!
!
!
!
!
!
!
Stitch and brush the area.
Brush up the fluffy so that it is perpendicular to
the canvas.
Section off a few strands (approx. 1/4" in
width).
Thread up one of the needles and hold it in
your stitching hand - leave the other
unthreaded.
Hold the needles
horizontal to the
Roll
canvas placing the
threaded one in front of
the fluff and the unthreaded needle
behind.
Roll the strands of fluffy between the two
needles; the needles should roll in a circular
motion. Take the curl right down to the 'roots'.
Hold the threaded
needle inside the curl,
Curl
withdraw the
Draw out
needle
unthreaded needle.
through
hair
To anchor the curl,
punch the needle at
one end of the curl through the canvas, pulling
the end to the back.
Draw the needle to opposite end of the curl and
punch; pull the end to the back and cut.
Carefully withdraw the needle.
!
!
!
!
!
!
!
!
!
!
Stitch and brush the area.
Brush up the fluffy so that it is perpendicular to
the canvas.
Section off a few strands (approx. 1/4" in
width).
Thread up one of the needles and hold it in
your stitching hand - leave the other
unthreaded.
Hold the needles
horizontal to the
Roll
canvas placing the
threaded one in front of
the fluff and the unthreaded needle
behind.
Roll the strands of fluffy between the two
needles; the needles should roll in a circular
motion. Take the curl right down to the 'roots'.
Hold the threaded
needle inside the curl,
Curl
withdraw the
Draw out
needle
unthreaded needle.
through
hair
To anchor the curl,
punch the needle at
one end of the curl through the canvas, pulling
the end to the back.
Draw the needle to opposite end of the curl and
punch; pull the end to the back and cut.
Carefully withdraw the needle.
103
103
APPLICATION
APPLICATION
Ballerina Rose, Stitcher's discretion.
Ballerina Rose, Stitcher's discretion.
TECHNIQUE - BUNKA NEEDLE METHOD
TECHNIQUE - BUNKA NEEDLE METHOD
!
!
!
!
!
!
!
!
!
!
Stitch and brush the area.
Brush up the fluffy so that it is perpendicular to
the canvas.
Section off a few strands (approx. 1/4" in
width).
Thread up one of the needles and hold it in
your stitching hand - leave the other
unthreaded.
Hold the needles
horizontal to the
Roll
canvas placing the
threaded one in front of
the fluff and the unthreaded needle
behind.
Roll the strands of fluffy between the two
needles; the needles should roll in a circular
motion. Take the curl right down to the 'roots'.
Hold the threaded
needle inside the curl,
Curl
withdraw the
Draw out
needle
unthreaded needle.
through
hair
To anchor the curl,
punch the needle at
one end of the curl through the canvas, pulling
the end to the back.
Draw the needle to opposite end of the curl and
punch; pull the end to the back and cut.
Carefully withdraw the needle.
103
!
!
!
!
!
!
!
!
!
!
Stitch and brush the area.
Brush up the fluffy so that it is perpendicular to
the canvas.
Section off a few strands (approx. 1/4" in
width).
Thread up one of the needles and hold it in
your stitching hand - leave the other
unthreaded.
Hold the needles
horizontal to the
Roll
canvas placing the
threaded one in front of
the fluff and the unthreaded needle
behind.
Roll the strands of fluffy between the two
needles; the needles should roll in a circular
motion. Take the curl right down to the 'roots'.
Hold the threaded
needle inside the curl,
Curl
withdraw the
Draw out
needle
unthreaded needle.
through
hair
To anchor the curl,
punch the needle at
one end of the curl through the canvas, pulling
the end to the back.
Draw the needle to opposite end of the curl and
punch; pull the end to the back and cut.
Carefully withdraw the needle.
103
HIGHLIGHTS
HIGHLIGHTS
Highlights give focus to eyes, sparkle to water and
accents to trees. Pay careful attention to
placement and size especially for eye highlights. If
these are not placed properly, the figure could be
looking off in the wrong direction or could look
cross-eyed.
Highlights give focus to eyes, sparkle to water and
accents to trees. Pay careful attention to
placement and size especially for eye highlights. If
these are not placed properly, the figure could be
looking off in the wrong direction or could look
cross-eyed.
AREA
TECHNIQUE
AREA
TECHNIQUE
Stitched Eye
1. Small Stitch & Cut
2. Single Clip Stitch
3. One Reverse Stitch
Stitched Eye
1. Small Stitch & Cut
2. Single Clip Stitch
3. One Reverse Stitch
Gold Ribbon Eye
Tie a knot in a piece of 3/4 pull
thread. Cut off both ends. Roll the
dot between your fingers. Glue to
the gold ribbon.
Gold Ribbon Eye
Tie a knot in a piece of 3/4 pull
thread. Cut off both ends. Roll the
dot between your fingers. Glue to
the gold ribbon.
Water
Place single Stitch & Cuts over the
base stitching in the area where two
colours meet, usually along the
edges (area of change) - light
thread into dark, and vice versa.
Stitch & Cuts with metallic thread
adds a nice sparkle.
Water
Place single Stitch & Cuts over the
base stitching in the area where two
colours meet, usually along the
edges (area of change) - light
thread into dark, and vice versa.
Stitch & Cuts with metallic thread
adds a nice sparkle.
Small Evergreens
To indicate where the sunlight
strikes some of the branches. Use
either Pine Needle Stitch or Claw
Stitch, kept very small, in proportion
to the size of the tree.
Small Evergreens
To indicate where the sunlight
strikes some of the branches. Use
either Pine Needle Stitch or Claw
Stitch, kept very small, in proportion
to the size of the tree.
Hair
With the lighter shades of thread
used for the base stitching, work in
rows of Running Stitch for a realistic
effect.
Hair
With the lighter shades of thread
used for the base stitching, work in
rows of Running Stitch for a realistic
effect.
104
104
HIGHLIGHTS
HIGHLIGHTS
Highlights give focus to eyes, sparkle to water and
accents to trees. Pay careful attention to
placement and size especially for eye highlights. If
these are not placed properly, the figure could be
looking off in the wrong direction or could look
cross-eyed.
Highlights give focus to eyes, sparkle to water and
accents to trees. Pay careful attention to
placement and size especially for eye highlights. If
these are not placed properly, the figure could be
looking off in the wrong direction or could look
cross-eyed.
AREA
TECHNIQUE
AREA
TECHNIQUE
Stitched Eye
1. Small Stitch & Cut
2. Single Clip Stitch
3. One Reverse Stitch
Stitched Eye
1. Small Stitch & Cut
2. Single Clip Stitch
3. One Reverse Stitch
Gold Ribbon Eye
Tie a knot in a piece of 3/4 pull
thread. Cut off both ends. Roll the
dot between your fingers. Glue to
the gold ribbon.
Gold Ribbon Eye
Tie a knot in a piece of 3/4 pull
thread. Cut off both ends. Roll the
dot between your fingers. Glue to
the gold ribbon.
Water
Place single Stitch & Cuts over the
base stitching in the area where two
colours meet, usually along the
edges (area of change) - light
thread into dark, and vice versa.
Stitch & Cuts with metallic thread
adds a nice sparkle.
Water
Place single Stitch & Cuts over the
base stitching in the area where two
colours meet, usually along the
edges (area of change) - light
thread into dark, and vice versa.
Stitch & Cuts with metallic thread
adds a nice sparkle.
Small Evergreens
To indicate where the sunlight
strikes some of the branches. Use
either Pine Needle Stitch or Claw
Stitch, kept very small, in proportion
to the size of the tree.
Small Evergreens
To indicate where the sunlight
strikes some of the branches. Use
either Pine Needle Stitch or Claw
Stitch, kept very small, in proportion
to the size of the tree.
Hair
With the lighter shades of thread
used for the base stitching, work in
rows of Running Stitch for a realistic
effect.
Hair
With the lighter shades of thread
used for the base stitching, work in
rows of Running Stitch for a realistic
effect.
104
104
INLAY STITCH
INLAY STITCH
Inlay is used for single stitching that has a very
bold appearance using whole thread for padding
which is then overstitched with regular 2/4 pull.
Inlay is used for single stitching that has a very
bold appearance using whole thread for padding
which is then overstitched with regular 2/4 pull.
APPLICATION
APPLICATION
Decorative stitch used at stitcher's discretion,
flower stems or veins, borders.
Decorative stitch used at stitcher's discretion,
flower stems or veins, borders.
TECHNIQUE
TECHNIQUE
!
Draw up a 12" piece of whole thread in a
regular sewing needle from the back of the
canvas.
!
Draw up a 12" piece of whole thread in a
regular sewing needle from the back of the
canvas.
!
Secure the whole thread to
the desired spot using either
Method 1 or 2 as explained
under 'Couching Stitches':
!
Secure the whole thread to
the desired spot using either
Method 1 or 2 as explained
under 'Couching Stitches':
- small, single stitches
placed every 1/2" over the
thread.
- push up a loop from the back of the canvas
and thread the whole thread through the
loop.
!
Thread a bunka needle with
2/4 pull thread. Overstitch
the whole thread with a
tight, neat Satin Stitch.
- small, single stitches
placed every 1/2" over the
thread.
- push up a loop from the back of the canvas
and thread the whole thread through the
loop.
!
Thread a bunka needle with
2/4 pull thread. Overstitch
the whole thread with a
tight, neat Satin Stitch.
Whole thread
Whole thread
105
105
INLAY STITCH
INLAY STITCH
Inlay is used for single stitching that has a very
bold appearance using whole thread for padding
which is then overstitched with regular 2/4 pull.
Inlay is used for single stitching that has a very
bold appearance using whole thread for padding
which is then overstitched with regular 2/4 pull.
APPLICATION
APPLICATION
Decorative stitch used at stitcher's discretion,
flower stems or veins, borders.
Decorative stitch used at stitcher's discretion,
flower stems or veins, borders.
TECHNIQUE
TECHNIQUE
!
Draw up a 12" piece of whole thread in a
regular sewing needle from the back of the
canvas.
!
Draw up a 12" piece of whole thread in a
regular sewing needle from the back of the
canvas.
!
Secure the whole thread to
the desired spot using either
Method 1 or 2 as explained
under 'Couching Stitches':
!
Secure the whole thread to
the desired spot using either
Method 1 or 2 as explained
under 'Couching Stitches':
- small, single stitches
placed every 1/2" over the
thread.
- push up a loop from the back of the canvas
and thread the whole thread through the
loop.
!
Thread a bunka needle with
2/4 pull thread. Overstitch
the whole thread with a
tight, neat Satin Stitch.
- small, single stitches
placed every 1/2" over the
thread.
- push up a loop from the back of the canvas
and thread the whole thread through the
loop.
!
Whole thread
105
Thread a bunka needle with
2/4 pull thread. Overstitch
the whole thread with a
tight, neat Satin Stitch.
Whole thread
105
LADDER STITCH
LADDER STITCH
Decorative Stitch, creates criss-cross design.
Attractive when placed over a stitched area.
Decorative Stitch, creates criss-cross design.
Attractive when placed over a stitched area.
APPLICATION
APPLICATION
Stitcher's discretion.
Stitcher's discretion.
TECHNIQUE
TECHNIQUE
!
Follow the numbers on the
diagram to work a
continuous criss-cross line
across the area.
!
Follow the numbers on the
diagram to work a
continuous criss-cross line
across the area.
LAYERED STITCHING
LAYERED STITCHING
A base layer, blending 3-4 colours, is completed
first. Numerous Stitch & Cuts rows and/or
stitches are then placed on top of the base layer
using 2-3 of the lighter colours.
A base layer, blending 3-4 colours, is completed
first. Numerous Stitch & Cuts rows and/or
stitches are then placed on top of the base layer
using 2-3 of the lighter colours.
APPLICATION
APPLICATION
This technique is used for hair/beards, waterfalls.
This technique is used for hair/beards, waterfalls.
TECHNIQUE
TECHNIQUE
!
Stitch the base area with colours indicated.
!
106
Stitch the base area with colours indicated.
106
LADDER STITCH
LADDER STITCH
Decorative Stitch, creates criss-cross design.
Attractive when placed over a stitched area.
Decorative Stitch, creates criss-cross design.
Attractive when placed over a stitched area.
APPLICATION
APPLICATION
Stitcher's discretion.
Stitcher's discretion.
TECHNIQUE
TECHNIQUE
!
Follow the numbers on the
diagram to work a
continuous criss-cross line
across the area.
!
Follow the numbers on the
diagram to work a
continuous criss-cross line
across the area.
LAYERED STITCHING
LAYERED STITCHING
A base layer, blending 3-4 colours, is completed
first. Numerous Stitch & Cuts rows and/or
stitches are then placed on top of the base layer
using 2-3 of the lighter colours.
A base layer, blending 3-4 colours, is completed
first. Numerous Stitch & Cuts rows and/or
stitches are then placed on top of the base layer
using 2-3 of the lighter colours.
APPLICATION
APPLICATION
This technique is used for hair/beards, waterfalls.
This technique is used for hair/beards, waterfalls.
TECHNIQUE
TECHNIQUE
!
Stitch the base area with colours indicated.
106
!
Stitch the base area with colours indicated.
106
!
Work in rows and/or single stitches of
adjoining colours on top of the base colour,
neighbour into neighbour, until the definite
areas of colour are toned down.
!
Work in rows and/or single stitches of
adjoining colours on top of the base colour,
neighbour into neighbour, until the definite
areas of colour are toned down.
!
Waterfalls - the lightest colours should be
concentrated wherever the flow of water is
hitting an object such as rocks, at the base
and at the top.
!
Waterfalls - the lightest colours should be
concentrated wherever the flow of water is
hitting an object such as rocks, at the base
and at the top.
!
Hair - the lightest colours should be
concentrated at the spot where the light is
striking.
!
Hair - the lightest colours should be
concentrated at the spot where the light is
striking.
LAZY DAISY STITCH
LAZY DAISY STITCH
(see 'Ring Stitch')
(see 'Ring Stitch')
LEAVES - BAMBOO
LEAVES - BAMBOO
The technique of stitching bamboo leaves can be
applied to any object that widens out from a single
thread width at the tip and where the stitch
direction runs vertically. These leaves should be
stitched very smooth and even like regular flat
stitching but because of the irregular shape it
requires a little more work to gain this effect.
The technique of stitching bamboo leaves can be
applied to any object that widens out from a single
thread width at the tip and where the stitch
direction runs vertically. These leaves should be
stitched very smooth and even like regular flat
stitching but because of the irregular shape it
requires a little more work to gain this effect.
APPLICATION
APPLICATION
Bamboo leaves, sword leaves, etc.
Bamboo leaves, sword leaves, etc.
TECHNIQUE
TECHNIQUE
!
Start at the tip, punch in 1mm past the screen
printing to ensure that the tread will cover the
blue line.
!
Start at the tip, punch in 1mm past the screen
printing to ensure that the tread will cover the
blue line.
107
107
!
Work in rows and/or single stitches of
adjoining colours on top of the base colour,
neighbour into neighbour, until the definite
areas of colour are toned down.
!
Work in rows and/or single stitches of
adjoining colours on top of the base colour,
neighbour into neighbour, until the definite
areas of colour are toned down.
!
Waterfalls - the lightest colours should be
concentrated wherever the flow of water is
hitting an object such as rocks, at the base
and at the top.
!
Waterfalls - the lightest colours should be
concentrated wherever the flow of water is
hitting an object such as rocks, at the base
and at the top.
!
Hair - the lightest colours should be
concentrated at the spot where the light is
striking.
!
Hair - the lightest colours should be
concentrated at the spot where the light is
striking.
LAZY DAISY STITCH
LAZY DAISY STITCH
(see 'Ring Stitch')
(see 'Ring Stitch')
LEAVES - BAMBOO
LEAVES - BAMBOO
The technique of stitching bamboo leaves can be
applied to any object that widens out from a single
thread width at the tip and where the stitch
direction runs vertically. These leaves should be
stitched very smooth and even like regular flat
stitching but because of the irregular shape it
requires a little more work to gain this effect.
The technique of stitching bamboo leaves can be
applied to any object that widens out from a single
thread width at the tip and where the stitch
direction runs vertically. These leaves should be
stitched very smooth and even like regular flat
stitching but because of the irregular shape it
requires a little more work to gain this effect.
APPLICATION
APPLICATION
Bamboo leaves, sword leaves, etc.
Bamboo leaves, sword leaves, etc.
TECHNIQUE
TECHNIQUE
!
Start at the tip, punch in 1mm past the screen
printing to ensure that the tread will cover the
blue line.
107
!
Start at the tip, punch in 1mm past the screen
printing to ensure that the tread will cover the
blue line.
107
!
**Stitch one row down the
center of the leaf. Turn the
headlight and stitch the
second row back up the
length of the leaf to where
the blue line is showing.
!
**Stitch one row down the
center of the leaf. Turn the
headlight and stitch the
second row back up the
length of the leaf to where
the blue line is showing.
!
Punch over the blue line and
cut the thread.
!
Punch over the blue line and
cut the thread.
!
Re-insert the needle at the
point where the blue line is
just starting to show through.
!
Re-insert the needle at the
point where the blue line is
just starting to show through.
!
Repeat from **to** until one
half of the leaf is completed.
!
Repeat from **to** until one
half of the leaf is completed.
!
Turn the work frame so that you are able to
work left to right on the remaining half of the
leaf and repeat the above steps.
!
Turn the work frame so that you are able to
work left to right on the remaining half of the
leaf and repeat the above steps.
LEAVES - CLAW STITCH CLUSTERS
LEAVES - CLAW STITCH CLUSTERS
This technique is used to create clusters or
groups of leaves around the trunk and branches
of a large tree. It utilizes a minimum of 3 shades
and the overall effect should be light and airy.
This is another technique that requires the
stitcher to refer to the coloured insert for proper
placement since the background sky area which
has already been stitched has hidden any screen
printed guidelines.
This technique is used to create clusters or
groups of leaves around the trunk and branches
of a large tree. It utilizes a minimum of 3 shades
and the overall effect should be light and airy.
This is another technique that requires the
stitcher to refer to the coloured insert for proper
placement since the background sky area which
has already been stitched has hidden any screen
printed guidelines.
108
108
!
**Stitch one row down the
center of the leaf. Turn the
headlight and stitch the
second row back up the
length of the leaf to where
the blue line is showing.
!
**Stitch one row down the
center of the leaf. Turn the
headlight and stitch the
second row back up the
length of the leaf to where
the blue line is showing.
!
Punch over the blue line and
cut the thread.
!
Punch over the blue line and
cut the thread.
!
Re-insert the needle at the
point where the blue line is
just starting to show through.
!
Re-insert the needle at the
point where the blue line is
just starting to show through.
!
Repeat from **to** until one
half of the leaf is completed.
!
Repeat from **to** until one
half of the leaf is completed.
!
Turn the work frame so that you are able to
work left to right on the remaining half of the
leaf and repeat the above steps.
!
Turn the work frame so that you are able to
work left to right on the remaining half of the
leaf and repeat the above steps.
LEAVES - CLAW STITCH CLUSTERS
LEAVES - CLAW STITCH CLUSTERS
This technique is used to create clusters or
groups of leaves around the trunk and branches
of a large tree. It utilizes a minimum of 3 shades
and the overall effect should be light and airy.
This is another technique that requires the
stitcher to refer to the coloured insert for proper
placement since the background sky area which
has already been stitched has hidden any screen
printed guidelines.
This technique is used to create clusters or
groups of leaves around the trunk and branches
of a large tree. It utilizes a minimum of 3 shades
and the overall effect should be light and airy.
This is another technique that requires the
stitcher to refer to the coloured insert for proper
placement since the background sky area which
has already been stitched has hidden any screen
printed guidelines.
108
108
APPLICATION
APPLICATION
Used in many scenes.
Used in many scenes.
TECHNIQUE
TECHNIQUE
Please refer to Claw Stitch for the basic
technique.
Please refer to Claw Stitch for the basic
technique.
!
When creating Leaf
Clusters using Claw
Stitch, you are not limited
to a 3-pointed design.
The 3-pointed Claw Stitch
can be increased up to
as many as 8 points.
!
When creating Leaf
Clusters using Claw
Stitch, you are not limited
to a 3-pointed design.
The 3-pointed Claw Stitch
can be increased up to
as many as 8 points.
!
After completing one starshape, take a 1/2" -3/4"
stitch to where the next
star shape will be worked.
This 1/2" stitch is referred
to as a 'Lead' stitch.
!
After completing one starshape, take a 1/2" -3/4"
stitch to where the next
star shape will be worked.
This 1/2" stitch is referred
to as a 'Lead' stitch.
Lead
Lead
!
Since these Lead Stitches can become
unsightly, they can be concealed by working
other groups on top of them.
!
Since these Lead Stitches can become
unsightly, they can be concealed by working
other groups on top of them.
!
Leaf clusters are stitched from the darkest
shade to the lightest and should be scattered
around the branch.
!
Leaf clusters are stitched from the darkest
shade to the lightest and should be scattered
around the branch.
!
At certain points, crossover the branch for a
more realistic effect.
!
At certain points, crossover the branch for a
more realistic effect.
109
109
APPLICATION
APPLICATION
Used in many scenes.
Used in many scenes.
TECHNIQUE
TECHNIQUE
Please refer to Claw Stitch for the basic
technique.
Please refer to Claw Stitch for the basic
technique.
!
When creating Leaf
Clusters using Claw
Stitch, you are not limited
to a 3-pointed design.
The 3-pointed Claw Stitch
can be increased up to
as many as 8 points.
!
When creating Leaf
Clusters using Claw
Stitch, you are not limited
to a 3-pointed design.
The 3-pointed Claw Stitch
can be increased up to
as many as 8 points.
!
After completing one starshape, take a 1/2" -3/4"
stitch to where the next
star shape will be worked.
This 1/2" stitch is referred
to as a 'Lead' stitch.
!
After completing one starshape, take a 1/2" -3/4"
stitch to where the next
star shape will be worked.
This 1/2" stitch is referred
to as a 'Lead' stitch.
Lead
Lead
!
Since these Lead Stitches can become
unsightly, they can be concealed by working
other groups on top of them.
!
Since these Lead Stitches can become
unsightly, they can be concealed by working
other groups on top of them.
!
Leaf clusters are stitched from the darkest
shade to the lightest and should be scattered
around the branch.
!
Leaf clusters are stitched from the darkest
shade to the lightest and should be scattered
around the branch.
!
At certain points, crossover the branch for a
more realistic effect.
!
At certain points, crossover the branch for a
more realistic effect.
109
109
!
The clusters should never be neatly lined up
but should point off in all different directions.
!
The clusters should never be neatly lined up
but should point off in all different directions.
!
The medium shade should overlap and extend
farther out from the dark shade.
!
The medium shade should overlap and extend
farther out from the dark shade.
!
Repeat with the lightest shade.
!
Repeat with the lightest shade.
dark
= first leaves
med. = second leaves
dotted = third leaves
dark
= first leaves
med. = second leaves
dotted = third leaves
LEAVES - FEATHER STITCH, SMOOTH
LEAVES - FEATHER STITCH, SMOOTH
This technique is used on leaves and bird's
feathers that have smooth edges and a center
vein. The stitching is worked down one half of the
leaf and then back up the other half with the stitch
direction on an angle to the center vein. Line
Padding should be applied to the outside edge to
ensure a smooth even edge.
This technique is used on leaves and bird's
feathers that have smooth edges and a center
vein. The stitching is worked down one half of the
leaf and then back up the other half with the stitch
direction on an angle to the center vein. Line
Padding should be applied to the outside edge to
ensure a smooth even edge.
TECHNIQUE
TECHNIQUE
!
Line pad around the outside edge.
!
Line pad around the outside edge.
!
Start at the base of the leaf working neatly
over the Line Padding, stitch up one side on
an angle to the center vein.
!
Start at the base of the leaf working neatly
over the Line Padding, stitch up one side on
an angle to the center vein.
110
110
!
The clusters should never be neatly lined up
but should point off in all different directions.
!
The clusters should never be neatly lined up
but should point off in all different directions.
!
The medium shade should overlap and extend
farther out from the dark shade.
!
The medium shade should overlap and extend
farther out from the dark shade.
!
Repeat with the lightest shade.
!
Repeat with the lightest shade.
dark
= first leaves
med. = second leaves
dotted = third leaves
dark
= first leaves
med. = second leaves
dotted = third leaves
LEAVES - FEATHER STITCH, SMOOTH
LEAVES - FEATHER STITCH, SMOOTH
This technique is used on leaves and bird's
feathers that have smooth edges and a center
vein. The stitching is worked down one half of the
leaf and then back up the other half with the stitch
direction on an angle to the center vein. Line
Padding should be applied to the outside edge to
ensure a smooth even edge.
This technique is used on leaves and bird's
feathers that have smooth edges and a center
vein. The stitching is worked down one half of the
leaf and then back up the other half with the stitch
direction on an angle to the center vein. Line
Padding should be applied to the outside edge to
ensure a smooth even edge.
TECHNIQUE
TECHNIQUE
!
Line pad around the outside edge.
!
Line pad around the outside edge.
!
Start at the base of the leaf working neatly
over the Line Padding, stitch up one side on
an angle to the center vein.
!
Start at the base of the leaf working neatly
over the Line Padding, stitch up one side on
an angle to the center vein.
110
110
!
Swing the stitches around
the tip and work down the
other side on the same
angle.
!
Swing the stitches around
the tip and work down the
other side on the same
angle.
!
Stagger the stitch length if
the distance is too wide
for a single stitch length.
!
Stagger the stitch length if
the distance is too wide
for a single stitch length.
!
If the leaf has more than
one colour, (eg. lighter
area in the center) stitch
the inside area first with
long and short
stitches/rows then stitch
an outside area, blending
into the center colour.
!
If the leaf has more than
one colour, (eg. lighter
area in the center) stitch
the inside area first with
long and short
stitches/rows then stitch
an outside area, blending
into the center colour.
!
blend outer colour into it
For small two-coloured
leaves where the blending
areas are very small,
stitch the outside colour
first and then complete the
inside area with long and
short Pine Needle
Stitches, blending into the
first colour.
!
For small two-coloured
leaves where the blending
areas are very small,
stitch the outside colour
first and then complete the
inside area with long and
short Pine Needle
Stitches, blending into the
first colour.
111
111
!
Swing the stitches around
the tip and work down the
other side on the same
angle.
!
Swing the stitches around
the tip and work down the
other side on the same
angle.
!
Stagger the stitch length if
the distance is too wide
for a single stitch length.
!
Stagger the stitch length if
the distance is too wide
for a single stitch length.
!
If the leaf has more than
one colour, (eg. lighter
area in the center) stitch
the inside area first with
long and short
stitches/rows then stitch
an outside area, blending
into the center colour.
!
If the leaf has more than
one colour, (eg. lighter
area in the center) stitch
the inside area first with
long and short
stitches/rows then stitch
an outside area, blending
into the center colour.
!
blend outer colour into it
For small two-coloured
leaves where the blending
areas are very small,
stitch the outside colour
first and then complete the
inside area with long and
short Pine Needle
Stitches, blending into the
first colour.
!
111
blend outer colour into it
blend outer colour into it
For small two-coloured
leaves where the blending
areas are very small,
stitch the outside colour
first and then complete the
inside area with long and
short Pine Needle
Stitches, blending into the
first colour.
111
LEAVES - FEATHER STITCH, POINTED
LEAVES - FEATHER STITCH, POINTED
The outside edge of this type of leaf is jagged
with the stitching worked on an angle to the
center vein.
The outside edge of this type of leaf is jagged
with the stitching worked on an angle to the
center vein.
TECHNIQUE
TECHNIQUE
!
Starting at the base of the leaf, stitch up one
side on an angle to the center vein.
!
Starting at the base of the leaf, stitch up one
side on an angle to the center vein.
!
To make the points on
the outside edge, vary
the stitch length with long
and short stitches. Where
a long point is desired
extend the stitch out
farther than the screenprinted design and end
the thread. Punch in
again just below the tip.
!
To make the points on
the outside edge, vary
the stitch length with long
and short stitches. Where
a long point is desired
extend the stitch out
farther than the screenprinted design and end
the thread. Punch in
again just below the tip.
!
Cut here
Restart here
Shorten the stitch length as you work across
the tip, then back down the other side on the
same angle.
!
Cut here
Restart here
Shorten the stitch length as you work across
the tip, then back down the other side on the
same angle.
LEAVES - MAPLE
LEAVES - MAPLE
Maple leaves are stitched clockwise if you are a
right-handed stitcher and counter-clockwise if you
are left-handed. The Headlight should be pointed
in the neutral position (pointing to the right).
Maple leaves are stitched clockwise if you are a
right-handed stitcher and counter-clockwise if you
are left-handed. The Headlight should be pointed
in the neutral position (pointing to the right).
There are two methods for stitching maple leaves:
There are two methods for stitching maple leaves:
a) Center vein method for large maple leaves.
a) Center vein method for large maple leaves.
112
112
LEAVES - FEATHER STITCH, POINTED
LEAVES - FEATHER STITCH, POINTED
The outside edge of this type of leaf is jagged
with the stitching worked on an angle to the
center vein.
The outside edge of this type of leaf is jagged
with the stitching worked on an angle to the
center vein.
TECHNIQUE
TECHNIQUE
!
Starting at the base of the leaf, stitch up one
side on an angle to the center vein.
!
Starting at the base of the leaf, stitch up one
side on an angle to the center vein.
!
To make the points on
the outside edge, vary
the stitch length with long
and short stitches. Where
a long point is desired
extend the stitch out
farther than the screenprinted design and end
the thread. Punch in
again just below the tip.
!
To make the points on
the outside edge, vary
the stitch length with long
and short stitches. Where
a long point is desired
extend the stitch out
farther than the screenprinted design and end
the thread. Punch in
again just below the tip.
!
Cut here
Restart here
Shorten the stitch length as you work across
the tip, then back down the other side on the
same angle.
!
Cut here
Restart here
Shorten the stitch length as you work across
the tip, then back down the other side on the
same angle.
LEAVES - MAPLE
LEAVES - MAPLE
Maple leaves are stitched clockwise if you are a
right-handed stitcher and counter-clockwise if you
are left-handed. The Headlight should be pointed
in the neutral position (pointing to the right).
Maple leaves are stitched clockwise if you are a
right-handed stitcher and counter-clockwise if you
are left-handed. The Headlight should be pointed
in the neutral position (pointing to the right).
There are two methods for stitching maple leaves:
There are two methods for stitching maple leaves:
a) Center vein method for large maple leaves.
a) Center vein method for large maple leaves.
112
112
b) Wedge Stitch method for small to medium
b) Wedge Stitch method for small to medium
Examine the coloured insert closely to determine
which method is used.
Examine the coloured insert closely to determine
which method is used.
TECHNIQUE
TECHNIQUE
CENTER VEIN METHOD
- for Large Maple Leaves
CENTER VEIN METHOD
- for Large Maple Leaves
!
Each lobe of the maple leaf is stitched to the
centerline of the lobe.
!
Each lobe of the maple leaf is stitched to the
centerline of the lobe.
!
Starting at the center point
of the leaf, work up one
side of the lobe out to the
tip, on an angle to the
center vein.
!
Starting at the center point
of the leaf, work up one
side of the lobe out to the
tip, on an angle to the
center vein.
!
Make a sharp point at the
tip by extending the thread
out and cutting.
!
Make a sharp point at the
tip by extending the thread
out and cutting.
!
Work down the opposite side of the lobe,
maintaining the same angle.** If done
correctly, the stitches should look like 'V's
radiating out from the center vein.
!
Work down the opposite side of the lobe,
maintaining the same angle.** If done
correctly, the stitches should look like 'V's
radiating out from the center vein.
!
At the end of this lobe continue working up the
side of the next lobe and repeat from **to **.
!
At the end of this lobe continue working up the
side of the next lobe and repeat from **to **.
113
113
b) Wedge Stitch method for small to medium
b) Wedge Stitch method for small to medium
Examine the coloured insert closely to determine
which method is used.
Examine the coloured insert closely to determine
which method is used.
TECHNIQUE
TECHNIQUE
CENTER VEIN METHOD
- for Large Maple Leaves
CENTER VEIN METHOD
- for Large Maple Leaves
!
Each lobe of the maple leaf is stitched to the
centerline of the lobe.
!
Each lobe of the maple leaf is stitched to the
centerline of the lobe.
!
Starting at the center point
of the leaf, work up one
side of the lobe out to the
tip, on an angle to the
center vein.
!
Starting at the center point
of the leaf, work up one
side of the lobe out to the
tip, on an angle to the
center vein.
!
Make a sharp point at the
tip by extending the thread
out and cutting.
!
Make a sharp point at the
tip by extending the thread
out and cutting.
!
Work down the opposite side of the lobe,
maintaining the same angle.** If done
correctly, the stitches should look like 'V's
radiating out from the center vein.
!
Work down the opposite side of the lobe,
maintaining the same angle.** If done
correctly, the stitches should look like 'V's
radiating out from the center vein.
!
At the end of this lobe continue working up the
side of the next lobe and repeat from **to **.
!
At the end of this lobe continue working up the
side of the next lobe and repeat from **to **.
113
113
WEGE STITCH METHOD
- for Small Maple Leaves
WEGE STITCH METHOD
- for Small Maple Leaves
This method creates a thicker looking leaf that is
more informal in appearance than the Center Vein
Maple Leaf. Each lobe is stitched mainly with
Wedge Stitches but should have one long stitch
which extends from the tip of each lobe right
down to the base point.
This method creates a thicker looking leaf that is
more informal in appearance than the Center Vein
Maple Leaf. Each lobe is stitched mainly with
Wedge Stitches but should have one long stitch
which extends from the tip of each lobe right
down to the base point.
!
Starting at the base point
of the maple leaf, take one
stitch along the side of the
first lobe.
!
Starting at the base point
of the maple leaf, take one
stitch along the side of the
first lobe.
!
The second stitch should
go back half the length of
the first stitch. This is a
Wedge Stitch.
!
The second stitch should
go back half the length of
the first stitch. This is a
Wedge Stitch.
!
Take another stitch up
over the blue line.
!
Take another stitch up
over the blue line.
!
Make another Wedge
stitch back to the center
either longer or shorter
than the first Wedge Stitch.
!
Make another Wedge
stitch back to the center
either longer or shorter
than the first Wedge Stitch.
114
114
WEGE STITCH METHOD
- for Small Maple Leaves
WEGE STITCH METHOD
- for Small Maple Leaves
This method creates a thicker looking leaf that is
more informal in appearance than the Center Vein
Maple Leaf. Each lobe is stitched mainly with
Wedge Stitches but should have one long stitch
which extends from the tip of each lobe right
down to the base point.
This method creates a thicker looking leaf that is
more informal in appearance than the Center Vein
Maple Leaf. Each lobe is stitched mainly with
Wedge Stitches but should have one long stitch
which extends from the tip of each lobe right
down to the base point.
!
Starting at the base point
of the maple leaf, take one
stitch along the side of the
first lobe.
!
Starting at the base point
of the maple leaf, take one
stitch along the side of the
first lobe.
!
The second stitch should
go back half the length of
the first stitch. This is a
Wedge Stitch.
!
The second stitch should
go back half the length of
the first stitch. This is a
Wedge Stitch.
!
Take another stitch up
over the blue line.
!
Take another stitch up
over the blue line.
!
Make another Wedge
stitch back to the center
either longer or shorter
than the first Wedge Stitch.
!
Make another Wedge
stitch back to the center
either longer or shorter
than the first Wedge Stitch.
114
114
!
Continue in this manner until
you reach the tip of the lobe.
This stitch should extend
from the tip all the way to the
base point.
!
Continue in this manner until
you reach the tip of the lobe.
This stitch should extend
from the tip all the way to the
base point.
!
Repeat this technique for
each lobe.
!
Repeat this technique for
each lobe.
LEAVES - PALETTE
LEAVES - PALETTE
This technique, used for creating a leaf pattern for
small deciduous trees, is named for the oil
painting method of using a palette knife to apply
dabs of colour. Consists of many small, patches
of colour starting with the darkest shade and
ending with the lightest.
This technique, used for creating a leaf pattern for
small deciduous trees, is named for the oil
painting method of using a palette knife to apply
dabs of colour. Consists of many small, patches
of colour starting with the darkest shade and
ending with the lightest.
TECHNIQUE
TECHNIQUE
!
Starting with the darkest
green, place a series of
small, patches of 2-3
horizontal stitches around the
branches of the tree. The
stitch length should be in
proportion to the size of the
tree.
!
Starting with the darkest
green, place a series of
small, patches of 2-3
horizontal stitches around the
branches of the tree. The
stitch length should be in
proportion to the size of the
tree.
115
115
!
Continue in this manner until
you reach the tip of the lobe.
This stitch should extend
from the tip all the way to the
base point.
!
Continue in this manner until
you reach the tip of the lobe.
This stitch should extend
from the tip all the way to the
base point.
!
Repeat this technique for
each lobe.
!
Repeat this technique for
each lobe.
LEAVES - PALETTE
LEAVES - PALETTE
This technique, used for creating a leaf pattern for
small deciduous trees, is named for the oil
painting method of using a palette knife to apply
dabs of colour. Consists of many small, patches
of colour starting with the darkest shade and
ending with the lightest.
This technique, used for creating a leaf pattern for
small deciduous trees, is named for the oil
painting method of using a palette knife to apply
dabs of colour. Consists of many small, patches
of colour starting with the darkest shade and
ending with the lightest.
TECHNIQUE
TECHNIQUE
!
Starting with the darkest
green, place a series of
small, patches of 2-3
horizontal stitches around the
branches of the tree. The
stitch length should be in
proportion to the size of the
tree.
!
115
Starting with the darkest
green, place a series of
small, patches of 2-3
horizontal stitches around the
branches of the tree. The
stitch length should be in
proportion to the size of the
tree.
115
!
!
Work in the second, medium
shade with the same size
stitches. Some of these
should overlap the dark
shade.
Repeat with the lightest
shade that can overlap the
other colours in some areas.
Some of the background
stitching (eg. blue sky)
should show through.
!
!
Work in the second, medium
shade with the same size
stitches. Some of these
should overlap the dark
shade.
Repeat with the lightest
shade that can overlap the
other colours in some areas.
Some of the background
stitching (eg. blue sky)
should show through.
LEAVES - SMALL SATIN
LEAVES - SMALL SATIN
Standard type of leaf used in many floral designs.
Usually stitched on an angle with Satin Stitch.
Standard type of leaf used in many floral designs.
Usually stitched on an angle with Satin Stitch.
TECHNIQUE
TECHNIQUE
!
With the Headlight pointing in
the neutral position, punch in
at the base of the leaf and
take one stitch on an angle
to the top edge.
!
This first stitch establishes
the angle of all the remaining
stitches.
This first stitch establishes
the angle of all the remaining
stitches.
116
!
!
Work in the second, medium
shade with the same size
stitches. Some of these
should overlap the dark
shade.
Repeat with the lightest
shade that can overlap the
other colours in some areas.
Some of the background
stitching (eg. blue sky)
should show through.
With the Headlight pointing in
the neutral position, punch in
at the base of the leaf and
take one stitch on an angle
to the top edge.
116
!
!
Work in the second, medium
shade with the same size
stitches. Some of these
should overlap the dark
shade.
Repeat with the lightest
shade that can overlap the
other colours in some areas.
Some of the background
stitching (eg. blue sky)
should show through.
LEAVES - SMALL SATIN
LEAVES - SMALL SATIN
Standard type of leaf used in many floral designs.
Usually stitched on an angle with Satin Stitch.
Standard type of leaf used in many floral designs.
Usually stitched on an angle with Satin Stitch.
TECHNIQUE
TECHNIQUE
!
With the Headlight pointing in
the neutral position, punch in
at the base of the leaf and
take one stitch on an angle
to the top edge.
This first stitch establishes
the angle of all the remaining
stitches.
116
!
With the Headlight pointing in
the neutral position, punch in
at the base of the leaf and
take one stitch on an angle
to the top edge.
This first stitch establishes
the angle of all the remaining
stitches.
116
!
Continue working on this angle
until you reach the tip area.
!
Continue working on this angle
until you reach the tip area.
!
To create a nice, tapered end,
shorten the stitch length and
end with a single thread at the
tip.
!
To create a nice, tapered end,
shorten the stitch length and
end with a single thread at the
tip.
LEFT-HANDAD STITCHERS
LEFT-HANDAD STITCHERS
Bunka Shishu embroidery is very simple to adapt
to for left-handed stitchers. The only thing you
must keep in mind is to reverse some of the stitch
directions. For example, when doing rows of Flat
Stitch, right-handers would work left to right so
that their stitching hand is moving away from the
stitching. Left-handers will work their rows from
right to left. If a right-handed person is showing
you a technique, by sitting directly across from
them you will see the stitching from the
perspective of a left handed stitcher.
Bunka Shishu embroidery is very simple to adapt
to for left-handed stitchers. The only thing you
must keep in mind is to reverse some of the stitch
directions. For example, when doing rows of Flat
Stitch, right-handers would work left to right so
that their stitching hand is moving away from the
stitching. Left-handers will work their rows from
right to left. If a right-handed person is showing
you a technique, by sitting directly across from
them you will see the stitching from the
perspective of a left handed stitcher.
OUTLINING
OUTLINING
Outlining helps to define or accent an object and
should be perfectly aligned around the edge.
Outlining helps to define or accent an object and
should be perfectly aligned around the edge.
The most common technique used for outlining is
a row of Running Stitch that is worked around a
completely stitched object, for example, a rock.
(see Running Stitch)
The most common technique used for outlining is
a row of Running Stitch that is worked around a
completely stitched object, for example, a rock.
(see Running Stitch)
117
117
!
Continue working on this angle
until you reach the tip area.
!
Continue working on this angle
until you reach the tip area.
!
To create a nice, tapered end,
shorten the stitch length and
end with a single thread at the
tip.
!
To create a nice, tapered end,
shorten the stitch length and
end with a single thread at the
tip.
LEFT-HANDAD STITCHERS
LEFT-HANDAD STITCHERS
Bunka Shishu embroidery is very simple to adapt
to for left-handed stitchers. The only thing you
must keep in mind is to reverse some of the stitch
directions. For example, when doing rows of Flat
Stitch, right-handers would work left to right so
that their stitching hand is moving away from the
stitching. Left-handers will work their rows from
right to left. If a right-handed person is showing
you a technique, by sitting directly across from
them you will see the stitching from the
perspective of a left handed stitcher.
Bunka Shishu embroidery is very simple to adapt
to for left-handed stitchers. The only thing you
must keep in mind is to reverse some of the stitch
directions. For example, when doing rows of Flat
Stitch, right-handers would work left to right so
that their stitching hand is moving away from the
stitching. Left-handers will work their rows from
right to left. If a right-handed person is showing
you a technique, by sitting directly across from
them you will see the stitching from the
perspective of a left handed stitcher.
OUTLINING
OUTLINING
Outlining helps to define or accent an object and
should be perfectly aligned around the edge.
Outlining helps to define or accent an object and
should be perfectly aligned around the edge.
The most common technique used for outlining is
a row of Running Stitch that is worked around a
completely stitched object, for example, a rock.
(see Running Stitch)
The most common technique used for outlining is
a row of Running Stitch that is worked around a
completely stitched object, for example, a rock.
(see Running Stitch)
117
117
On some Matsuhato Kits of Japanese ladies, an
outline around the face and hands is evident.
Rather than a stitched row of Running Stitch, a
strand of 2/4 pull thread is glued on which creates
a more natural, subtle effect.
!
Place a small amount of rice glue on your
fingers. Run 12" of 2/4 pull thread in the
appropriate colour between your fingers and
through the glue. This will stretch out the
thread to a single straight thread removing all
the curl. Carefully place glued thread along
desired areas. Refer to the insert.
On some Matsuhato Kits of Japanese ladies, an
outline around the face and hands is evident.
Rather than a stitched row of Running Stitch, a
strand of 2/4 pull thread is glued on which creates
a more natural, subtle effect.
!
Place a small amount of rice glue on your
fingers. Run 12" of 2/4 pull thread in the
appropriate colour between your fingers and
through the glue. This will stretch out the
thread to a single straight thread removing all
the curl. Carefully place glued thread along
desired areas. Refer to the insert.
OVERLAY STITCH
OVERLAY STITCH
Overlay stitch is an 'open' layer of stitching placed
over a layer of base stitching to soften the colour
of the base which can result in some interesting
new colour effects. Overlay stitching is always
worked in the same direction as the base layer.
Overlay stitch is an 'open' layer of stitching placed
over a layer of base stitching to soften the colour
of the base which can result in some interesting
new colour effects. Overlay stitching is always
worked in the same direction as the base layer.
TECHNIQUE
TECHNIQUE
!
Stitch the base colour.
!
Stitch the base colour.
!
With the designated colour
for overlaying, stitch on top
of the base so that approx.
half of the base colour
shows through.
!
With the designated colour
for overlaying, stitch on top
of the base so that approx.
half of the base colour
shows through.
118
On some Matsuhato Kits of Japanese ladies, an
outline around the face and hands is evident.
Rather than a stitched row of Running Stitch, a
strand of 2/4 pull thread is glued on which creates
a more natural, subtle effect.
!
Place a small amount of rice glue on your
fingers. Run 12" of 2/4 pull thread in the
appropriate colour between your fingers and
through the glue. This will stretch out the
thread to a single straight thread removing all
the curl. Carefully place glued thread along
desired areas. Refer to the insert.
118
On some Matsuhato Kits of Japanese ladies, an
outline around the face and hands is evident.
Rather than a stitched row of Running Stitch, a
strand of 2/4 pull thread is glued on which creates
a more natural, subtle effect.
!
Place a small amount of rice glue on your
fingers. Run 12" of 2/4 pull thread in the
appropriate colour between your fingers and
through the glue. This will stretch out the
thread to a single straight thread removing all
the curl. Carefully place glued thread along
desired areas. Refer to the insert.
OVERLAY STITCH
OVERLAY STITCH
Overlay stitch is an 'open' layer of stitching placed
over a layer of base stitching to soften the colour
of the base which can result in some interesting
new colour effects. Overlay stitching is always
worked in the same direction as the base layer.
Overlay stitch is an 'open' layer of stitching placed
over a layer of base stitching to soften the colour
of the base which can result in some interesting
new colour effects. Overlay stitching is always
worked in the same direction as the base layer.
TECHNIQUE
TECHNIQUE
!
Stitch the base colour.
!
Stitch the base colour.
!
With the designated colour
for overlaying, stitch on top
of the base so that approx.
half of the base colour
shows through.
!
With the designated colour
for overlaying, stitch on top
of the base so that approx.
half of the base colour
shows through.
118
118
PADDING
PADDING
This is a general term used for various
techniques, to build-up or lift a section higher than
the stitching behind it. It consists of working the
padding stitches first and then working the 'final'
stitching over the padding.
This is a general term used for various
techniques, to build-up or lift a section higher than
the stitching behind it. It consists of working the
padding stitches first and then working the 'final'
stitching over the padding.
APPLICATION
APPLICATION
The application of certain padding techniques are
sometimes marked directly on the canvas;
however, most often it depends on the skill level
of the stitcher as to how and when to use different
padding methods.
The application of certain padding techniques are
sometimes marked directly on the canvas;
however, most often it depends on the skill level
of the stitcher as to how and when to use different
padding methods.
To avoid running short of the thread supplied with
the kit, it is recommended that you use leftover
thread for padding that is similar in colour to the
kit thread being used.
To avoid running short of the thread supplied with
the kit, it is recommended that you use leftover
thread for padding that is similar in colour to the
kit thread being used.
TECHNIQUE
TECHNIQUE
Listed are the various Padding techniques that
are fully explained in the subsequent pages.
Listed are the various Padding techniques that
are fully explained in the subsequent pages.
Deep Dimensional
Double Stitching
Fluffy Stitch used as padding
Line Padding
Raised Padding
Solid Padding
Tapered Padding
Three Colour Padding
Deep Dimensional
Double Stitching
Fluffy Stitch used as padding
Line Padding
Raised Padding
Solid Padding
Tapered Padding
Three Colour Padding
119
119
PADDING
PADDING
This is a general term used for various
techniques, to build-up or lift a section higher than
the stitching behind it. It consists of working the
padding stitches first and then working the 'final'
stitching over the padding.
This is a general term used for various
techniques, to build-up or lift a section higher than
the stitching behind it. It consists of working the
padding stitches first and then working the 'final'
stitching over the padding.
APPLICATION
APPLICATION
The application of certain padding techniques are
sometimes marked directly on the canvas;
however, most often it depends on the skill level
of the stitcher as to how and when to use different
padding methods.
The application of certain padding techniques are
sometimes marked directly on the canvas;
however, most often it depends on the skill level
of the stitcher as to how and when to use different
padding methods.
To avoid running short of the thread supplied with
the kit, it is recommended that you use leftover
thread for padding that is similar in colour to the
kit thread being used.
To avoid running short of the thread supplied with
the kit, it is recommended that you use leftover
thread for padding that is similar in colour to the
kit thread being used.
TECHNIQUE
TECHNIQUE
Listed are the various Padding techniques that
are fully explained in the subsequent pages.
Listed are the various Padding techniques that
are fully explained in the subsequent pages.
Deep Dimensional
Double Stitching
Fluffy Stitch used as padding
Line Padding
Raised Padding
Solid Padding
Tapered Padding
Three Colour Padding
Deep Dimensional
Double Stitching
Fluffy Stitch used as padding
Line Padding
Raised Padding
Solid Padding
Tapered Padding
Three Colour Padding
119
119
PADDING, DEEP DIMENSIONAL
PADDING, DEEP DIMENSIONAL
This technique utilizes cotton batten for the
padding layer which 1s then overstitched with
bunks thread. Since the overall effect is very
dramatic and eye- catching, care should be taken
that it does not overpower the whole picture.
This technique utilizes cotton batten for the
padding layer which 1s then overstitched with
bunks thread. Since the overall effect is very
dramatic and eye- catching, care should be taken
that it does not overpower the whole picture.
APPLICATION
APPLICATION
Has been used on flower pods, rollovers and
petals. Stitcher's discretion.
Has been used on flower pods, rollovers and
petals. Stitcher's discretion.
TECHNIQUE
TECHNIQUE
!
Depending on the size of the area to be
covered, cut off the appropriate piece of a
cotton ball.
!
Depending on the size of the area to be
covered, cut off the appropriate piece of a
cotton ball.
!
Roll this piece between your fingers and the
palms of your hands. Trim to fit the area.
!
Roll this piece between your fingers and the
palms of your hands. Trim to fit the area.
!
Spread a small dab of rice glue on the canvas
and place the trimmed piece of cotton batten
on top.
!
Spread a small dab of rice glue on the canvas
and place the trimmed piece of cotton batten
on top.
!
Tuck in any loose edges of the cotton batten
!
Tuck in any loose edges of the cotton batten
!
To anchor the cotton,
work a Zig Zag pattern
across the cotton thread
using a fluffy needle and
1/4 pull thread.
!
To anchor the cotton,
work a Zig Zag pattern
across the cotton thread
using a fluffy needle and
1/4 pull thread.
120
120
PADDING, DEEP DIMENSIONAL
PADDING, DEEP DIMENSIONAL
This technique utilizes cotton batten for the
padding layer which 1s then overstitched with
bunks thread. Since the overall effect is very
dramatic and eye- catching, care should be taken
that it does not overpower the whole picture.
This technique utilizes cotton batten for the
padding layer which 1s then overstitched with
bunks thread. Since the overall effect is very
dramatic and eye- catching, care should be taken
that it does not overpower the whole picture.
APPLICATION
APPLICATION
Has been used on flower pods, rollovers and
petals. Stitcher's discretion.
Has been used on flower pods, rollovers and
petals. Stitcher's discretion.
TECHNIQUE
TECHNIQUE
!
Depending on the size of the area to be
covered, cut off the appropriate piece of a
cotton ball.
!
Depending on the size of the area to be
covered, cut off the appropriate piece of a
cotton ball.
!
Roll this piece between your fingers and the
palms of your hands. Trim to fit the area.
!
Roll this piece between your fingers and the
palms of your hands. Trim to fit the area.
!
Spread a small dab of rice glue on the canvas
and place the trimmed piece of cotton batten
on top.
!
Spread a small dab of rice glue on the canvas
and place the trimmed piece of cotton batten
on top.
!
Tuck in any loose edges of the cotton batten
!
Tuck in any loose edges of the cotton batten
!
To anchor the cotton,
work a Zig Zag pattern
across the cotton thread
using a fluffy needle and
1/4 pull thread.
!
To anchor the cotton,
work a Zig Zag pattern
across the cotton thread
using a fluffy needle and
1/4 pull thread.
120
120
!
Work another opposite Zig
Zag pattern (zig where you
zagged and zag where you
zigged!).
!
Work another opposite Zig
Zag pattern (zig where you
zagged and zag where you
zigged!).
!
Overstitch the entire area with 1/4 pull thread,
one length stitches. Refer to your insert for
proper stitch direction. To ensure that this topstitching is smooth and even:
!
Overstitch the entire area with 1/4 pull thread,
one length stitches. Refer to your insert for
proper stitch direction. To ensure that this topstitching is smooth and even:
!
Lift the needle up from the canvas after
every stitch to get some extra thread.
!
Lift the needle up from the canvas after
every stitch to get some extra thread.
!
Take the needle up and over the padding,
then punch.
!
Take the needle up and over the padding,
then punch.
!
Grab the loop with your left hand under the
canvas.
!
Grab the loop with your left hand under the
canvas.
!
Lay the thread over the padding.
!
Lay the thread over the padding.
!
Pull the back loop to adjust the tension
.
!
Pull the back loop to adjust the tension
.
PADDING, DOUBLE STITCHING
PADDING, DOUBLE STITCHING
Two layers of stitching, one on top of the other
both running in the same direction, the first
stitching acts as the padding layer.
Two layers of stitching, one on top of the other
both running in the same direction, the first
stitching acts as the padding layer.
APPLICATION
APPLICATION
Fish scales, Stitcher's discretion.
Fish scales, Stitcher's discretion.
121
121
!
Work another opposite Zig
Zag pattern (zig where you
zagged and zag where you
zigged!).
!
Work another opposite Zig
Zag pattern (zig where you
zagged and zag where you
zigged!).
!
Overstitch the entire area with 1/4 pull thread,
one length stitches. Refer to your insert for
proper stitch direction. To ensure that this topstitching is smooth and even:
!
Overstitch the entire area with 1/4 pull thread,
one length stitches. Refer to your insert for
proper stitch direction. To ensure that this topstitching is smooth and even:
!
Lift the needle up from the canvas after
every stitch to get some extra thread.
!
Lift the needle up from the canvas after
every stitch to get some extra thread.
!
Take the needle up and over the padding,
then punch.
!
Take the needle up and over the padding,
then punch.
!
Grab the loop with your left hand under the
canvas.
!
Grab the loop with your left hand under the
canvas.
!
Lay the thread over the padding.
!
Lay the thread over the padding.
!
Pull the back loop to adjust the tension
.
!
Pull the back loop to adjust the tension
.
PADDING, DOUBLE STITCHING
PADDING, DOUBLE STITCHING
Two layers of stitching, one on top of the other
both running in the same direction, the first
stitching acts as the padding layer.
Two layers of stitching, one on top of the other
both running in the same direction, the first
stitching acts as the padding layer.
APPLICATION
APPLICATION
Fish scales, Stitcher's discretion.
Fish scales, Stitcher's discretion.
121
121
TECHNIQUE
TECHNIQUE
!
Fill in a scale in the proper
direction.
!
Fill in a scale in the proper
direction.
!
On the last stitch leave the
needle in the canvas and
turn the work frame so that
you can now work the
second layer right over the
top of the first layer.
!
On the last stitch leave the
needle in the canvas and
turn the work frame so that
you can now work the
second layer right over the
top of the first layer.
PADDING, FLUFFY
PADDING, FLUFFY
Fluffy stitching can be used to pad or build-up a
flat stitch area. The fluffy stitching is done first
and completely brushed out before any flat
stitching is attempted. The finished effect is not
quite as dramatic as Deep Dimensional Padding.
Fluffy stitching can be used to pad or build-up a
flat stitch area. The fluffy stitching is done first
and completely brushed out before any flat
stitching is attempted. The finished effect is not
quite as dramatic as Deep Dimensional Padding.
APPLICATION
APPLICATION
Limited use on kits, at stitcher's discretion. Very
effective when over-stitched with 1/4 pull thread.
Limited use on kits, at stitcher's discretion. Very
effective when over-stitched with 1/4 pull thread.
TECHNIQUE
TECHNIQUE
!
Trace the area to be padded onto the back of
the canvas.
!
Trace the area to be padded onto the back of
the canvas.
!
Stitch the area with Fluffy Stitch, 2/4 pull
thread, remembering to backtrack the first 3
and last 3 stitches. (See Fluffy Stitch)
!
Stitch the area with Fluffy Stitch, 2/4 pull
thread, remembering to backtrack the first 3
and last 3 stitches. (See Fluffy Stitch)
122
TECHNIQUE
122
TECHNIQUE
!
Fill in a scale in the proper
direction.
!
Fill in a scale in the proper
direction.
!
On the last stitch leave the
needle in the canvas and
turn the work frame so that
you can now work the
second layer right over the
top of the first layer.
!
On the last stitch leave the
needle in the canvas and
turn the work frame so that
you can now work the
second layer right over the
top of the first layer.
PADDING, FLUFFY
PADDING, FLUFFY
Fluffy stitching can be used to pad or build-up a
flat stitch area. The fluffy stitching is done first
and completely brushed out before any flat
stitching is attempted. The finished effect is not
quite as dramatic as Deep Dimensional Padding.
Fluffy stitching can be used to pad or build-up a
flat stitch area. The fluffy stitching is done first
and completely brushed out before any flat
stitching is attempted. The finished effect is not
quite as dramatic as Deep Dimensional Padding.
APPLICATION
APPLICATION
Limited use on kits, at stitcher's discretion. Very
effective when over-stitched with 1/4 pull thread.
Limited use on kits, at stitcher's discretion. Very
effective when over-stitched with 1/4 pull thread.
TECHNIQUE
TECHNIQUE
!
Trace the area to be padded onto the back of
the canvas.
!
Trace the area to be padded onto the back of
the canvas.
!
Stitch the area with Fluffy Stitch, 2/4 pull
thread, remembering to backtrack the first 3
and last 3 stitches. (See Fluffy Stitch)
!
Stitch the area with Fluffy Stitch, 2/4 pull
thread, remembering to backtrack the first 3
and last 3 stitches. (See Fluffy Stitch)
122
122
!
Protect the front side of the canvas with 2 rows
of masking tape around the stitching. Brush
!
Protect the front side of the canvas with 2 rows
of masking tape around the stitching. Brush
!
Trim or 'sculpture' the fluffy so that the edges
are smooth and in line with the screen-printing.
!
Trim or 'sculpture' the fluffy so that the edges
are smooth and in line with the screen-printing.
!
Overstitch the padding with the appropriate
thread using one length stitches. To ensure that
this top-stitching is smooth and even:
!
Overstitch the padding with the appropriate
thread using one length stitches. To ensure that
this top-stitching is smooth and even:
!
Lift the needle up from the canvas after
every stitch to get some extra thread.
!
Lift the needle up from the canvas after
every stitch to get some extra thread.
!
Take the needle up and over the padding.
!
Take the needle up and over the padding.
!
Pull the back loop to adjust the tension.
!
Pull the back loop to adjust the tension.
PADDING LINE
PADDING LINE
Line Padding is worked similar to a line of
Running Stitch except that this line of thread
around the edges of an area will not be visible
when the stitching is completed -the final layer is
stitched over the Line Padding.
Line Padding is worked similar to a line of
Running Stitch except that this line of thread
around the edges of an area will not be visible
when the stitching is completed -the final layer is
stitched over the Line Padding.
!
This single row of stitching is used to define
the edges and helps keep the stitching smooth
and even.
!
This single row of stitching is used to define
the edges and helps keep the stitching smooth
and even.
!
This method of padding can be used whenever
the stitch direction of the area can cross over
the padding thread.
!
This method of padding can be used whenever
the stitch direction of the area can cross over
the padding thread.
It is a very important technique because:
1. It elevates the perimeter of an area
2. Helps to hide the screen-printing.
3. Helps to maintain a smooth, even edge.
It is a very important technique because:
1. It elevates the perimeter of an area
2. Helps to hide the screen-printing.
3. Helps to maintain a smooth, even edge.
123
123
!
Protect the front side of the canvas with 2 rows
of masking tape around the stitching. Brush
!
Protect the front side of the canvas with 2 rows
of masking tape around the stitching. Brush
!
Trim or 'sculpture' the fluffy so that the edges
are smooth and in line with the screen-printing.
!
Trim or 'sculpture' the fluffy so that the edges
are smooth and in line with the screen-printing.
!
Overstitch the padding with the appropriate
thread using one length stitches. To ensure that
this top-stitching is smooth and even:
!
Overstitch the padding with the appropriate
thread using one length stitches. To ensure that
this top-stitching is smooth and even:
!
Lift the needle up from the canvas after
every stitch to get some extra thread.
!
Lift the needle up from the canvas after
every stitch to get some extra thread.
!
Take the needle up and over the padding.
!
Take the needle up and over the padding.
!
Pull the back loop to adjust the tension.
!
Pull the back loop to adjust the tension.
PADDING LINE
PADDING LINE
Line Padding is worked similar to a line of
Running Stitch except that this line of thread
around the edges of an area will not be visible
when the stitching is completed -the final layer is
stitched over the Line Padding.
Line Padding is worked similar to a line of
Running Stitch except that this line of thread
around the edges of an area will not be visible
when the stitching is completed -the final layer is
stitched over the Line Padding.
!
This single row of stitching is used to define
the edges and helps keep the stitching smooth
and even.
!
This single row of stitching is used to define
the edges and helps keep the stitching smooth
and even.
!
This method of padding can be used whenever
the stitch direction of the area can cross over
the padding thread.
!
This method of padding can be used whenever
the stitch direction of the area can cross over
the padding thread.
It is a very important technique because:
1. It elevates the perimeter of an area
2. Helps to hide the screen-printing.
3. Helps to maintain a smooth, even edge.
It is a very important technique because:
1. It elevates the perimeter of an area
2. Helps to hide the screen-printing.
3. Helps to maintain a smooth, even edge.
123
123
!
Individual areas are first line padded and then
completed before moving to the next item.
For example; a rock pile
Rock A is line padded then completely stitched.
Next, Rock B will be line padded and stitched.
Next, Rock C, etc.
Never line pad the whole article at once,
i.e. the whole rock pile. Each individual rock must
be completed in order from background to
foreground.
!
!
Line padding stitches should be quite short
(about 1/8" -1/4") to prevent it from shifting
when doing the over-stitching.
When there is no background stitching, line
padding is used to conceal the screen-printing
and to help achieve a smooth edge.
!
!
Rock A is line padded then completely stitched.
Next, Rock B will be line padded and stitched.
Next, Rock C, etc.
Never line pad the whole article at once,
i.e. the whole rock pile. Each individual rock must
be completed in order from background to
foreground.
!
!
Punch in a line of short
stitches just outside the
screen-printed line. This
will help hide the screenprinting.
Stitch the area, working
over the line padding.
Try to avoid serrated edges by punching
the same distance over the line padding
each time.
Individual areas are first line padded and then
completed before moving to the next item.
For example; a rock pile
Never line pad the whole article at once,
i.e. the whole rock pile. Each individual rock must
be completed in order from background to
foreground.
!
Line padding stitches should be quite short
(about 1/8" -1/4") to prevent it from shifting
when doing the over-stitching.
When there is no background stitching, line
padding is used to conceal the screen-printing
and to help achieve a smooth edge.
!
124
When there is no background stitching, line
padding is used to conceal the screen-printing
and to help achieve a smooth edge.
Punch in a line of short
stitches just outside the
screen-printed line. This
will help hide the screenprinting.
Stitch the area, working
over the line padding.
Try to avoid serrated edges by punching
the same distance over the line padding
each time.
124
Rock A is line padded then completely stitched.
Next, Rock B will be line padded and stitched.
Next, Rock C, etc.
!
Line padding stitches should be quite short
(about 1/8" -1/4") to prevent it from shifting
when doing the over-stitching.
!
124
!
Individual areas are first line padded and then
completed before moving to the next item.
For example; a rock pile
Punch in a line of short
stitches just outside the
screen-printed line. This
will help hide the screenprinting.
Stitch the area, working
over the line padding.
Try to avoid serrated edges by punching
the same distance over the line padding
each time.
!
Individual areas are first line padded and then
completed before moving to the next item.
For example; a rock pile
Rock A is line padded then completely stitched.
Next, Rock B will be line padded and stitched.
Next, Rock C, etc.
Never line pad the whole article at once,
i.e. the whole rock pile. Each individual rock must
be completed in order from background to
foreground.
!
!
Line padding stitches should be quite short
(about 1/8" -1/4") to prevent it from shifting
when doing the over-stitching.
When there is no background stitching, line
padding is used to conceal the screen-printing
and to help achieve a smooth edge.
!
124
Punch in a line of short
stitches just outside the
screen-printed line. This
will help hide the screenprinting.
Stitch the area, working
over the line padding.
Try to avoid serrated edges by punching
the same distance over the line padding
each time.
!
When there is background stitching, line
padding 'lifts' the area to be done above the
background and also helps to keep an even
border.
!
When there is background stitching, line
padding 'lifts' the area to be done above the
background and also helps to keep an even
border.
!
Punch in a line of short
stitches catching the
edge of the background
stitching.
!
Punch in a line of short
stitches catching the
edge of the background
stitching.
!
Stitch the area, working over the line
padding keeping this edge nice and even
by punching the same distance over the
line padding each time.
!
Stitch the area, working over the line
padding keeping this edge nice and even
by punching the same distance over the
line padding each time.
PADDING, MULTI-COLOUR
PADDING, MULTI-COLOUR
2 or 3 colour
2 or 3 colour
Most padding techniques involve establishing a
base layer in a different direction and then
covering over it with the final stitching. Two or
Three Colour Padding technique differs from the
others in that it does not require a base layer
because the 'good' stitching also acts as the
padding. The explanation below is for working
with 3 colours; two colour padding uses the same
concept except you are only working with 2 layers
of thread.
Most padding techniques involve establishing a
base layer in a different direction and then
covering over it with the final stitching. Two or
Three Colour Padding technique differs from the
others in that it does not require a base layer
because the 'good' stitching also acts as the
padding. The explanation below is for working
with 3 colours; two colour padding uses the same
concept except you are only working with 2 layers
of thread.
APPLICATION
APPLICATION
Very popular technique for flowers.
Very popular technique for flowers.
125
125
!
When there is background stitching, line
padding 'lifts' the area to be done above the
background and also helps to keep an even
border.
!
When there is background stitching, line
padding 'lifts' the area to be done above the
background and also helps to keep an even
border.
!
Punch in a line of short
stitches catching the
edge of the background
stitching.
!
Punch in a line of short
stitches catching the
edge of the background
stitching.
!
Stitch the area, working over the line
padding keeping this edge nice and even
by punching the same distance over the
line padding each time.
!
Stitch the area, working over the line
padding keeping this edge nice and even
by punching the same distance over the
line padding each time.
PADDING, MULTI-COLOUR
PADDING, MULTI-COLOUR
2 or 3 colour
2 or 3 colour
Most padding techniques involve establishing a
base layer in a different direction and then
covering over it with the final stitching. Two or
Three Colour Padding technique differs from the
others in that it does not require a base layer
because the 'good' stitching also acts as the
padding. The explanation below is for working
with 3 colours; two colour padding uses the same
concept except you are only working with 2 layers
of thread.
Most padding techniques involve establishing a
base layer in a different direction and then
covering over it with the final stitching. Two or
Three Colour Padding technique differs from the
others in that it does not require a base layer
because the 'good' stitching also acts as the
padding. The explanation below is for working
with 3 colours; two colour padding uses the same
concept except you are only working with 2 layers
of thread.
APPLICATION
APPLICATION
Very popular technique for flowers.
Very popular technique for flowers.
125
125
TECHNIQUE
TECHNIQUE
!
With the first colour, stitch
the entire petal from the
center to within 1/8" of the
outside edge.
!
With the first colour, stitch
the entire petal from the
center to within 1/8" of the
outside edge.
!
The second shade is then
worked on top of the first
colour except for the small
center area where the first
colour will be left showing.
The stitches at the center
edge should be alternating
long and short in length so
that it appears that the two
colours are blending together
and 1/8" short of the outer
edge.
!
The second shade is then
worked on top of the first
colour except for the small
center area where the first
colour will be left showing.
The stitches at the center
edge should be alternating
long and short in length so
that it appears that the two
colours are blending together
and 1/8" short of the outer
edge.
!
The third colour is worked in
the same manner, leaving
some of the first two shades
exposed and stitched evenly
over the outer edge
.
!
The third colour is worked in
the same manner, leaving
some of the first two shades
exposed and stitched evenly
over the outer edge
.
126
TECHNIQUE
126
TECHNIQUE
!
With the first colour, stitch
the entire petal from the
center to within 1/8" of the
outside edge.
!
With the first colour, stitch
the entire petal from the
center to within 1/8" of the
outside edge.
!
The second shade is then
worked on top of the first
colour except for the small
center area where the first
colour will be left showing.
The stitches at the center
edge should be alternating
long and short in length so
that it appears that the two
colours are blending together
and 1/8" short of the outer
edge.
!
The second shade is then
worked on top of the first
colour except for the small
center area where the first
colour will be left showing.
The stitches at the center
edge should be alternating
long and short in length so
that it appears that the two
colours are blending together
and 1/8" short of the outer
edge.
!
The third colour is worked in
the same manner, leaving
some of the first two shades
exposed and stitched evenly
over the outer edge
.
!
The third colour is worked in
the same manner, leaving
some of the first two shades
exposed and stitched evenly
over the outer edge
.
126
126
PADDING, RAISED
PADDING, RAISED
The area to be raised is first padded with
progressively larger sections of 2 or more levels
of flat stitching to create a mound or bulge. Each
padding level should be stitched in a different
direction.
The area to be raised is first padded with
progressively larger sections of 2 or more levels
of flat stitching to create a mound or bulge. Each
padding level should be stitched in a different
direction.
APPLICATION
APPLICATION
Tiger's Eye (3 levels), Owl's Eye (2 levels),
Stitcher's Discretion.
Tiger's Eye (3 levels), Owl's Eye (2 levels),
Stitcher's Discretion.
TECHNIQUE
TECHNIQUE
Example: Padding a tiger's eye
Example: Padding a tiger's eye
!
First layer: Stitch the pupil area.
!
First layer: Stitch the pupil area.
!
Stitch the second layer larger
and over the first layer.
!
Stitch the second layer larger
and over the first layer.
!
Stitch the third layer larger and
over the second area.
!
Stitch the third layer larger and
over the second area.
127
127
PADDING, RAISED
PADDING, RAISED
The area to be raised is first padded with
progressively larger sections of 2 or more levels
of flat stitching to create a mound or bulge. Each
padding level should be stitched in a different
direction.
The area to be raised is first padded with
progressively larger sections of 2 or more levels
of flat stitching to create a mound or bulge. Each
padding level should be stitched in a different
direction.
APPLICATION
APPLICATION
Tiger's Eye (3 levels), Owl's Eye (2 levels),
Stitcher's Discretion.
Tiger's Eye (3 levels), Owl's Eye (2 levels),
Stitcher's Discretion.
TECHNIQUE
TECHNIQUE
Example: Padding a tiger's eye
Example: Padding a tiger's eye
!
First layer: Stitch the pupil area.
!
First layer: Stitch the pupil area.
!
Stitch the second layer larger
and over the first layer.
!
Stitch the second layer larger
and over the first layer.
!
Stitch the third layer larger and
over the second area.
!
Stitch the third layer larger and
over the second area.
127
127
PADDING, SOLID
PADDING, SOLID
Used when an entire area is to be raised by filling
it in with a base layer of Flat Stitching. Direction is
not important with this padding layer as long as it
is on a different angle to the final layer. The top
stitching can utilize all three different pulls (i.e.
1/4, 2/4 or 3/4) dependent on the area being
stitched; for example, the bridge of a bird's beak
has an area of solid padding which is then
overstitched with 3/4 polished thread.
Used when an entire area is to be raised by filling
it in with a base layer of Flat Stitching. Direction is
not important with this padding layer as long as it
is on a different angle to the final layer. The top
stitching can utilize all three different pulls (i.e.
1/4, 2/4 or 3/4) dependent on the area being
stitched; for example, the bridge of a bird's beak
has an area of solid padding which is then
overstitched with 3/4 polished thread.
APPLICATION
APPLICATION
Extensively used in many aspects of Bunka
Shishu embroidery, eg. Petal Rollovers. Stitcher's
Discretion.
Extensively used in many aspects of Bunka
Shishu embroidery, eg. Petal Rollovers. Stitcher's
Discretion.
TECHNIQUE
TECHNIQUE
!
Fill in the area with regular
flat stitching - padding
layer.
!
Fill in the area with regular
flat stitching - padding
layer.
!
Overstitch the padding with
the appropriate thread in
the proper direction. To
ensure that this topstitching is smooth
and even:
!
Overstitch the padding with
the appropriate thread in
the proper direction. To
ensure that this topstitching is smooth
and even:
!
Lift the needle up from the canvas after
every stitch to get some extra thread.
!
Lift the needle up from the canvas after
every stitch to get some extra thread.
!
Take the needle up and over the padding.
!
Take the needle up and over the padding.
128
128
PADDING, SOLID
PADDING, SOLID
Used when an entire area is to be raised by filling
it in with a base layer of Flat Stitching. Direction is
not important with this padding layer as long as it
is on a different angle to the final layer. The top
stitching can utilize all three different pulls (i.e.
1/4, 2/4 or 3/4) dependent on the area being
stitched; for example, the bridge of a bird's beak
has an area of solid padding which is then
overstitched with 3/4 polished thread.
Used when an entire area is to be raised by filling
it in with a base layer of Flat Stitching. Direction is
not important with this padding layer as long as it
is on a different angle to the final layer. The top
stitching can utilize all three different pulls (i.e.
1/4, 2/4 or 3/4) dependent on the area being
stitched; for example, the bridge of a bird's beak
has an area of solid padding which is then
overstitched with 3/4 polished thread.
APPLICATION
APPLICATION
Extensively used in many aspects of Bunka
Shishu embroidery, eg. Petal Rollovers. Stitcher's
Discretion.
Extensively used in many aspects of Bunka
Shishu embroidery, eg. Petal Rollovers. Stitcher's
Discretion.
TECHNIQUE
TECHNIQUE
!
Fill in the area with regular
flat stitching - padding
layer.
!
Fill in the area with regular
flat stitching - padding
layer.
!
Overstitch the padding with
the appropriate thread in
the proper direction. To
ensure that this topstitching is smooth
and even:
!
Overstitch the padding with
the appropriate thread in
the proper direction. To
ensure that this topstitching is smooth
and even:
!
Lift the needle up from the canvas after
every stitch to get some extra thread.
!
Lift the needle up from the canvas after
every stitch to get some extra thread.
!
Take the needle up and over the padding.
!
Take the needle up and over the padding.
128
128
PADING, TAPERED
PADING, TAPERED
With this padding technique the stitches are
worked close together in the area where the
greatest concentration is required and then
tapered off to a single thread width. This tapering
method prevents a sudden drop-off of the top
stitching from the high to the low area.
With this padding technique the stitches are
worked close together in the area where the
greatest concentration is required and then
tapered off to a single thread width. This tapering
method prevents a sudden drop-off of the top
stitching from the high to the low area.
APPLICATION
APPLICATION
Tapered Padding is frequently used for areas
where only a portion of the item is to be raised.
Example, the overlapping sections of bamboo
leaves.
Tapered Padding is frequently used for areas
where only a portion of the item is to be raised.
Example, the overlapping sections of bamboo
leaves.
TECHNIQUE
TECHNIQUE
!
These padding stitches
should be in a different
direction from the final
stitching. Example, stitch
direction for a bamboo leaf
runs back and forth from the
tip to the base. The padding
should be worked across the
leaf.
!
These padding stitches
should be in a different
direction from the final
stitching. Example, stitch
direction for a bamboo leaf
runs back and forth from the
tip to the base. The padding
should be worked across the
leaf.
!
Concentrate the padding in the area where the
most 'lift' is required, for example, the section
of the leaf where it overlaps another leaf.
!
Concentrate the padding in the area where the
most 'lift' is required, for example, the section
of the leaf where it overlaps another leaf.
!
As you move past this section, taper off the
padding to one thread by opening up the
rows/stitches.
!
As you move past this section, taper off the
padding to one thread by opening up the
rows/stitches.
129
129
PADING, TAPERED
PADING, TAPERED
With this padding technique the stitches are
worked close together in the area where the
greatest concentration is required and then
tapered off to a single thread width. This tapering
method prevents a sudden drop-off of the top
stitching from the high to the low area.
With this padding technique the stitches are
worked close together in the area where the
greatest concentration is required and then
tapered off to a single thread width. This tapering
method prevents a sudden drop-off of the top
stitching from the high to the low area.
APPLICATION
APPLICATION
Tapered Padding is frequently used for areas
where only a portion of the item is to be raised.
Example, the overlapping sections of bamboo
leaves.
Tapered Padding is frequently used for areas
where only a portion of the item is to be raised.
Example, the overlapping sections of bamboo
leaves.
TECHNIQUE
TECHNIQUE
!
These padding stitches
should be in a different
direction from the final
stitching. Example, stitch
direction for a bamboo leaf
runs back and forth from the
tip to the base. The padding
should be worked across the
leaf.
!
These padding stitches
should be in a different
direction from the final
stitching. Example, stitch
direction for a bamboo leaf
runs back and forth from the
tip to the base. The padding
should be worked across the
leaf.
!
Concentrate the padding in the area where the
most 'lift' is required, for example, the section
of the leaf where it overlaps another leaf.
!
Concentrate the padding in the area where the
most 'lift' is required, for example, the section
of the leaf where it overlaps another leaf.
!
As you move past this section, taper off the
padding to one thread by opening up the
rows/stitches.
!
As you move past this section, taper off the
padding to one thread by opening up the
rows/stitches.
129
129
PICOT STITCH
PICOT STITCH
Creates small knobs of thread, which can be left
as individual dots or joined together with a
running stitch to create a continuous row.
Creates small knobs of thread, which can be left
as individual dots or joined together with a
running stitch to create a continuous row.
APPLICATION
APPLICATION
Decorative stitching; flowers; scenes; water
effects (splashes, waves)
Decorative stitching; flowers; scenes; water
effects (splashes, waves)
TECHNIQUE
TECHNIQUE
Single Picot
Single Picot
!
Punch needle into canvas, pull the end of the
thread to the back.
!
Punch needle into canvas, pull the end of the
thread to the back.
!
Lift the needle about 1/2" off of the canvas.
!
Lift the needle about 1/2" off of the canvas.
!
Punch into the canvas right beside the last
Punch mark.
!
Punch into the canvas right beside the last
Punch mark.
!
Cut and pull the thread to the back of the
canvas.
!
Cut and pull the thread to the back of the
canvas.
130
130
PICOT STITCH
PICOT STITCH
Creates small knobs of thread, which can be left
as individual dots or joined together with a
running stitch to create a continuous row.
Creates small knobs of thread, which can be left
as individual dots or joined together with a
running stitch to create a continuous row.
APPLICATION
APPLICATION
Decorative stitching; flowers; scenes; water
effects (splashes, waves)
Decorative stitching; flowers; scenes; water
effects (splashes, waves)
TECHNIQUE
TECHNIQUE
Single Picot
Single Picot
!
Punch needle into canvas, pull the end of the
thread to the back.
!
Punch needle into canvas, pull the end of the
thread to the back.
!
Lift the needle about 1/2" off of the canvas.
!
Lift the needle about 1/2" off of the canvas.
!
Punch into the canvas right beside the last
Punch mark.
!
Punch into the canvas right beside the last
Punch mark.
!
Cut and pull the thread to the back of the
canvas.
!
Cut and pull the thread to the back of the
canvas.
130
130
Picot Row
Picot Row
!
Punch needle into canvas, pull the end of the
thread to the back.
!
Punch needle into canvas, pull the end of the
thread to the back.
!
**Lift the needle about 1/2" off of the canvas
!
**Lift the needle about 1/2" off of the canvas
!
Punch into the canvas right beside the last
Punch mark.
!
Punch into the canvas right beside the last
Punch mark.
!
Take a 1/2" stitch. ** (Known as a Lead Stitch)
!
Take a 1/2" stitch. ** (Known as a Lead Stitch)
!
Repeat from ** to **.
!
Repeat from ** to **.
Note: The distance that the needle is lifted
determines the size of the dot.
Note: The distance that the needle is lifted
determines the size of the dot.
Variations
Variations
!
Shorten or lengthen the Lead Stitch between
each Picot.
!
Shorten or lengthen the Lead Stitch between
each Picot.
!
Do Picot Rows, side by side, using different
colours of thread.
!
Do Picot Rows, side by side, using different
colours of thread.
!
Shorten or lengthen the height that the needle
is raised to make smaller or larger Picots.
!
Shorten or lengthen the height that the needle
is raised to make smaller or larger Picots.
131
Picot Row
131
Picot Row
!
Punch needle into canvas, pull the end of the
thread to the back.
!
Punch needle into canvas, pull the end of the
thread to the back.
!
**Lift the needle about 1/2" off of the canvas
!
**Lift the needle about 1/2" off of the canvas
!
Punch into the canvas right beside the last
Punch mark.
!
Punch into the canvas right beside the last
Punch mark.
!
Take a 1/2" stitch. ** (Known as a Lead Stitch)
!
Take a 1/2" stitch. ** (Known as a Lead Stitch)
!
Repeat from ** to **.
!
Repeat from ** to **.
Note: The distance that the needle is lifted
determines the size of the dot.
Note: The distance that the needle is lifted
determines the size of the dot.
Variations
Variations
!
Shorten or lengthen the Lead Stitch between
each Picot.
!
Shorten or lengthen the Lead Stitch between
each Picot.
!
Do Picot Rows, side by side, using different
colours of thread.
!
Do Picot Rows, side by side, using different
colours of thread.
!
Shorten or lengthen the height that the needle
is raised to make smaller or larger Picots.
!
Shorten or lengthen the height that the needle
is raised to make smaller or larger Picots.
131
131
PILE STITCH
PILE STITCH
(see Fluffy Stitch)
(see Fluffy Stitch)
PINE NEEDLE STITCH
PINE NEEDLE STITCH
This is a very simple stitch that resembles the
letter "V".
This is a very simple stitch that resembles the
letter "V".
APPLICATION
APPLICATION
Extensively used in many aspects of Bunka
Shishu embroidery but is named for its specific
application to stitching pine needles.
Extensively used in many aspects of Bunka
Shishu embroidery but is named for its specific
application to stitching pine needles.
TECHNIQUE
TECHNIQUE
This is basically a 1-2-3 cut method:
This is basically a 1-2-3 cut method:
1 Punch into the canvas and
pull the end to the back.
1 Punch into the canvas and
pull the end to the back.
2 Make one stitch the desired
length on a slight angle.
2 Make one stitch the desired
length on a slight angle.
3 To complete the "V", punch
an equal length stitch up on
the same angle as the first
stitch.
3 To complete the "V", punch
an equal length stitch up on
the same angle as the first
stitch.
PINE NEEDLE CLUSTERS
PINE NEEDLE CLUSTERS
METHOD 1 -FORMAL
METHOD 1 -FORMAL
A combination of Pine Needle stitches worked in
2/4 and 3/4 pull thread creates a very stylized,
formal sunburst effect.
A combination of Pine Needle stitches worked in
2/4 and 3/4 pull thread creates a very stylized,
formal sunburst effect.
132
132
PILE STITCH
PILE STITCH
(see Fluffy Stitch)
(see Fluffy Stitch)
PINE NEEDLE STITCH
PINE NEEDLE STITCH
This is a very simple stitch that resembles the
letter "V".
This is a very simple stitch that resembles the
letter "V".
APPLICATION
APPLICATION
Extensively used in many aspects of Bunka
Shishu embroidery but is named for its specific
application to stitching pine needles.
Extensively used in many aspects of Bunka
Shishu embroidery but is named for its specific
application to stitching pine needles.
TECHNIQUE
TECHNIQUE
This is basically a 1-2-3 cut method:
This is basically a 1-2-3 cut method:
1 Punch into the canvas and
pull the end to the back.
1 Punch into the canvas and
pull the end to the back.
2 Make one stitch the desired
length on a slight angle.
2 Make one stitch the desired
length on a slight angle.
3 To complete the "V", punch
an equal length stitch up on
the same angle as the first
stitch.
3 To complete the "V", punch
an equal length stitch up on
the same angle as the first
stitch.
PINE NEEDLE CLUSTERS
PINE NEEDLE CLUSTERS
METHOD 1 -FORMAL
METHOD 1 -FORMAL
A combination of Pine Needle stitches worked in
2/4 and 3/4 pull thread creates a very stylized,
formal sunburst effect.
A combination of Pine Needle stitches worked in
2/4 and 3/4 pull thread creates a very stylized,
formal sunburst effect.
132
132
!
3/4 pull thread is used for the
first step, stitching out and
back from the center point.
Follow the diagram working
in a continuous flow of stitches.
When 3/4 pull is used in a
stand-alone effect like this, the thread should
lay flat on the canvas and look like chain
stitch. It should not be twisted or coiled.
!
3/4 pull thread is used for the
first step, stitching out and
back from the center point.
Follow the diagram working
in a continuous flow of stitches.
When 3/4 pull is used in a
stand-alone effect like this, the thread should
lay flat on the canvas and look like chain
stitch. It should not be twisted or coiled.
!
Apply individual Pine Needle
Stitches with 2/4 pull thread in
between the 3/4 pull threads.
!
Apply individual Pine Needle
Stitches with 2/4 pull thread in
between the 3/4 pull threads.
METHOD 2 -INFORMAL
METHOD 2 -INFORMAL
These clusters are not defined on the canvas with
Screen-printed lines. Placement is left up to the
stitcher to follow the coloured insert.
These clusters are not defined on the canvas with
Screen-printed lines. Placement is left up to the
stitcher to follow the coloured insert.
!
A base layer of regular flat
stitching is first established
with the darkest shade of
green. The stitch direction
of this base stitching should
follow the natural flow of the
tree branch.
!
A base layer of regular flat
stitching is first established
with the darkest shade of
green. The stitch direction
of this base stitching should
follow the natural flow of the
tree branch.
!
A second flat stitched layer
of medium green is then
blended into the dark,
following the same
direction.
!
A second flat stitched layer
of medium green is then
blended into the dark,
following the same
direction.
133
133
!
3/4 pull thread is used for the
first step, stitching out and
back from the center point.
Follow the diagram working
in a continuous flow of stitches.
When 3/4 pull is used in a
stand-alone effect like this, the thread should
lay flat on the canvas and look like chain
stitch. It should not be twisted or coiled.
!
3/4 pull thread is used for the
first step, stitching out and
back from the center point.
Follow the diagram working
in a continuous flow of stitches.
When 3/4 pull is used in a
stand-alone effect like this, the thread should
lay flat on the canvas and look like chain
stitch. It should not be twisted or coiled.
!
Apply individual Pine Needle
Stitches with 2/4 pull thread in
between the 3/4 pull threads.
!
Apply individual Pine Needle
Stitches with 2/4 pull thread in
between the 3/4 pull threads.
METHOD 2 -INFORMAL
METHOD 2 -INFORMAL
These clusters are not defined on the canvas with
Screen-printed lines. Placement is left up to the
stitcher to follow the coloured insert.
These clusters are not defined on the canvas with
Screen-printed lines. Placement is left up to the
stitcher to follow the coloured insert.
!
A base layer of regular flat
stitching is first established
with the darkest shade of
green. The stitch direction
of this base stitching should
follow the natural flow of the
tree branch.
!
A base layer of regular flat
stitching is first established
with the darkest shade of
green. The stitch direction
of this base stitching should
follow the natural flow of the
tree branch.
!
A second flat stitched layer
of medium green is then
blended into the dark,
following the same
direction.
!
A second flat stitched layer
of medium green is then
blended into the dark,
following the same
direction.
133
133
!
Pine Needle Stitches are
then placed throughout this
base stitching, using the
lightest green. These
stitches create the focal
point for the cluster and
should be placed carefully to
appear natural looking.
!
Pine Needle Stitches are
then placed throughout this
base stitching, using the
lightest green. These
stitches create the focal
point for the cluster and
should be placed carefully to
appear natural looking.
SINGLE PINE NEEDLES
SINGLE PINE NEEDLES
Single pine needles (as in
Matsuhato Kit #1028) are stitched
with 3/4 polished thread in a 1-5
punch pattern + a small cross
bar.
Single pine needles (as in
Matsuhato Kit #1028) are stitched
with 3/4 polished thread in a 1-5
punch pattern + a small cross
bar.
POPCORN STITCH
POPCORN STITCH
When this technique is used on flower buds, it
creates a significant bulge or mound along the
center area.
When this technique is used on flower buds, it
creates a significant bulge or mound along the
center area.
APPLICATION
APPLICATION
Flower buds, Round Decorative Circles.
Flower buds, Round Decorative Circles.
TECHNIQUE
TECHNIQUE
!
Using 2/4 pull thread, starting
at one side of the circle stitch
across to the halfway point
with a very close Satin Stitch.
Cut and pull the end to the
back.
!
134
!
Pine Needle Stitches are
then placed throughout this
base stitching, using the
lightest green. These
stitches create the focal
point for the cluster and
should be placed carefully to
appear natural looking.
Using 2/4 pull thread, starting
at one side of the circle stitch
across to the halfway point
with a very close Satin Stitch.
Cut and pull the end to the
back.
134
!
Pine Needle Stitches are
then placed throughout this
base stitching, using the
lightest green. These
stitches create the focal
point for the cluster and
should be placed carefully to
appear natural looking.
SINGLE PINE NEEDLES
SINGLE PINE NEEDLES
Single pine needles (as in
Matsuhato Kit #1028) are stitched
with 3/4 polished thread in a 1-5
punch pattern + a small cross
bar.
Single pine needles (as in
Matsuhato Kit #1028) are stitched
with 3/4 polished thread in a 1-5
punch pattern + a small cross
bar.
POPCORN STITCH
POPCORN STITCH
When this technique is used on flower buds, it
creates a significant bulge or mound along the
center area.
When this technique is used on flower buds, it
creates a significant bulge or mound along the
center area.
APPLICATION
APPLICATION
Flower buds, Round Decorative Circles.
Flower buds, Round Decorative Circles.
TECHNIQUE
TECHNIQUE
!
Using 2/4 pull thread, starting
at one side of the circle stitch
across to the halfway point
with a very close Satin Stitch.
Cut and pull the end to the
back.
134
!
Using 2/4 pull thread, starting
at one side of the circle stitch
across to the halfway point
with a very close Satin Stitch.
Cut and pull the end to the
back.
134
!
Push a straight pin under the
layer of thread through the
canvas. With the pin, push
the threads to the side.
!
Push a straight pin under the
layer of thread through the
canvas. With the pin, push
the threads to the side.
!
Rotate the canvas and stitch
the second half starting from
the side and working towards
the center. Crowd the
stitches together in the
middle. Cut and pull the end
to the back.
!
Rotate the canvas and stitch
the second half starting from
the side and working towards
the center. Crowd the
stitches together in the
middle. Cut and pull the end
to the back.
!
Remove the straight pin.
!
Remove the straight pin.
REVERSE STITCH
REVERSE STITCH
This is a very easy stitch, which creates a small
knob of thread on the front of the canvas. It is
worked with the needle under the work frame and
punched to the front.
This is a very easy stitch, which creates a small
knob of thread on the front of the canvas. It is
worked with the needle under the work frame and
punched to the front.
APPLICATION
APPLICATION
Reverse stitch, is extensively used by stitchers, at
all levels to create many different effects.
Reverse stitch, is extensively used by stitchers, at
all levels to create many different effects.
Scenes:
Flowers:
Birds:
Scenes:
Flowers:
Birds:
Small ground flowers, moss on trees
Often used in the centers
Pupil of a bird's eye;
accents on a crane's leg
Small ground flowers, moss on trees
Often used in the centers
Pupil of a bird's eye;
accents on a crane's leg
135
135
!
Push a straight pin under the
layer of thread through the
canvas. With the pin, push
the threads to the side.
!
Push a straight pin under the
layer of thread through the
canvas. With the pin, push
the threads to the side.
!
Rotate the canvas and stitch
the second half starting from
the side and working towards
the center. Crowd the
stitches together in the
middle. Cut and pull the end
to the back.
!
Rotate the canvas and stitch
the second half starting from
the side and working towards
the center. Crowd the
stitches together in the
middle. Cut and pull the end
to the back.
!
Remove the straight pin.
!
Remove the straight pin.
REVERSE STITCH
REVERSE STITCH
This is a very easy stitch, which creates a small
knob of thread on the front of the canvas. It is
worked with the needle under the work frame and
punched to the front.
This is a very easy stitch, which creates a small
knob of thread on the front of the canvas. It is
worked with the needle under the work frame and
punched to the front.
APPLICATION
APPLICATION
Reverse stitch, is extensively used by stitchers, at
all levels to create many different effects.
Reverse stitch, is extensively used by stitchers, at
all levels to create many different effects.
Scenes:
Flowers:
Birds:
Scenes:
Flowers:
Birds:
Small ground flowers, moss on trees
Often used in the centers
Pupil of a bird's eye;
accents on a crane's leg
135
Small ground flowers, moss on trees
Often used in the centers
Pupil of a bird's eye;
accents on a crane's leg
135
TECHNIQUE
TECHNIQUE
!
Use 2/4 pull in either a flat or fluffy needle
depending on the desired height of the knob
(Reverse Stitch done with a fluffy needle will
be much longer).
!
Use 2/4 pull in either a flat or fluffy needle
depending on the desired height of the knob
(Reverse Stitch done with a fluffy needle will
be much longer).
!
With the right side of the canvas facing you,
take the needle to the back of the canvas.
!
With the right side of the canvas facing you,
take the needle to the back of the canvas.
!
Spread two fingers of the
left hand on the canvas at
the point where the needle
will punch through. This
helps to steady the
canvas.
!
Spread two fingers of the
left hand on the canvas at
the point where the needle
will punch through. This
helps to steady the
canvas.
Right side
Wrong side
Right side
Wrong side
!
Punch the needle up as far
as it will go; withdraw the needle.
!
Punch the needle up as far
as it will go; withdraw the needle.
!
If an area is to be filled in with Reverse Stitch,
continue punching up from the back.
!
If an area is to be filled in with Reverse Stitch,
continue punching up from the back.
!
When working with Reverse stitching it is very
important that no tension is placed on the
thread or the knobs will not stay.
!
When working with Reverse stitching it is very
important that no tension is placed on the
thread or the knobs will not stay.
!
Cut the thread from the back leaving about a
1/2" of thread.
!
Cut the thread from the back leaving about a
1/2" of thread.
136
136
TECHNIQUE
TECHNIQUE
!
Use 2/4 pull in either a flat or fluffy needle
depending on the desired height of the knob
(Reverse Stitch done with a fluffy needle will
be much longer).
!
Use 2/4 pull in either a flat or fluffy needle
depending on the desired height of the knob
(Reverse Stitch done with a fluffy needle will
be much longer).
!
With the right side of the canvas facing you,
take the needle to the back of the canvas.
!
With the right side of the canvas facing you,
take the needle to the back of the canvas.
!
Spread two fingers of the
left hand on the canvas at
the point where the needle
will punch through. This
helps to steady the
canvas.
!
Spread two fingers of the
left hand on the canvas at
the point where the needle
will punch through. This
helps to steady the
canvas.
Right side
Wrong side
Right side
Wrong side
!
Punch the needle up as far
as it will go; withdraw the needle.
!
Punch the needle up as far
as it will go; withdraw the needle.
!
If an area is to be filled in with Reverse Stitch,
continue punching up from the back.
!
If an area is to be filled in with Reverse Stitch,
continue punching up from the back.
!
When working with Reverse stitching it is very
important that no tension is placed on the
thread or the knobs will not stay.
!
When working with Reverse stitching it is very
important that no tension is placed on the
thread or the knobs will not stay.
!
Cut the thread from the back leaving about a
1/2" of thread.
!
Cut the thread from the back leaving about a
1/2" of thread.
136
136
REVERSE STITCH - WET
REVERSE STITCH - WET
Please refer to the description of the
original Reverse Stitch on page 135
Please refer to the description of the
original Reverse Stitch on page 135
The wet reverse stitch is used when you want
a softer, looser curl in your thread.
The wet reverse stitch is used when you want
a softer, looser curl in your thread.
APPLICATION
APPLICATION
May be used in a Wisteria or Lilac type flower
giving the appearance of the flower hanging
downward.
May be used in a Wisteria or Lilac type flower
giving the appearance of the flower hanging
downward.
TECHNIQUE
TECHNIQUE
!
!
!
follow the directions for the original Reverse
dip your finger into some clear water and wet
the knobs on the right side of your canvas
while still wet take your bunka needle and pick
at the knobs as well and you will notice they
will begin to relax and hang. Do NOT soak.
This step can be done several times until you
are satisfied with your work. Let each
application of water dry before repeating the
steps. If you overdo you will have a straight
thread which loses the pretty effect.
!
!
!
follow the directions for the original Reverse
dip your finger into some clear water and wet
the knobs on the right side of your canvas
while still wet take your bunka needle and pick
at the knobs as well and you will notice they
will begin to relax and hang. Do NOT soak.
This step can be done several times until you
are satisfied with your work. Let each
application of water dry before repeating the
steps. If you overdo you will have a straight
thread which loses the pretty effect.
RICE GLUE
RICE GLUE
Rice glue is strongly recommended for any areas
requiring adhesive (gold ribbon eye, highlights) as
opposed to common white craft glue.
Rice glue is strongly recommended for any areas
requiring adhesive (gold ribbon eye, highlights) as
opposed to common white craft glue.
137
137
REVERSE STITCH - WET
REVERSE STITCH - WET
Please refer to the description of the
original Reverse Stitch on page 135
Please refer to the description of the
original Reverse Stitch on page 135
The wet reverse stitch is used when you want
a softer, looser curl in your thread.
The wet reverse stitch is used when you want
a softer, looser curl in your thread.
APPLICATION
APPLICATION
May be used in a Wisteria or Lilac type flower
giving the appearance of the flower hanging
downward.
May be used in a Wisteria or Lilac type flower
giving the appearance of the flower hanging
downward.
TECHNIQUE
TECHNIQUE
!
!
!
follow the directions for the original Reverse
dip your finger into some clear water and wet
the knobs on the right side of your canvas
while still wet take your bunka needle and pick
at the knobs as well and you will notice they
will begin to relax and hang. Do NOT soak.
This step can be done several times until you
are satisfied with your work. Let each
application of water dry before repeating the
steps. If you overdo you will have a straight
thread which loses the pretty effect.
!
!
!
follow the directions for the original Reverse
dip your finger into some clear water and wet
the knobs on the right side of your canvas
while still wet take your bunka needle and pick
at the knobs as well and you will notice they
will begin to relax and hang. Do NOT soak.
This step can be done several times until you
are satisfied with your work. Let each
application of water dry before repeating the
steps. If you overdo you will have a straight
thread which loses the pretty effect.
RICE GLUE
RICE GLUE
Rice glue is strongly recommended for any areas
requiring adhesive (gold ribbon eye, highlights) as
opposed to common white craft glue.
Rice glue is strongly recommended for any areas
requiring adhesive (gold ribbon eye, highlights) as
opposed to common white craft glue.
137
137
This rice-based glue comes in a plastic tube and
is manufactured in Japan.
This rice-based glue comes in a plastic tube and
is manufactured in Japan.
It is opaque when wet but becomes transparent
when dry. Apply rice glue with a toothpick or a
fine syringe.
It is opaque when wet but becomes transparent
when dry. Apply rice glue with a toothpick or a
fine syringe.
RING STITCH
RING STITCH
(also referred to as Lazy Daisy Stitch)
(also referred to as Lazy Daisy Stitch)
Ring stitch utilizes whole bunka thread in a bunka
needle. Loops of un-pulled thread are created by
punching up from the back side of the canvas.
Please refer to 'How To Thread The Needle With
Whole Thread'.
Ring stitch utilizes whole bunka thread in a bunka
needle. Loops of un-pulled thread are created by
punching up from the back side of the canvas.
Please refer to 'How To Thread The Needle With
Whole Thread'.
APPLICATION
APPLICATION
Decorative stitch frequently used in the centers of
flowers.
Decorative stitch frequently used in the centers of
flowers.
TECHNIQUE
TECHNIQUE
!
Have about 1.5" of un-pulled thread extending
from the eye of the needle.
!
Have about 1.5" of un-pulled thread extending
from the eye of the needle.
!
With left hand, punch needle with whole thread
up from the back of the canvas through to the
front.
!
With left hand, punch needle with whole thread
up from the back of the canvas through to the
front.
!
Still holding the needle with the left hand, grab
the loop of thread from the side of the needle.
!
Still holding the needle with the left hand, grab
the loop of thread from the side of the needle.
!
Slowly withdraw the needle, still holding the
loop in your right hand.
!
Slowly withdraw the needle, still holding the
loop in your right hand.
138
138
This rice-based glue comes in a plastic tube and
is manufactured in Japan.
This rice-based glue comes in a plastic tube and
is manufactured in Japan.
It is opaque when wet but becomes transparent
when dry. Apply rice glue with a toothpick or a
fine syringe.
It is opaque when wet but becomes transparent
when dry. Apply rice glue with a toothpick or a
fine syringe.
RING STITCH
RING STITCH
(also referred to as Lazy Daisy Stitch)
(also referred to as Lazy Daisy Stitch)
Ring stitch utilizes whole bunka thread in a bunka
needle. Loops of un-pulled thread are created by
punching up from the back side of the canvas.
Please refer to 'How To Thread The Needle With
Whole Thread'.
Ring stitch utilizes whole bunka thread in a bunka
needle. Loops of un-pulled thread are created by
punching up from the back side of the canvas.
Please refer to 'How To Thread The Needle With
Whole Thread'.
APPLICATION
APPLICATION
Decorative stitch frequently used in the centers of
flowers.
Decorative stitch frequently used in the centers of
flowers.
TECHNIQUE
TECHNIQUE
!
Have about 1.5" of un-pulled thread extending
from the eye of the needle.
!
Have about 1.5" of un-pulled thread extending
from the eye of the needle.
!
With left hand, punch needle with whole thread
up from the back of the canvas through to the
front.
!
With left hand, punch needle with whole thread
up from the back of the canvas through to the
front.
!
Still holding the needle with the left hand, grab
the loop of thread from the side of the needle.
!
Still holding the needle with the left hand, grab
the loop of thread from the side of the needle.
!
Slowly withdraw the needle, still holding the
loop in your right hand.
!
Slowly withdraw the needle, still holding the
loop in your right hand.
138
138
If a longer ring stitch is
desired, carefully pull up
this loop. If a shorter ring
is required pull down on
the needle.
If a longer ring stitch is
desired, carefully pull up
this loop. If a shorter ring
is required pull down on
the needle.
Grab thread here
Grab thread here
!
To move to the next stitch,
create some slack in the thread by pulling the
needle down (1/2" -1").
!
To move to the next stitch,
create some slack in the thread by pulling the
needle down (1/2" -1").
!
Repeat above steps -loops should be the
same length.
!
Repeat above steps -loops should be the
same length.
!
Loops may be tacked
down with a small
'Couching Stitch' to
simulate small daisy
flowers.
!
Loops may be tacked
down with a small
'Couching Stitch' to
simulate small daisy
flowers.
RUNNING STITCH
RUNNING STITCH
Is a single line of stitches. Keep the headlight
pointing in the stitch direction so that the thread
is perfectly aligned exactly with the screen
printing. If the screen-printing shows through, it
detracts from the overall beauty of the picture.
Is a single line of stitches. Keep the headlight
pointing in the stitch direction so that the thread
is perfectly aligned exactly with the screen
printing. If the screen-printing shows through, it
detracts from the overall beauty of the picture.
APPLICATION
APPLICATION
Flower stems, small tree branches, etc.
Flower stems, small tree branches, etc.
139
If a longer ring stitch is
desired, carefully pull up
this loop. If a shorter ring
is required pull down on
the needle.
139
If a longer ring stitch is
desired, carefully pull up
this loop. If a shorter ring
is required pull down on
the needle.
Grab thread here
Grab thread here
!
To move to the next stitch,
create some slack in the thread by pulling the
needle down (1/2" -1").
!
To move to the next stitch,
create some slack in the thread by pulling the
needle down (1/2" -1").
!
Repeat above steps -loops should be the
same length.
!
Repeat above steps -loops should be the
same length.
!
Loops may be tacked
down with a small
'Couching Stitch' to
simulate small daisy
flowers.
!
Loops may be tacked
down with a small
'Couching Stitch' to
simulate small daisy
flowers.
RUNNING STITCH
RUNNING STITCH
Is a single line of stitches. Keep the headlight
pointing in the stitch direction so that the thread
is perfectly aligned exactly with the screen
printing. If the screen-printing shows through, it
detracts from the overall beauty of the picture.
Is a single line of stitches. Keep the headlight
pointing in the stitch direction so that the thread
is perfectly aligned exactly with the screen
printing. If the screen-printing shows through, it
detracts from the overall beauty of the picture.
APPLICATION
APPLICATION
Flower stems, small tree branches, etc.
Flower stems, small tree branches, etc.
139
139
TECHNIQUE
TECHNIQUE
!
Punch in and pull the end to the back.
!
Punch in and pull the end to the back.
!
Stitch along the line with regular 1/2" length
Stitches, shortening the stitch length wherever
the line is curving or changing direction.
!
Stitch along the line with regular 1/2" length
Stitches, shortening the stitch length wherever
the line is curving or changing direction.
SATIN STITCH
SATIN STITCH
Uses single length stitches worked back and
forth over an area to create a very smooth, even
surface. Most often the stitch direction is on an
angle but the terminology is applied to any
stitching that involves covering an area with
single length stitches in any direction.
Uses single length stitches worked back and
forth over an area to create a very smooth, even
surface. Most often the stitch direction is on an
angle but the terminology is applied to any
stitching that involves covering an area with
single length stitches in any direction.
APPLICATION
APPLICATION
Required basic knowledge stitch with many
applications especially in small areas and in
flowers and leaves.
Required basic knowledge stitch with many
applications especially in small areas and in
flowers and leaves.
140
TECHNIQUE
140
TECHNIQUE
!
Punch in and pull the end to the back.
!
Punch in and pull the end to the back.
!
Stitch along the line with regular 1/2" length
Stitches, shortening the stitch length wherever
the line is curving or changing direction.
!
Stitch along the line with regular 1/2" length
Stitches, shortening the stitch length wherever
the line is curving or changing direction.
SATIN STITCH
SATIN STITCH
Uses single length stitches worked back and
forth over an area to create a very smooth, even
surface. Most often the stitch direction is on an
angle but the terminology is applied to any
stitching that involves covering an area with
single length stitches in any direction.
Uses single length stitches worked back and
forth over an area to create a very smooth, even
surface. Most often the stitch direction is on an
angle but the terminology is applied to any
stitching that involves covering an area with
single length stitches in any direction.
APPLICATION
APPLICATION
Required basic knowledge stitch with many
applications especially in small areas and in
flowers and leaves.
Required basic knowledge stitch with many
applications especially in small areas and in
flowers and leaves.
140
140
TECHNIQUE
TECHNIQUE
!
Insert needle into canvas
and pull the end to the back.
!
Insert needle into canvas
and pull the end to the back.
!
Keep the Headlight pointing
in the neutral position (to the
right).
!
Keep the Headlight pointing
in the neutral position (to the
right).
!
**Take one stitch across the entire area
ensuring that the screen printing is covered.
!
**Take one stitch across the entire area
ensuring that the screen printing is covered.
!
Take another stitch back beside the starting
punch. **
!
Take another stitch back beside the starting
punch. **
!
Repeat from **to**.
!
Repeat from **to**.
Note: To change direction when working on an
angle, as on a petal rollover, the stitches on one
edge of the design will be crowded together but
normally spaced on the opposite edge.
Note: To change direction when working on an
angle, as on a petal rollover, the stitches on one
edge of the design will be crowded together but
normally spaced on the opposite edge.
line padding done first
line padding done first
SEAMING
SEAMING
Is a technique used on thin, single lines which
would normally be covered over with stitching,
such as the outermost branches of a tree which
extend out over sky stitching.
Is a technique used on thin, single lines which
would normally be covered over with stitching,
such as the outermost branches of a tree which
extend out over sky stitching.
By punching into this line as you work across the
Sky, the punch marks will create a row of dots,
which will prove helpful in putting the branch
stitching later on.
By punching into this line as you work across the
Sky, the punch marks will create a row of dots,
which will prove helpful in putting the branch
stitching later on.
141
TECHNIQUE
141
TECHNIQUE
!
Insert needle into canvas
and pull the end to the back.
!
Insert needle into canvas
and pull the end to the back.
!
Keep the Headlight pointing
in the neutral position (to the
right).
!
Keep the Headlight pointing
in the neutral position (to the
right).
!
**Take one stitch across the entire area
ensuring that the screen printing is covered.
!
**Take one stitch across the entire area
ensuring that the screen printing is covered.
!
Take another stitch back beside the starting
punch. **
!
Take another stitch back beside the starting
punch. **
!
Repeat from **to**.
!
Repeat from **to**.
Note: To change direction when working on an
angle, as on a petal rollover, the stitches on one
edge of the design will be crowded together but
normally spaced on the opposite edge.
Note: To change direction when working on an
angle, as on a petal rollover, the stitches on one
edge of the design will be crowded together but
normally spaced on the opposite edge.
line padding done first
line padding done first
SEAMING
SEAMING
Is a technique used on thin, single lines which
would normally be covered over with stitching,
such as the outermost branches of a tree which
extend out over sky stitching.
Is a technique used on thin, single lines which
would normally be covered over with stitching,
such as the outermost branches of a tree which
extend out over sky stitching.
By punching into this line as you work across the
Sky, the punch marks will create a row of dots,
which will prove helpful in putting the branch
stitching later on.
By punching into this line as you work across the
Sky, the punch marks will create a row of dots,
which will prove helpful in putting the branch
stitching later on.
141
141
SKY STITCH
SKY STITCH
(see Flat Stitch)
(see Flat Stitch)
SPIRAL STITCH
SPIRAL STITCH
Decorative stitch - creates a tube-like coil of 2/4
pull Thread, approx. 1/8 -1/4" in length. Any
background stitching must be completed before
working Spiral Stitch.
Decorative stitch - creates a tube-like coil of 2/4
pull Thread, approx. 1/8 -1/4" in length. Any
background stitching must be completed before
working Spiral Stitch.
APPLICATION
APPLICATION
Very effective when used in flowers which have
large stamens, for example, the lily; hair ringlets,
decorative stitching.
Very effective when used in flowers which have
large stamens, for example, the lily; hair ringlets,
decorative stitching.
TECHNIQUE
TECHNIQUE
Thread 2/4 pull in a fluffy needle.
Thread 2/4 pull in a fluffy needle.
1. Punch into the canvas at one end of the area
where the spiral will be placed. Pull tail to the
back of the canvas.
1. Punch into the canvas at one end of the area
where the spiral will be placed. Pull tail to the
back of the canvas.
2. Raise the needle about 3" from the surface of
the canvas.
2. Raise the needle about 3" from the surface of
the canvas.
Hold the needle so that the front, slotted side
is facing up, horizontal to the canvas.
Hold the needle so that the front, slotted side
is facing up, horizontal to the canvas.
142
142
SKY STITCH
SKY STITCH
(see Flat Stitch)
(see Flat Stitch)
SPIRAL STITCH
SPIRAL STITCH
Decorative stitch - creates a tube-like coil of 2/4
pull Thread, approx. 1/8 -1/4" in length. Any
background stitching must be completed before
working Spiral Stitch.
Decorative stitch - creates a tube-like coil of 2/4
pull Thread, approx. 1/8 -1/4" in length. Any
background stitching must be completed before
working Spiral Stitch.
APPLICATION
APPLICATION
Very effective when used in flowers which have
large stamens, for example, the lily; hair ringlets,
decorative stitching.
Very effective when used in flowers which have
large stamens, for example, the lily; hair ringlets,
decorative stitching.
TECHNIQUE
TECHNIQUE
Thread 2/4 pull in a fluffy needle.
Thread 2/4 pull in a fluffy needle.
1. Punch into the canvas at one end of the area
where the spiral will be placed. Pull tail to the
back of the canvas.
1. Punch into the canvas at one end of the area
where the spiral will be placed. Pull tail to the
back of the canvas.
2. Raise the needle about 3" from the surface of
the canvas.
2. Raise the needle about 3" from the surface of
the canvas.
Hold the needle so that the front, slotted side
is facing up, horizontal to the canvas.
Hold the needle so that the front, slotted side
is facing up, horizontal to the canvas.
142
142
3. Roll the 3" length of thread around the shank
of the needle.
3. Roll the 3" length of thread around the shank
of the needle.
4. Punch needle back into canvas 1 mm beside
the first punch mark.
4. Punch needle back into canvas 1 mm beside
the first punch mark.
5. Place fingernail at the top of the roll.
5. Place fingernail at the top of the roll.
6. Slide the roll off the needle by pushing with the
finger at the top of the roll.
6. Slide the roll off the needle by pushing with the
finger at the top of the roll.
7. Slowly draw the needle through the roll.
7. Slowly draw the needle through the roll.
8. Punch the needle into the end of the design
area and cut the thread pulling the end to the
back.
8. Punch the needle into the end of the design
area and cut the thread pulling the end to the
back.
SPLIT STITCH
SPLIT STITCH
Used for single line stitching, this stitch is
basically two rows of Running Stitch. One placed
on top of the other, creating a thicker effect than a
single row of Running Stitch.
Used for single line stitching, this stitch is
basically two rows of Running Stitch. One placed
on top of the other, creating a thicker effect than a
single row of Running Stitch.
143
143
3. Roll the 3" length of thread around the shank
of the needle.
3. Roll the 3" length of thread around the shank
of the needle.
4. Punch needle back into canvas 1 mm beside
the first punch mark.
4. Punch needle back into canvas 1 mm beside
the first punch mark.
5. Place fingernail at the top of the roll.
5. Place fingernail at the top of the roll.
6. Slide the roll off the needle by pushing with the
finger at the top of the roll.
6. Slide the roll off the needle by pushing with the
finger at the top of the roll.
7. Slowly draw the needle through the roll.
7. Slowly draw the needle through the roll.
8. Punch the needle into the end of the design
area and cut the thread pulling the end to the
back.
8. Punch the needle into the end of the design
area and cut the thread pulling the end to the
back.
SPLIT STITCH
SPLIT STITCH
Used for single line stitching, this stitch is
basically two rows of Running Stitch. One placed
on top of the other, creating a thicker effect than a
single row of Running Stitch.
Used for single line stitching, this stitch is
basically two rows of Running Stitch. One placed
on top of the other, creating a thicker effect than a
single row of Running Stitch.
143
143
APPLICATION
APPLICATION
Flower stems, stitcher's discretion.
Flower stems, stitcher's discretion.
TECHNIQUE
TECHNIQUE
!
Work a row of Running Stitch along the
screen-printed line.
!
Work a row of Running Stitch along the
screen-printed line.
!
At the end of the line, turn the Headlight so it
is facing back down the row of Running Stitch.
!
At the end of the line, turn the Headlight so it
is facing back down the row of Running Stitch.
!
Split the thread of each stitch in the first row by
punching through the fibers of each original
stitch.
!
Split the thread of each stitch in the first row by
punching through the fibers of each original
stitch.
STITCH AND CUTS
STITCH AND CUTS
(Also referred to as Stitch & Clips)
(Also referred to as Stitch & Clips)
Terminology used for a single stitch. Stitch and
Cuts are a required basic technique.
Terminology used for a single stitch. Stitch and
Cuts are a required basic technique.
APPLICATION
APPLICATION
General knowledge with many applications:
General knowledge with many applications:
!
Fill in bald spots in flat stitching.
!
144
Fill in bald spots in flat stitching.
144
APPLICATION
APPLICATION
Flower stems, stitcher's discretion.
Flower stems, stitcher's discretion.
TECHNIQUE
TECHNIQUE
!
Work a row of Running Stitch along the
screen-printed line.
!
Work a row of Running Stitch along the
screen-printed line.
!
At the end of the line, turn the Headlight so it
is facing back down the row of Running Stitch.
!
At the end of the line, turn the Headlight so it
is facing back down the row of Running Stitch.
!
Split the thread of each stitch in the first row by
punching through the fibers of each original
stitch.
!
Split the thread of each stitch in the first row by
punching through the fibers of each original
stitch.
STITCH AND CUTS
STITCH AND CUTS
(Also referred to as Stitch & Clips)
(Also referred to as Stitch & Clips)
Terminology used for a single stitch. Stitch and
Cuts are a required basic technique.
Terminology used for a single stitch. Stitch and
Cuts are a required basic technique.
APPLICATION
APPLICATION
General knowledge with many applications:
General knowledge with many applications:
!
Fill in bald spots in flat stitching.
144
!
Fill in bald spots in flat stitching.
144
!
Soften a change of colour between 2 areas
(Area of change)
!
Soften a change of colour between 2 areas
(Area of change)
!
Accentuate blending.
!
Accentuate blending.
TECHNIQUE
TECHNIQUE
Punch in and pull end to the back of the
canvas.
Take one stitch
Cut and pull end to the back.
!
-
For Areas of Change it is important that the
Stitch & Cuts are the same height as the
surrounding flat stitching thread -they should
not sit up too high. To do this, draw the needle
along the canvas between the threads of Flat
Stitch.
-
For Areas of Change it is important that the
Stitch & Cuts are the same height as the
surrounding flat stitching thread -they should
not sit up too high. To do this, draw the needle
along the canvas between the threads of Flat
Stitch.
-
In other areas, such as
waterfalls or hair blending,
the Stitch & Cuts are more
effective if they look like they
are sitting on top of the base
stitching. To do this, punch into
the canvas; then lift the needle
slightly above the canvas and
place it over the stitched area.
-
In other areas, such as
waterfalls or hair blending,
the Stitch & Cuts are more
effective if they look like they
are sitting on top of the base
stitching. To do this, punch into
the canvas; then lift the needle
slightly above the canvas and
place it over the stitched area.
!
!
!
!
!
Punch in and pull end to the back of the
canvas.
Take one stitch
Cut and pull end to the back.
STRETCH STITCH
STRETCH STITCH
Creates a raised frill with a loopy effect. The
stretching action creates a slackness in the curt
of the thread.
Creates a raised frill with a loopy effect. The
stretching action creates a slackness in the curt
of the thread.
APPLICATION
APPLICATION
Most commonly used for decorative edging such
Most commonly used for decorative edging such
145
145
!
Soften a change of colour between 2 areas
(Area of change)
!
Soften a change of colour between 2 areas
(Area of change)
!
Accentuate blending.
!
Accentuate blending.
TECHNIQUE
TECHNIQUE
Punch in and pull end to the back of the
canvas.
Take one stitch
Cut and pull end to the back.
!
-
For Areas of Change it is important that the
Stitch & Cuts are the same height as the
surrounding flat stitching thread -they should
not sit up too high. To do this, draw the needle
along the canvas between the threads of Flat
Stitch.
-
For Areas of Change it is important that the
Stitch & Cuts are the same height as the
surrounding flat stitching thread -they should
not sit up too high. To do this, draw the needle
along the canvas between the threads of Flat
Stitch.
-
In other areas, such as
waterfalls or hair blending,
the Stitch & Cuts are more
effective if they look like they
are sitting on top of the base
stitching. To do this, punch into
the canvas; then lift the needle
slightly above the canvas and
place it over the stitched area.
-
In other areas, such as
waterfalls or hair blending,
the Stitch & Cuts are more
effective if they look like they
are sitting on top of the base
stitching. To do this, punch into
the canvas; then lift the needle
slightly above the canvas and
place it over the stitched area.
!
!
!
!
!
Punch in and pull end to the back of the
canvas.
Take one stitch
Cut and pull end to the back.
STRETCH STITCH
STRETCH STITCH
Creates a raised frill with a loopy effect. The
stretching action creates a slackness in the curt
of the thread.
Creates a raised frill with a loopy effect. The
stretching action creates a slackness in the curt
of the thread.
APPLICATION
APPLICATION
Most commonly used for decorative edging such
Most commonly used for decorative edging such
145
145
as around the edges of orchid petals.
as around the edges of orchid petals.
TECHNIQUE
TECHNIQUE
!
Punch into the canvas with 2/4 pull thread in a
regular needle and pull the end to the back,
holding it with the left hand.
!
Punch into the canvas with 2/4 pull thread in a
regular needle and pull the end to the back,
holding it with the left hand.
!
To stretch the thread, move the needle 1/2"
away, in the direction you wish to cover but do
not punch in.
!
To stretch the thread, move the needle 1/2"
away, in the direction you wish to cover but do
not punch in.
!
Move the needle back 1/4" and punch.
!
Move the needle back 1/4" and punch.
!
Press on the knob at the back of the canvas
with the left hand and take another 1/2"
stretch.
!
Press on the knob at the back of the canvas
with the left hand and take another 1/2"
stretch.
!
Move back 1/4" and punch.
!
Move back 1/4" and punch.
!
Repeat
!
Repeat
SYMBOLS
SYMBOLS
Solid Padding Symbol
Solid Padding Symbol
!
single lines indicate direction for
padding.
!
single lines indicate direction for
padding.
!
double line is direction for top
stitching.
!
double line is direction for top
stitching.
146
146
as around the edges of orchid petals.
as around the edges of orchid petals.
TECHNIQUE
TECHNIQUE
!
Punch into the canvas with 2/4 pull thread in a
regular needle and pull the end to the back,
holding it with the left hand.
!
Punch into the canvas with 2/4 pull thread in a
regular needle and pull the end to the back,
holding it with the left hand.
!
To stretch the thread, move the needle 1/2"
away, in the direction you wish to cover but do
not punch in.
!
To stretch the thread, move the needle 1/2"
away, in the direction you wish to cover but do
not punch in.
!
Move the needle back 1/4" and punch.
!
Move the needle back 1/4" and punch.
!
Press on the knob at the back of the canvas
with the left hand and take another 1/2"
stretch.
!
Press on the knob at the back of the canvas
with the left hand and take another 1/2"
stretch.
!
Move back 1/4" and punch.
!
Move back 1/4" and punch.
!
Repeat
!
Repeat
SYMBOLS
SYMBOLS
Solid Padding Symbol
Solid Padding Symbol
!
single lines indicate direction for
padding.
!
single lines indicate direction for
padding.
!
double line is direction for top
stitching.
!
double line is direction for top
stitching.
146
146
Area of Change Symbol
Area of Change Symbol
Series of horizontal dash lines
where a colour change is to
occur. For full explanation see
'Blending'.
Series of horizontal dash lines
where a colour change is to
occur. For full explanation see
'Blending'.
Jagged lines
Jagged lines
Gives the stitcher 2
instructions:
Gives the stitcher 2
instructions:
a) Blend the two colours
together
b) Direction of stitching
a) Blend the two colours
together
b) Direction of stitching
Arrows
Arrows
a) Arrows are used to indicate
stitch direction
a) Arrows are used to indicate
stitch direction
b) When an arrow shown with a
thread number is pointing
directly to a line:
b) When an arrow shown with a
thread number is pointing
directly to a line:
1) An outline in that colour is to
be done around the area.
1) An outline in that colour is to
be done around the area.
2) Use the specified thread colour to stitch
just the line (such as a leaf vein)
2) Use the specified thread colour to stitch
just the line (such as a leaf vein)
147
147
Area of Change Symbol
Area of Change Symbol
Series of horizontal dash lines
where a colour change is to
occur. For full explanation see
'Blending'.
Series of horizontal dash lines
where a colour change is to
occur. For full explanation see
'Blending'.
Jagged lines
Jagged lines
Gives the stitcher 2
instructions:
Gives the stitcher 2
instructions:
a) Blend the two colours
together
b) Direction of stitching
a) Blend the two colours
together
b) Direction of stitching
Arrows
Arrows
a) Arrows are used to indicate
stitch direction
a) Arrows are used to indicate
stitch direction
b) When an arrow shown with a
thread number is pointing
directly to a line:
b) When an arrow shown with a
thread number is pointing
directly to a line:
1) An outline in that colour is to
be done around the area.
1) An outline in that colour is to
be done around the area.
2) Use the specified thread colour to stitch
just the line (such as a leaf vein)
2) Use the specified thread colour to stitch
just the line (such as a leaf vein)
147
147
Dotted Area
Dotted Area
Used to indicate area to be
filled in with black thread. The
jagged lines of the adjoining
blended areas indicate the
stitch direction.
Used to indicate area to be
filled in with black thread. The
jagged lines of the adjoining
blended areas indicate the
stitch direction.
Fraction
Fraction
ex. 21
89
Colour #21 stitched on top of
Colour #89 (base stitching)
ex. 21
89
Colour #21 stitched on top of
Colour #89 (base stitching)
THREAD - SPECIAL NOTES
THREAD - SPECIAL NOTES
(For basic Thread information refer to Introductory
section -'About The Thread')
(For basic Thread information refer to Introductory
section -'About The Thread')
1.
1.
To Polish 3/4 Pull
To Polish 3/4 Pull
Refer to Introductory section for instructions on
how to get a 3/4 pull.
Refer to Introductory section for instructions on
how to get a 3/4 pull.
Place the 3/4 thread in the palm of your hand and
pinch the thread between the thumb and
forefinger precisely at the pull back point of whole
thread to 3/4 thread. Close the remaining fingers
over the thread and squeeze. Slowly pull the
thread through your fingers. The natural oils in
your skin will straighten and shine the thread.
Place the 3/4 thread in the palm of your hand and
pinch the thread between the thumb and
forefinger precisely at the pull back point of whole
thread to 3/4 thread. Close the remaining fingers
over the thread and squeeze. Slowly pull the
thread through your fingers. The natural oils in
your skin will straighten and shine the thread.
Another method is to rub the thread over a
smooth surface such as the edge of a table. If the
edge being used is not smooth the thread will
start to fray.
Another method is to rub the thread over a
smooth surface such as the edge of a table. If the
edge being used is not smooth the thread will
start to fray.
148
148
Dotted Area
Dotted Area
Used to indicate area to be
filled in with black thread. The
jagged lines of the adjoining
blended areas indicate the
stitch direction.
Used to indicate area to be
filled in with black thread. The
jagged lines of the adjoining
blended areas indicate the
stitch direction.
Fraction
Fraction
ex. 21
89
Colour #21 stitched on top of
Colour #89 (base stitching)
ex. 21
89
Colour #21 stitched on top of
Colour #89 (base stitching)
THREAD - SPECIAL NOTES
THREAD - SPECIAL NOTES
(For basic Thread information refer to Introductory
section -'About The Thread')
(For basic Thread information refer to Introductory
section -'About The Thread')
1.
1.
To Polish 3/4 Pull
To Polish 3/4 Pull
Refer to Introductory section for instructions on
how to get a 3/4 pull.
Refer to Introductory section for instructions on
how to get a 3/4 pull.
Place the 3/4 thread in the palm of your hand and
pinch the thread between the thumb and
forefinger precisely at the pull back point of whole
thread to 3/4 thread. Close the remaining fingers
over the thread and squeeze. Slowly pull the
thread through your fingers. The natural oils in
your skin will straighten and shine the thread.
Place the 3/4 thread in the palm of your hand and
pinch the thread between the thumb and
forefinger precisely at the pull back point of whole
thread to 3/4 thread. Close the remaining fingers
over the thread and squeeze. Slowly pull the
thread through your fingers. The natural oils in
your skin will straighten and shine the thread.
Another method is to rub the thread over a
smooth surface such as the edge of a table. If the
edge being used is not smooth the thread will
start to fray.
Another method is to rub the thread over a
smooth surface such as the edge of a table. If the
edge being used is not smooth the thread will
start to fray.
148
148
2.
1/4 Pull
2.
1/4 Pull
THREAD BLENDING
THREAD BLENDING
Refer to Introductory section for instructions on
how to get a 1/4 pull.
Refer to Introductory section for instructions on
how to get a 1/4 pull.
Thread 2 colours of 1/4 pull thread in one fluffy
needle. Try experimenting with different
combinations; dark + light will create a striped
effect; two shades of the same colour will create
a new pastel shade.
Thread 2 colours of 1/4 pull thread in one fluffy
needle. Try experimenting with different
combinations; dark + light will create a striped
effect; two shades of the same colour will create
a new pastel shade.
TIPS FOR STITCHING WITH 1/4 PULL
TIPS FOR STITCHING WITH 1/4 PULL
!
Work with about 12" at a time. Pulling
excessive amounts of 1/4 pull can result in
masses of tangled thread.
!
Work with about 12" at a time. Pulling
excessive amounts of 1/4 pull can result in
masses of tangled thread.
!
Always use the Fluffy (Long Shank) Needle this creates a larger loop or knob on the back
of the canvas which helps to better secure the
thread.
!
Always use the Fluffy (Long Shank) Needle this creates a larger loop or knob on the back
of the canvas which helps to better secure the
thread.
!
A small piece of elastic band slipped over the
shank of a threaded needle is helpful since 1/4
pull slides out of the needle very easily. The
small rubber stopper from a hypodermic
needle can also be used for this purpose.
!
A small piece of elastic band slipped over the
shank of a threaded needle is helpful since 1/4
pull slides out of the needle very easily. The
small rubber stopper from a hypodermic
needle can also be used for this purpose.
!
Because it is so delicate, 1/4 pull cannot be
pulled out and reused -it will straighten out
and/or fluff simply by threading, pulling, etc.
!
Because it is so delicate, 1/4 pull cannot be
pulled out and reused -it will straighten out
and/or fluff simply by threading, pulling, etc.
!
Before stitching, check the thread by pulling
approx. 10 to 12 inches of 1/4 pull. If it pulls
easily, chances are the whole skein will be
problem-free; however, if it will not pull or
!
Before stitching, check the thread by pulling
approx. 10 to 12 inches of 1/4 pull. If it pulls
easily, chances are the whole skein will be
problem-free; however, if it will not pull or
149
2.
1/4 Pull
149
2.
1/4 Pull
THREAD BLENDING
THREAD BLENDING
Refer to Introductory section for instructions on
how to get a 1/4 pull.
Refer to Introductory section for instructions on
how to get a 1/4 pull.
Thread 2 colours of 1/4 pull thread in one fluffy
needle. Try experimenting with different
combinations; dark + light will create a striped
effect; two shades of the same colour will create
a new pastel shade.
Thread 2 colours of 1/4 pull thread in one fluffy
needle. Try experimenting with different
combinations; dark + light will create a striped
effect; two shades of the same colour will create
a new pastel shade.
TIPS FOR STITCHING WITH 1/4 PULL
TIPS FOR STITCHING WITH 1/4 PULL
!
Work with about 12" at a time. Pulling
excessive amounts of 1/4 pull can result in
masses of tangled thread.
!
Work with about 12" at a time. Pulling
excessive amounts of 1/4 pull can result in
masses of tangled thread.
!
Always use the Fluffy (Long Shank) Needle this creates a larger loop or knob on the back
of the canvas which helps to better secure the
thread.
!
Always use the Fluffy (Long Shank) Needle this creates a larger loop or knob on the back
of the canvas which helps to better secure the
thread.
!
A small piece of elastic band slipped over the
shank of a threaded needle is helpful since 1/4
pull slides out of the needle very easily. The
small rubber stopper from a hypodermic
needle can also be used for this purpose.
!
A small piece of elastic band slipped over the
shank of a threaded needle is helpful since 1/4
pull slides out of the needle very easily. The
small rubber stopper from a hypodermic
needle can also be used for this purpose.
!
Because it is so delicate, 1/4 pull cannot be
pulled out and reused -it will straighten out
and/or fluff simply by threading, pulling, etc.
!
Because it is so delicate, 1/4 pull cannot be
pulled out and reused -it will straighten out
and/or fluff simply by threading, pulling, etc.
!
Before stitching, check the thread by pulling
approx. 10 to 12 inches of 1/4 pull. If it pulls
easily, chances are the whole skein will be
problem-free; however, if it will not pull or
!
Before stitching, check the thread by pulling
approx. 10 to 12 inches of 1/4 pull. If it pulls
easily, chances are the whole skein will be
problem-free; however, if it will not pull or
149
149
continually catches change to another skein of
thread (preferably a brand new one that has
not been wrapped onto a card).
To protect 1/4 pull areas, place a paper towel
or kleenex over the stitching.
!
1/4 pull thread builds up very quickly on the
back of the canvas which can cause the
needle and/or the thread to catch and become
tangled. To avoid this, trim down the back of
the canvas with a sharp pair of scissors or
bunka clippers. This should be done as often
as possible.
!
3.
Metallic Threads
continually catches change to another skein of
thread (preferably a brand new one that has
not been wrapped onto a card).
To protect 1/4 pull areas, place a paper towel
or kleenex over the stitching.
!
1/4 pull thread builds up very quickly on the
back of the canvas which can cause the
needle and/or the thread to catch and become
tangled. To avoid this, trim down the back of
the canvas with a sharp pair of scissors or
bunka clippers. This should be done as often
as possible.
!
3.
Metallic Threads
Metallic thread adds a lovely sparkle to your
stitching. The thread is woven and unravels
exactly the same as regular lily yarn -1/4, 2/4, 3/4
pull.
Metallic thread adds a lovely sparkle to your
stitching. The thread is woven and unravels
exactly the same as regular lily yarn -1/4, 2/4, 3/4
pull.
There are two kinds of metallic thread:
There are two kinds of metallic thread:
1 Bunka Metallic - is a 4-ply thread consisting
of 3 threads of regular lily yarn and 1 thread of
metallic.
1 Bunka Metallic - is a 4-ply thread consisting
of 3 threads of regular lily yarn and 1 thread of
metallic.
2 Pure Lame - 4 ply pure metallic thread -does
not contain any lily yarn. 2/4 pure metallic is
usually stitched over a base stitching of lily
yarn; 3/4 pull is usually used alone.
2 Pure Lame - 4 ply pure metallic thread -does
not contain any lily yarn. 2/4 pure metallic is
usually stitched over a base stitching of lily
yarn; 3/4 pull is usually used alone.
TIPS
TIPS
When pulling the thread into the desired ply,
do so carefully since metallic thread breaks
very easily.
!
150
150
continually catches change to another skein of
thread (preferably a brand new one that has
not been wrapped onto a card).
To protect 1/4 pull areas, place a paper towel
or kleenex over the stitching.
!
1/4 pull thread builds up very quickly on the
back of the canvas which can cause the
needle and/or the thread to catch and become
tangled. To avoid this, trim down the back of
the canvas with a sharp pair of scissors or
bunka clippers. This should be done as often
as possible.
!
3.
When pulling the thread into the desired ply,
do so carefully since metallic thread breaks
very easily.
!
Metallic Threads
continually catches change to another skein of
thread (preferably a brand new one that has
not been wrapped onto a card).
To protect 1/4 pull areas, place a paper towel
or kleenex over the stitching.
!
1/4 pull thread builds up very quickly on the
back of the canvas which can cause the
needle and/or the thread to catch and become
tangled. To avoid this, trim down the back of
the canvas with a sharp pair of scissors or
bunka clippers. This should be done as often
as possible.
!
3.
Metallic Threads
Metallic thread adds a lovely sparkle to your
stitching. The thread is woven and unravels
exactly the same as regular lily yarn -1/4, 2/4, 3/4
pull.
Metallic thread adds a lovely sparkle to your
stitching. The thread is woven and unravels
exactly the same as regular lily yarn -1/4, 2/4, 3/4
pull.
There are two kinds of metallic thread:
There are two kinds of metallic thread:
1 Bunka Metallic - is a 4-ply thread consisting
of 3 threads of regular lily yarn and 1 thread of
metallic.
1 Bunka Metallic - is a 4-ply thread consisting
of 3 threads of regular lily yarn and 1 thread of
metallic.
2 Pure Lame - 4 ply pure metallic thread -does
not contain any lily yarn. 2/4 pure metallic is
usually stitched over a base stitching of lily
yarn; 3/4 pull is usually used alone.
2 Pure Lame - 4 ply pure metallic thread -does
not contain any lily yarn. 2/4 pure metallic is
usually stitched over a base stitching of lily
yarn; 3/4 pull is usually used alone.
TIPS
TIPS
!
150
When pulling the thread into the desired ply,
do so carefully since metallic thread breaks
very easily.
!
150
When pulling the thread into the desired ply,
do so carefully since metallic thread breaks
very easily.
!
Take special notice when pulling Bunka
Metallic thread into a 2/4 pull since it is
sometimes difficult to differentiate between
2/4 and 3/4.
!
Take special notice when pulling Bunka
Metallic thread into a 2/4 pull since it is
sometimes difficult to differentiate between
2/4 and 3/4.
!
Advisable to use a piece of elastic over the
shank of the needle to help hold in the
thread.
!
Advisable to use a piece of elastic over the
shank of the needle to help hold in the
thread.
4.
Threading The Needle With Whole Thread
4.
Threading The Needle With Whole Thread
!
Have the first 2" of the thread pulled into a
2/4 pull.
!
Have the first 2" of the thread pulled into a
2/4 pull.
!
Guide the thread out through the headlight,
through the large slit in body of the needle
and out again at the top of the shank -do not
slide the thread inside the shank at this
point.
!
Guide the thread out through the headlight,
through the large slit in body of the needle
and out again at the top of the shank -do not
slide the thread inside the shank at this
point.
!
Have the thread aimed at a
90 degree angle to the eye of
the needle.
!
Have the thread aimed at a
90 degree angle to the eye of
the needle.
!
Thread the 2" of the 2/4 pull
through the eye of the
needle.
!
Thread the 2" of the 2/4 pull
through the eye of the
needle.
!
Ease the whole thread
through by pinching the
thread and needle between
the thumb and
forefinger.
!
Ease the whole thread
through by pinching the
thread and needle between
the thumb and
forefinger.
!
Slide the whole thread
inside the shank.
!
Slide the whole thread
inside the shank.
151
4.
151
!
Take special notice when pulling Bunka
Metallic thread into a 2/4 pull since it is
sometimes difficult to differentiate between
2/4 and 3/4.
!
Take special notice when pulling Bunka
Metallic thread into a 2/4 pull since it is
sometimes difficult to differentiate between
2/4 and 3/4.
!
Advisable to use a piece of elastic over the
shank of the needle to help hold in the
thread.
!
Advisable to use a piece of elastic over the
shank of the needle to help hold in the
thread.
Threading The Needle With Whole Thread
4.
Threading The Needle With Whole Thread
!
Have the first 2" of the thread pulled into a
2/4 pull.
!
Have the first 2" of the thread pulled into a
2/4 pull.
!
Guide the thread out through the headlight,
through the large slit in body of the needle
and out again at the top of the shank -do not
slide the thread inside the shank at this
point.
!
Guide the thread out through the headlight,
through the large slit in body of the needle
and out again at the top of the shank -do not
slide the thread inside the shank at this
point.
!
Have the thread aimed at a
90 degree angle to the eye of
the needle.
!
Have the thread aimed at a
90 degree angle to the eye of
the needle.
!
Thread the 2" of the 2/4 pull
through the eye of the
needle.
!
Thread the 2" of the 2/4 pull
through the eye of the
needle.
!
Ease the whole thread
through by pinching the
thread and needle between
the thumb and
forefinger.
!
Ease the whole thread
through by pinching the
thread and needle between
the thumb and
forefinger.
!
Slide the whole thread
inside the shank.
!
Slide the whole thread
inside the shank.
151
151
TIGER, BODY
TIGER, BODY
When stitching the body of any animal/bird, the
stitch direction should flow with the natural
direction of the body fur/feathers. Therefore, stitch
direction and order of stitchery is extremely
important to achieve a realistic effect. The order
of stitchery is very important and can vary from
picture to picture, depending on the position of
the animal - keep in mind the basic concept of
working from the background to the foreground.
When stitching the body of any animal/bird, the
stitch direction should flow with the natural
direction of the body fur/feathers. Therefore, stitch
direction and order of stitchery is extremely
important to achieve a realistic effect. The order
of stitchery is very important and can vary from
picture to picture, depending on the position of
the animal - keep in mind the basic concept of
working from the background to the foreground.
!
Stripes
!
All the black stripes on a
tiger's body are stitched
first following the direction
of the jagged lines of the
adjoining blending areas.
Rather than using
numbers, each stripe that
is filled with little dots should be stitched in
black.
!
Fur
Stripes
All the black stripes on a
tiger's body are stitched
first following the direction
of the jagged lines of the
adjoining blending areas.
Rather than using
numbers, each stripe that
is filled with little dots should be stitched in
black.
!
Fur
Regular Flat Stitching and Blending of the
body colours. The stitching around the black
stripe should work even up against the stripe,
i.e. do not blend.
Regular Flat Stitching and Blending of the
body colours. The stitching around the black
stripe should work even up against the stripe,
i.e. do not blend.
DO NOT DO ANY STITCHING AT THIS
POINT AROUND THE EYE IF THE KIT
CALLS FOR A GOLD RIBBON EYE.
DO NOT DO ANY STITCHING AT THIS
POINT AROUND THE EYE IF THE KIT
CALLS FOR A GOLD RIBBON EYE.
Certain padding techniques should be used to
accentuate specific areas of the body:
Certain padding techniques should be used to
accentuate specific areas of the body:
152
152
TIGER, BODY
TIGER, BODY
When stitching the body of any animal/bird, the
stitch direction should flow with the natural
direction of the body fur/feathers. Therefore, stitch
direction and order of stitchery is extremely
important to achieve a realistic effect. The order
of stitchery is very important and can vary from
picture to picture, depending on the position of
the animal - keep in mind the basic concept of
working from the background to the foreground.
When stitching the body of any animal/bird, the
stitch direction should flow with the natural
direction of the body fur/feathers. Therefore, stitch
direction and order of stitchery is extremely
important to achieve a realistic effect. The order
of stitchery is very important and can vary from
picture to picture, depending on the position of
the animal - keep in mind the basic concept of
working from the background to the foreground.
!
Stripes
!
All the black stripes on a
tiger's body are stitched
first following the direction
of the jagged lines of the
adjoining blending areas.
Rather than using
numbers, each stripe that
is filled with little dots should be stitched in
black.
!
Fur
Stripes
All the black stripes on a
tiger's body are stitched
first following the direction
of the jagged lines of the
adjoining blending areas.
Rather than using
numbers, each stripe that
is filled with little dots should be stitched in
black.
!
Fur
Regular Flat Stitching and Blending of the
body colours. The stitching around the black
stripe should work even up against the stripe,
i.e. do not blend.
Regular Flat Stitching and Blending of the
body colours. The stitching around the black
stripe should work even up against the stripe,
i.e. do not blend.
DO NOT DO ANY STITCHING AT THIS
POINT AROUND THE EYE IF THE KIT
CALLS FOR A GOLD RIBBON EYE.
DO NOT DO ANY STITCHING AT THIS
POINT AROUND THE EYE IF THE KIT
CALLS FOR A GOLD RIBBON EYE.
Certain padding techniques should be used to
accentuate specific areas of the body:
Certain padding techniques should be used to
accentuate specific areas of the body:
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152
!
Around the nail of each
toe.
!
Around the nail of each
toe.
!
The nose and the snout
area just behind the nose.
!
The nose and the snout
area just behind the nose.
!
Line padding wherever
possible -around the
outer edge of the ears,
side of the face, etc.
!
Line padding wherever
possible -around the
outer edge of the ears,
side of the face, etc.
TIGER, CLAWS AND TEETH
TIGER, CLAWS AND TEETH
The claws and teeth should look smooth and
shiny with a very sharp tip. 3/4 polished thread is
worked over a layer of solid padding. (See
Thread, 3/4 Polished).
The claws and teeth should look smooth and
shiny with a very sharp tip. 3/4 polished thread is
worked over a layer of solid padding. (See
Thread, 3/4 Polished).
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153
!
Around the nail of each
toe.
!
Around the nail of each
toe.
!
The nose and the snout
area just behind the nose.
!
The nose and the snout
area just behind the nose.
!
Line padding wherever
possible -around the
outer edge of the ears,
side of the face, etc.
!
Line padding wherever
possible -around the
outer edge of the ears,
side of the face, etc.
TIGER, CLAWS AND TEETH
TIGER, CLAWS AND TEETH
The claws and teeth should look smooth and
shiny with a very sharp tip. 3/4 polished thread is
worked over a layer of solid padding. (See
Thread, 3/4 Polished).
The claws and teeth should look smooth and
shiny with a very sharp tip. 3/4 polished thread is
worked over a layer of solid padding. (See
Thread, 3/4 Polished).
153
153
TECHNIQUE
TECHNIQUE
!
Pad the area with 2/4 pull
thread in a direction
opposite to the top layer. Do
not pad down into the point
of the nail, taper it off just
short of this area.
!
Pad the area with 2/4 pull
thread in a direction
opposite to the top layer. Do
not pad down into the point
of the nail, taper it off just
short of this area.
!
Using the 3/4 Polished
Thread, overstitch the
padding in the direction
indicated on the insert.
Make the tip nice & sharp
by extending the last stitch
slightly beyond the design
area.
!
Using the 3/4 Polished
Thread, overstitch the
padding in the direction
indicated on the insert.
Make the tip nice & sharp
by extending the last stitch
slightly beyond the design
area.
TIGER, EYES
TIGER, EYES
See Eye, Gold Ribbon or Eye, Stitched
See Eye, Gold Ribbon or Eye, Stitched
TIGER, STITCH ORDER
TIGER, STITCH ORDER
1. Gold Ribbon Eye (if required)
1. Gold Ribbon Eye (if required)
2. Black stripes
2. Black stripes
3. Body - stitch order of tail, legs, head, ears and
torso depends on the body pose of the tiger.
Use Line Padding wherever possible to add
dimension.
3. Body - stitch order of tail, legs, head, ears and
torso depends on the body pose of the tiger.
Use Line Padding wherever possible to add
dimension.
154
TECHNIQUE
154
TECHNIQUE
!
Pad the area with 2/4 pull
thread in a direction
opposite to the top layer. Do
not pad down into the point
of the nail, taper it off just
short of this area.
!
Pad the area with 2/4 pull
thread in a direction
opposite to the top layer. Do
not pad down into the point
of the nail, taper it off just
short of this area.
!
Using the 3/4 Polished
Thread, overstitch the
padding in the direction
indicated on the insert.
Make the tip nice & sharp
by extending the last stitch
slightly beyond the design
area.
!
Using the 3/4 Polished
Thread, overstitch the
padding in the direction
indicated on the insert.
Make the tip nice & sharp
by extending the last stitch
slightly beyond the design
area.
TIGER, EYES
TIGER, EYES
See Eye, Gold Ribbon or Eye, Stitched
See Eye, Gold Ribbon or Eye, Stitched
TIGER, STITCH ORDER
TIGER, STITCH ORDER
1. Gold Ribbon Eye (if required)
1. Gold Ribbon Eye (if required)
2. Black stripes
2. Black stripes
3. Body - stitch order of tail, legs, head, ears and
torso depends on the body pose of the tiger.
Use Line Padding wherever possible to add
dimension.
3. Body - stitch order of tail, legs, head, ears and
torso depends on the body pose of the tiger.
Use Line Padding wherever possible to add
dimension.
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154
4. Claws - body of the paw completed first.
4. Claws - body of the paw completed first.
5. Teeth - inside the mouth area must be
completed first; top lip done after the teeth
are stitched.
5. Teeth - inside the mouth area must be
completed first; top lip done after the teeth
are stitched.
6. Whiskers.
6. Whiskers.
TIGER, WHISKERS
TIGER, WHISKERS
Whiskers are the last area of a tiger to be
completed. The angle, size and number of the
whiskers are important to the tiger.
Whiskers are the last area of a tiger to be
completed. The angle, size and number of the
whiskers are important to the tiger.
There are 3 methods, which can be used; most
older tiger kits require the use of Method 1.
There are 3 methods, which can be used; most
older tiger kits require the use of Method 1.
METHOD 1 - FOUR LAYERS
METHOD 1 - FOUR LAYERS
a) The first layer is the base stitching of the face
area with white, black and body colours,
usually tan or gold.
a) The first layer is the base stitching of the face
area with white, black and body colours,
usually tan or gold.
b) The second layer is a row of long and short
open Zig Zag Stitches using 2/4 Pull thread.
b) The second layer is a row of long and short
open Zig Zag Stitches using 2/4 Pull thread.
The total number of white stripes on the face
indicate the number of rows of whiskers to be
completed - one row of whiskers will extend
out from each white stripe;
The total number of white stripes on the face
indicate the number of rows of whiskers to be
completed - one row of whiskers will extend
out from each white stripe;
2 white stripes = 2 rows of whiskers
3 white stripes = 3 rows of whiskers
2 white stripes = 2 rows of whiskers
3 white stripes = 3 rows of whiskers
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155
4. Claws - body of the paw completed first.
4. Claws - body of the paw completed first.
5. Teeth - inside the mouth area must be
completed first; top lip done after the teeth
are stitched.
5. Teeth - inside the mouth area must be
completed first; top lip done after the teeth
are stitched.
6. Whiskers.
6. Whiskers.
TIGER, WHISKERS
TIGER, WHISKERS
Whiskers are the last area of a tiger to be
completed. The angle, size and number of the
whiskers are important to the tiger.
Whiskers are the last area of a tiger to be
completed. The angle, size and number of the
whiskers are important to the tiger.
There are 3 methods, which can be used; most
older tiger kits require the use of Method 1.
There are 3 methods, which can be used; most
older tiger kits require the use of Method 1.
METHOD 1 - FOUR LAYERS
METHOD 1 - FOUR LAYERS
a) The first layer is the base stitching of the face
area with white, black and body colours,
usually tan or gold.
a) The first layer is the base stitching of the face
area with white, black and body colours,
usually tan or gold.
b) The second layer is a row of long and short
open Zig Zag Stitches using 2/4 Pull thread.
b) The second layer is a row of long and short
open Zig Zag Stitches using 2/4 Pull thread.
The total number of white stripes on the face
indicate the number of rows of whiskers to be
completed - one row of whiskers will extend
out from each white stripe;
The total number of white stripes on the face
indicate the number of rows of whiskers to be
completed - one row of whiskers will extend
out from each white stripe;
2 white stripes = 2 rows of whiskers
3 white stripes = 3 rows of whiskers
2 white stripes = 2 rows of whiskers
3 white stripes = 3 rows of whiskers
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155
Start with the white stripe
closest to the neck &
shoulder area. Stitch one
continuous row of long and
short Zig Zag stitches
radiating out from the white
stripe (refer to the insert for
length & placement).
Start with the white stripe
closest to the neck &
shoulder area. Stitch one
continuous row of long and
short Zig Zag stitches
radiating out from the white
stripe (refer to the insert for
length & placement).
Repeat the above on the
next white stripe. This
thread should occasionally
overlap the previous row.
Repeat the above on the
next white stripe. This
thread should occasionally
overlap the previous row.
c) The third layer uses the
special, shiny whisker
thread provided with the
kit and a tapestry
(sewing) needle. Repeat
the long and short
pattern created in Step 2
for each row of whiskers
- place the whisker
thread in between and extended further out
than the bunka thread layer.
c) The third layer uses the
special, shiny whisker
thread provided with the
kit and a tapestry
(sewing) needle. Repeat
the long and short
pattern created in Step 2
for each row of whiskers
- place the whisker
thread in between and extended further out
than the bunka thread layer.
d) The fourth and final layer for Method 1 is the
Long Cat Whiskers. These whiskers are very
distinctive; thicker and very bold looking. Each
whisker consists of 2 long threads which are
wrapped with a third thread.
d) The fourth and final layer for Method 1 is the
Long Cat Whiskers. These whiskers are very
distinctive; thicker and very bold looking. Each
whisker consists of 2 long threads which are
wrapped with a third thread.
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156
Start with the white stripe
closest to the neck &
shoulder area. Stitch one
continuous row of long and
short Zig Zag stitches
radiating out from the white
stripe (refer to the insert for
length & placement).
Start with the white stripe
closest to the neck &
shoulder area. Stitch one
continuous row of long and
short Zig Zag stitches
radiating out from the white
stripe (refer to the insert for
length & placement).
Repeat the above on the
next white stripe. This
thread should occasionally
overlap the previous row.
Repeat the above on the
next white stripe. This
thread should occasionally
overlap the previous row.
c) The third layer uses the
special, shiny whisker
thread provided with the
kit and a tapestry
(sewing) needle. Repeat
the long and short
pattern created in Step 2
for each row of whiskers
- place the whisker
thread in between and extended further out
than the bunka thread layer.
c) The third layer uses the
special, shiny whisker
thread provided with the
kit and a tapestry
(sewing) needle. Repeat
the long and short
pattern created in Step 2
for each row of whiskers
- place the whisker
thread in between and extended further out
than the bunka thread layer.
d) The fourth and final layer for Method 1 is the
Long Cat Whiskers. These whiskers are very
distinctive; thicker and very bold looking. Each
whisker consists of 2 long threads which are
wrapped with a third thread.
d) The fourth and final layer for Method 1 is the
Long Cat Whiskers. These whiskers are very
distinctive; thicker and very bold looking. Each
whisker consists of 2 long threads which are
wrapped with a third thread.
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156
- thread a regular sewing needle with a single
thickness of the shiny whisker thread provided
in the kit. Tie a knot in the end.
- thread a regular sewing needle with a single
thickness of the shiny whisker thread provided
in the kit. Tie a knot in the end.
- Bring the needle up from the back of the
canvas to the spot on the tiger's muzzle from
where the whisker will extend. Sometimes
these large whiskers will originate from small
dark brown or black spots on the muzzle.
- Bring the needle up from the back of the
canvas to the spot on the tiger's muzzle from
where the whisker will extend. Sometimes
these large whiskers will originate from small
dark brown or black spots on the muzzle.
- Take a 2 -3" stitch out over the face and take
the needle to the back of the canvas. This will
be the longest thread and forms the tip of the
whisker. Refer to the insert for exact
positioning.
- Take a 2 -3" stitch out over the face and take
the needle to the back of the canvas. This will
be the longest thread and forms the tip of the
whisker. Refer to the insert for exact
positioning.
- Bring the needle up 1/2" below the tip.
- Bring the needle up 1/2" below the tip.
- Take the thread back down to the starting
spot.
- Take the thread back down to the starting
spot.
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157
- thread a regular sewing needle with a single
thickness of the shiny whisker thread provided
in the kit. Tie a knot in the end.
- thread a regular sewing needle with a single
thickness of the shiny whisker thread provided
in the kit. Tie a knot in the end.
- Bring the needle up from the back of the
canvas to the spot on the tiger's muzzle from
where the whisker will extend. Sometimes
these large whiskers will originate from small
dark brown or black spots on the muzzle.
- Bring the needle up from the back of the
canvas to the spot on the tiger's muzzle from
where the whisker will extend. Sometimes
these large whiskers will originate from small
dark brown or black spots on the muzzle.
- Take a 2 -3" stitch out over the face and take
the needle to the back of the canvas. This will
be the longest thread and forms the tip of the
whisker. Refer to the insert for exact
positioning.
- Take a 2 -3" stitch out over the face and take
the needle to the back of the canvas. This will
be the longest thread and forms the tip of the
whisker. Refer to the insert for exact
positioning.
- Bring the needle up 1/2" below the tip.
- Bring the needle up 1/2" below the tip.
- Take the thread back down to the starting
spot.
- Take the thread back down to the starting
spot.
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157
- Bring the needle back up to the starting point.
Wrap the first two strings by sliding the needle
under and over the threads approx. 3-5 times,
depending on the length of the whisker.
- Bring the needle back up to the starting point.
Wrap the first two strings by sliding the needle
under and over the threads approx. 3-5 times,
depending on the length of the whisker.
- Insert the needle back through the canvas 1/2"
below the tip of the second string.
- Insert the needle back through the canvas 1/2"
below the tip of the second string.
- Pull wrapping thread tight.
- Pull wrapping thread tight.
METHOD TWO - USING PINE NEEDLE STITCH
TECHNIQUE
METHOD TWO - USING PINE NEEDLE STITCH
TECHNIQUE
Using 2/4 pull thread, place rows of long and
short Pine Needle Stitches on the neck section of
the tiger working towards the nose area.
Using 2/4 pull thread, place rows of long and
short Pine Needle Stitches on the neck section of
the tiger working towards the nose area.
Refer to the coloured insert for placement. The
number of white stripes indicates the required
number of rows of Pine Needle Stitches.
Refer to the coloured insert for placement. The
number of white stripes indicates the required
number of rows of Pine Needle Stitches.
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158
- Bring the needle back up to the starting point.
Wrap the first two strings by sliding the needle
under and over the threads approx. 3-5 times,
depending on the length of the whisker.
- Bring the needle back up to the starting point.
Wrap the first two strings by sliding the needle
under and over the threads approx. 3-5 times,
depending on the length of the whisker.
- Insert the needle back through the canvas 1/2"
below the tip of the second string.
- Insert the needle back through the canvas 1/2"
below the tip of the second string.
- Pull wrapping thread tight.
- Pull wrapping thread tight.
METHOD TWO - USING PINE NEEDLE STITCH
TECHNIQUE
METHOD TWO - USING PINE NEEDLE STITCH
TECHNIQUE
Using 2/4 pull thread, place rows of long and
short Pine Needle Stitches on the neck section of
the tiger working towards the nose area.
Using 2/4 pull thread, place rows of long and
short Pine Needle Stitches on the neck section of
the tiger working towards the nose area.
Refer to the coloured insert for placement. The
number of white stripes indicates the required
number of rows of Pine Needle Stitches.
Refer to the coloured insert for placement. The
number of white stripes indicates the required
number of rows of Pine Needle Stitches.
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158
MÉTHOD THREE - USING 3/4 PULL THREAD
MÉTHOD THREE - USING 3/4 PULL THREAD
Refer to Thread 3/4 Polished for preparing the
thread.
Refer to Thread 3/4 Polished for preparing the
thread.
!
Polish and straighten about 1 yard of thread.
Place a dab of rice glue between your
thumb and index finger. Run the 3/4
polished thread through your fingers,
applying a thin layer of glue.
!
Polish and straighten about 1 yard of thread.
Place a dab of rice glue between your
thumb and index finger. Run the 3/4
polished thread through your fingers,
applying a thin layer of glue.
!
Set aside to dry. Thread should be straight
and rigid.
!
Set aside to dry. Thread should be straight
and rigid.
!
Thread into a regular sewing needle, with a
knot in the end.
!
Thread into a regular sewing needle, with a
knot in the end.
!
Bring the needle up from the back of the
canvas. Cut approx. 4ft of thread - leave this
end hanging loose for the
time being.
!
Bring the needle up from the back of the
canvas. Cut approx. 4ft of thread - leave this
end hanging loose for the
time being.
Knot the end of the thread in
the sewing needle and
repeat until the required
number of threads have been
attached.
Knot the end of the thread in
the sewing needle and
repeat until the required
number of threads have been
attached.
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159
MÉTHOD THREE - USING 3/4 PULL THREAD
MÉTHOD THREE - USING 3/4 PULL THREAD
Refer to Thread 3/4 Polished for preparing the
thread.
Refer to Thread 3/4 Polished for preparing the
thread.
!
Polish and straighten about 1 yard of thread.
Place a dab of rice glue between your
thumb and index finger. Run the 3/4
polished thread through your fingers,
applying a thin layer of glue.
!
Polish and straighten about 1 yard of thread.
Place a dab of rice glue between your
thumb and index finger. Run the 3/4
polished thread through your fingers,
applying a thin layer of glue.
!
Set aside to dry. Thread should be straight
and rigid.
!
Set aside to dry. Thread should be straight
and rigid.
!
Thread into a regular sewing needle, with a
knot in the end.
!
Thread into a regular sewing needle, with a
knot in the end.
!
Bring the needle up from the back of the
canvas. Cut approx. 4ft of thread - leave this
end hanging loose for the
time being.
!
Bring the needle up from the back of the
canvas. Cut approx. 4ft of thread - leave this
end hanging loose for the
time being.
Knot the end of the thread in
the sewing needle and
repeat until the required
number of threads have been
attached.
Knot the end of the thread in
the sewing needle and
repeat until the required
number of threads have been
attached.
159
159
!
Place a small dab of glue 1/2" to 1" below the
point where each thread is to be positioned.
!
Place a small dab of glue 1/2" to 1" below the
point where each thread is to be positioned.
!
Press the 3/4 polished
thread down onto the glue.
!
Press the 3/4 polished
thread down onto the glue.
Refer to the coloured insert
for exact placement and
length of each whisker.
Glue
Refer to the coloured insert
for exact placement and
length of each whisker.
Glue
Whiskers should not lay flat
and dead straight on the face
- strive for realistic and
natural appearance.
Whiskers should not lay flat
and dead straight on the face
- strive for realistic and
natural appearance.
TREES, BAMBOO
TREES, BAMBOO
Bamboo stalks are evident in many Bunka Shishu
pictures. They represent strength and are very
effective in presenting an oriental mood to the
picture. A Bamboo Stalk is divided into boneshaped sections which are thicker at the top and
bottom, thinner in the middle. The area between
each section is referred to as a 'joint'.
Bamboo stalks are evident in many Bunka Shishu
pictures. They represent strength and are very
effective in presenting an oriental mood to the
picture. A Bamboo Stalk is divided into boneshaped sections which are thicker at the top and
bottom, thinner in the middle. The area between
each section is referred to as a 'joint'.
TECHNIQUE
TECHNIQUE
!
Stitch each joint area first
using a Satin Stitch on an
angle.
!
160
Stitch each joint area first
using a Satin Stitch on an
angle.
160
!
Place a small dab of glue 1/2" to 1" below the
point where each thread is to be positioned.
!
Place a small dab of glue 1/2" to 1" below the
point where each thread is to be positioned.
!
Press the 3/4 polished
thread down onto the glue.
!
Press the 3/4 polished
thread down onto the glue.
Refer to the coloured insert
for exact placement and
length of each whisker.
Glue
Refer to the coloured insert
for exact placement and
length of each whisker.
Glue
Whiskers should not lay flat
and dead straight on the face
- strive for realistic and
natural appearance.
Whiskers should not lay flat
and dead straight on the face
- strive for realistic and
natural appearance.
TREES, BAMBOO
TREES, BAMBOO
Bamboo stalks are evident in many Bunka Shishu
pictures. They represent strength and are very
effective in presenting an oriental mood to the
picture. A Bamboo Stalk is divided into boneshaped sections which are thicker at the top and
bottom, thinner in the middle. The area between
each section is referred to as a 'joint'.
Bamboo stalks are evident in many Bunka Shishu
pictures. They represent strength and are very
effective in presenting an oriental mood to the
picture. A Bamboo Stalk is divided into boneshaped sections which are thicker at the top and
bottom, thinner in the middle. The area between
each section is referred to as a 'joint'.
TECHNIQUE
TECHNIQUE
!
Stitch each joint area first
using a Satin Stitch on an
angle.
160
!
Stitch each joint area first
using a Satin Stitch on an
angle.
160
!
!
Both ends are built up for
emphasis using Tapered
Padding.
!
Both ends are built up for
emphasis using Tapered
Padding.
- Stitch horizontally across
the end with 3-4 rows of
solid stitching. (the
numbers of rows will vary
according to the size of the
bamboo stalk, i.e. use 5-6
rows for larger stalks).
- Stitch horizontally across
the end with 3-4 rows of
solid stitching. (the
numbers of rows will vary
according to the size of the
bamboo stalk, i.e. use 5-6
rows for larger stalks).
- Start shortening the rows,
centering the stitching
across the center area.
- Start shortening the rows,
centering the stitching
across the center area.
- Gradually taper down to 1 thread width. It is
important to taper off the padding, to avoid a
sudden drop-off when doing the top
stitching. Pad the top and bottom area of
each section.
- Gradually taper down to 1 thread width. It is
important to taper off the padding, to avoid a
sudden drop-off when doing the top
stitching. Pad the top and bottom area of
each section.
Bamboo stalks are usually
divided into a minimum of
three blending areas. It is
important that the section be
stitched in order; top, middle,
bottom (1-2-3) even
though the first and third
sections may be the same
colour. It is very difficult to
complete the middle area with
good, even blending if the top
and bottom areas
have been already stitched.
!
Bamboo stalks are usually
divided into a minimum of
three blending areas. It is
important that the section be
stitched in order; top, middle,
bottom (1-2-3) even
though the first and third
sections may be the same
colour. It is very difficult to
complete the middle area with
good, even blending if the top
and bottom areas
have been already stitched.
161
!
!
Both ends are built up for
emphasis using Tapered
Padding.
161
!
Both ends are built up for
emphasis using Tapered
Padding.
- Stitch horizontally across
the end with 3-4 rows of
solid stitching. (the
numbers of rows will vary
according to the size of the
bamboo stalk, i.e. use 5-6
rows for larger stalks).
- Stitch horizontally across
the end with 3-4 rows of
solid stitching. (the
numbers of rows will vary
according to the size of the
bamboo stalk, i.e. use 5-6
rows for larger stalks).
- Start shortening the rows,
centering the stitching
across the center area.
- Start shortening the rows,
centering the stitching
across the center area.
- Gradually taper down to 1 thread width. It is
important to taper off the padding, to avoid a
sudden drop-off when doing the top
stitching. Pad the top and bottom area of
each section.
- Gradually taper down to 1 thread width. It is
important to taper off the padding, to avoid a
sudden drop-off when doing the top
stitching. Pad the top and bottom area of
each section.
Bamboo stalks are usually
divided into a minimum of
three blending areas. It is
important that the section be
stitched in order; top, middle,
bottom (1-2-3) even
though the first and third
sections may be the same
colour. It is very difficult to
complete the middle area with
good, even blending if the top
and bottom areas
have been already stitched.
!
161
Bamboo stalks are usually
divided into a minimum of
three blending areas. It is
important that the section be
stitched in order; top, middle,
bottom (1-2-3) even
though the first and third
sections may be the same
colour. It is very difficult to
complete the middle area with
good, even blending if the top
and bottom areas
have been already stitched.
161
Always try to avoid working between two
stitched areas.
Always try to avoid working between two
stitched areas.
!
Keep the stitches adjoining the joint area
smooth and even.
!
Keep the stitches adjoining the joint area
smooth and even.
!
To make the Stalk look more
natural, place Stitch & Cuts
of adjoining colours into
each other (neighbour into
neighbour).
!
To make the Stalk look more
natural, place Stitch & Cuts
of adjoining colours into
each other (neighbour into
neighbour).
TREES, BIRCH
TREES, BIRCH
The birch is a very popular tree evident in many
pictures since its characteristic white bark adds to
the natural beauty of a scene. These trees are
usually in the foreground and are one of the
larger types of trees in a picture, therefore, care
must be taken that the edges are stitched smooth
and even -avoid serrated edges. Leaves are
placed in and around the branches using the
Claw Stitch, Cluster technique.
The birch is a very popular tree evident in many
pictures since its characteristic white bark adds to
the natural beauty of a scene. These trees are
usually in the foreground and are one of the
larger types of trees in a picture, therefore, care
must be taken that the edges are stitched smooth
and even -avoid serrated edges. Leaves are
placed in and around the branches using the
Claw Stitch, Cluster technique.
APPLICATION
APPLICATION
Scenes
Scenes
TECHNIQUE
TECHNIQUE
!
All the stitching behind the tree
must be completed first.
!
All the stitching behind the tree
must be completed first.
!
Stitch 2 rows of Line Padding
side-by-side up and down
each side of the trunk.
!
Stitch 2 rows of Line Padding
side-by-side up and down
each side of the trunk.
162
162
Always try to avoid working between two
stitched areas.
Always try to avoid working between two
stitched areas.
!
Keep the stitches adjoining the joint area
smooth and even.
!
Keep the stitches adjoining the joint area
smooth and even.
!
To make the Stalk look more
natural, place Stitch & Cuts
of adjoining colours into
each other (neighbour into
neighbour).
!
To make the Stalk look more
natural, place Stitch & Cuts
of adjoining colours into
each other (neighbour into
neighbour).
TREES, BIRCH
TREES, BIRCH
The birch is a very popular tree evident in many
pictures since its characteristic white bark adds to
the natural beauty of a scene. These trees are
usually in the foreground and are one of the
larger types of trees in a picture, therefore, care
must be taken that the edges are stitched smooth
and even -avoid serrated edges. Leaves are
placed in and around the branches using the
Claw Stitch, Cluster technique.
The birch is a very popular tree evident in many
pictures since its characteristic white bark adds to
the natural beauty of a scene. These trees are
usually in the foreground and are one of the
larger types of trees in a picture, therefore, care
must be taken that the edges are stitched smooth
and even -avoid serrated edges. Leaves are
placed in and around the branches using the
Claw Stitch, Cluster technique.
APPLICATION
APPLICATION
Scenes
Scenes
TECHNIQUE
TECHNIQUE
!
All the stitching behind the tree
must be completed first.
!
All the stitching behind the tree
must be completed first.
!
Stitch 2 rows of Line Padding
side-by-side up and down
each side of the trunk.
!
Stitch 2 rows of Line Padding
side-by-side up and down
each side of the trunk.
162
162
!
!
The top stitch direction for the
body of the tree runs
horizontally (side to side).
!
The top stitch direction for the
body of the tree runs
horizontally (side to side).
Fill in the small patches of
colour first, working even and
smooth over the Line
Padding.
Fill in the small patches of
colour first, working even and
smooth over the Line
Padding.
Stitch the main bark areas
(usually) white, blending into
the patches.
Stitch the main bark areas
(usually) white, blending into
the patches.
When the trunk is completely stitched, another
soft layer of thread can be added to the light
area (see Overlay Stitch). This, will build-up
the tree and give it a more rounded look.
!
When the trunk is completely stitched, another
soft layer of thread can be added to the light
area (see Overlay Stitch). This, will build-up
the tree and give it a more rounded look.
NOTE : Note: Distant birch trees could be
stitched vertically. Refer to coloured insert for
direction. Refer to Leaves, Clusters and Claw
Stitch for completing the leaves.
NOTE : Note: Distant birch trees could be
stitched vertically. Refer to coloured insert for
direction. Refer to Leaves, Clusters and Claw
Stitch for completing the leaves.
TREES, EVERGREEN, DISTANT
TREES, EVERGREEN, DISTANT
Three Methods:
Three Methods:
1. Method 1 - Used to indicate the tree line or
the horizon. This area is always stitched
straight up and down; smooth and even along
the bottom edge and using long and short
stitches along the top edge.
1. Method 1 - Used to indicate the tree line or
the horizon. This area is always stitched
straight up and down; smooth and even along
the bottom edge and using long and short
stitches along the top edge.
163
!
!
The top stitch direction for the
body of the tree runs
horizontally (side to side).
163
!
The top stitch direction for the
body of the tree runs
horizontally (side to side).
Fill in the small patches of
colour first, working even and
smooth over the Line
Padding.
Fill in the small patches of
colour first, working even and
smooth over the Line
Padding.
Stitch the main bark areas
(usually) white, blending into
the patches.
Stitch the main bark areas
(usually) white, blending into
the patches.
When the trunk is completely stitched, another
soft layer of thread can be added to the light
area (see Overlay Stitch). This, will build-up
the tree and give it a more rounded look.
!
When the trunk is completely stitched, another
soft layer of thread can be added to the light
area (see Overlay Stitch). This, will build-up
the tree and give it a more rounded look.
NOTE : Note: Distant birch trees could be
stitched vertically. Refer to coloured insert for
direction. Refer to Leaves, Clusters and Claw
Stitch for completing the leaves.
NOTE : Note: Distant birch trees could be
stitched vertically. Refer to coloured insert for
direction. Refer to Leaves, Clusters and Claw
Stitch for completing the leaves.
TREES, EVERGREEN, DISTANT
TREES, EVERGREEN, DISTANT
Three Methods:
Three Methods:
1. Method 1 - Used to indicate the tree line or
the horizon. This area is always stitched
straight up and down; smooth and even along
the bottom edge and using long and short
stitches along the top edge.
1. Method 1 - Used to indicate the tree line or
the horizon. This area is always stitched
straight up and down; smooth and even along
the bottom edge and using long and short
stitches along the top edge.
163
163
!
A row of Line Padding could be placed along
the line first to help maintain a smooth, even
bottom edge.
!
Line Padding
A row of Line Padding could be placed along
the line first to help maintain a smooth, even
bottom edge.
Line Padding
!
Work rows of stitching up
and down across the line.
It is important to stitch over
any background flat
stitching behind the tree
line so that there are no
spaces.
!
Work rows of stitching up
and down across the line.
It is important to stitch over
any background flat
stitching behind the tree
line so that there are no
spaces.
!
Work up to the top edge with long and short
stitches, extending the odd stitch much higher
and then cutting the thread.
!
Work up to the top edge with long and short
stitches, extending the odd stitch much higher
and then cutting the thread.
2. Method 2 - These trees, in the background of
many scenes, have a misty or hazy
appearance. The stitches should extend over
the background flat stitching using long and
short stitches to develop the form of an
evergreen.
!
Start at the top of the area with a small,
horizontal stitch. Punch on top of the
background flat stitching a little so that the tree
appears to be 'in front' of the sky and not sunk
into it.
2. Method 2 - These trees, in the background of
many scenes, have a misty or hazy
appearance. The stitches should extend over
the background flat stitching using long and
short stitches to develop the form of an
evergreen.
!
164
!
A row of Line Padding could be placed along
the line first to help maintain a smooth, even
bottom edge.
Start at the top of the area with a small,
horizontal stitch. Punch on top of the
background flat stitching a little so that the tree
appears to be 'in front' of the sky and not sunk
into it.
164
!
Line Padding
A row of Line Padding could be placed along
the line first to help maintain a smooth, even
bottom edge.
Line Padding
!
Work rows of stitching up
and down across the line.
It is important to stitch over
any background flat
stitching behind the tree
line so that there are no
spaces.
!
Work rows of stitching up
and down across the line.
It is important to stitch over
any background flat
stitching behind the tree
line so that there are no
spaces.
!
Work up to the top edge with long and short
stitches, extending the odd stitch much higher
and then cutting the thread.
!
Work up to the top edge with long and short
stitches, extending the odd stitch much higher
and then cutting the thread.
2. Method 2 - These trees, in the background of
many scenes, have a misty or hazy
appearance. The stitches should extend over
the background flat stitching using long and
short stitches to develop the form of an
evergreen.
!
Start at the top of the area with a small,
horizontal stitch. Punch on top of the
background flat stitching a little so that the tree
appears to be 'in front' of the sky and not sunk
into it.
164
2. Method 2 - These trees, in the background of
many scenes, have a misty or hazy
appearance. The stitches should extend over
the background flat stitching using long and
short stitches to develop the form of an
evergreen.
!
Start at the top of the area with a small,
horizontal stitch. Punch on top of the
background flat stitching a little so that the tree
appears to be 'in front' of the sky and not sunk
into it.
164
!
Continue stitching across
and down the tree
exaggerating the edges with
long and short stitches.
!
Continue stitching across
and down the tree
exaggerating the edges with
long and short stitches.
!
If the base area is wider than
½", it will be necessary to
start using 2-3 stitches to fill
it in. Do not use single length
stitches if the area is wider
than ½".
!
If the base area is wider than
½", it will be necessary to
start using 2-3 stitches to fill
it in. Do not use single length
stitches if the area is wider
than ½".
3. Method 3
3. Method 3
Combination of Method 1
and 2.
Combination of Method 1
and 2.
!
Complete first layer using
Method 1
!
Complete first layer using
Method 1
!
Stitch over the points using
Method 2.
!
Stitch over the points using
Method 2.
TREES, EVERGREEN, LARGE
TREES, EVERGREEN, LARGE
1. Fill in the area with a base
layer of short choppy flat
stitching.
1. Fill in the area with a base
layer of short choppy flat
stitching.
165
165
!
Continue stitching across
and down the tree
exaggerating the edges with
long and short stitches.
!
Continue stitching across
and down the tree
exaggerating the edges with
long and short stitches.
!
If the base area is wider than
½", it will be necessary to
start using 2-3 stitches to fill
it in. Do not use single length
stitches if the area is wider
than ½".
!
If the base area is wider than
½", it will be necessary to
start using 2-3 stitches to fill
it in. Do not use single length
stitches if the area is wider
than ½".
3. Method 3
3. Method 3
Combination of Method 1
and 2.
Combination of Method 1
and 2.
!
Complete first layer using
Method 1
!
Complete first layer using
Method 1
!
Stitch over the points using
Method 2.
!
Stitch over the points using
Method 2.
TREES, EVERGREEN, LARGE
TREES, EVERGREEN, LARGE
1. Fill in the area with a base
layer of short choppy flat
stitching.
1. Fill in the area with a base
layer of short choppy flat
stitching.
165
165
2. Work a layer of Blizzard
Stitch jagged short stitches
over the base layer.
2. Work a layer of Blizzard
Stitch jagged short stitches
over the base layer.
TRESS, EVERGREEN, LAYERED
TRESS, EVERGREEN, LAYERED
A layered evergreen is made
up of overlapping sections or
'skirts'.
A layered evergreen is made
up of overlapping sections or
'skirts'.
!
Start with the lowest
section working each
subsequent layer up to the
top.
!
Start with the lowest
section working each
subsequent layer up to the
top.
!
Each skirt can consist of 13 areas. Start from the
area at the top of the
section, usually the darkest
colour, working down to the
lower edge.
!
Each skirt can consist of 13 areas. Start from the
area at the top of the
section, usually the darkest
colour, working down to the
lower edge.
!
Stitch direction is very important for this type of
evergreen. Long and short stitches should
radiate out at an angle on both sides but be
straight up and down at the center point of the
tree.
!
Stitch direction is very important for this type of
evergreen. Long and short stitches should
radiate out at an angle on both sides but be
straight up and down at the center point of the
tree.
166
166
2. Work a layer of Blizzard
Stitch jagged short stitches
over the base layer.
2. Work a layer of Blizzard
Stitch jagged short stitches
over the base layer.
TRESS, EVERGREEN, LAYERED
TRESS, EVERGREEN, LAYERED
A layered evergreen is made
up of overlapping sections or
'skirts'.
A layered evergreen is made
up of overlapping sections or
'skirts'.
!
Start with the lowest
section working each
subsequent layer up to the
top.
!
Start with the lowest
section working each
subsequent layer up to the
top.
!
Each skirt can consist of 13 areas. Start from the
area at the top of the
section, usually the darkest
colour, working down to the
lower edge.
!
Each skirt can consist of 13 areas. Start from the
area at the top of the
section, usually the darkest
colour, working down to the
lower edge.
!
Stitch direction is very important for this type of
evergreen. Long and short stitches should
radiate out at an angle on both sides but be
straight up and down at the center point of the
tree.
!
Stitch direction is very important for this type of
evergreen. Long and short stitches should
radiate out at an angle on both sides but be
straight up and down at the center point of the
tree.
166
166
Add Wedge Stitches
where necessary to
develop this change in
direction.
!
Add Wedge Stitches
where necessary to
develop this change in
direction.
The second layer is
stitched exactly like the
first section - start with the
top blending area, working
down to the lower edge.
The last blending area
must overlap the top of
the previous skirt.
!
The second layer is
stitched exactly like the
first section - start with the
top blending area, working
down to the lower edge.
The last blending area
must overlap the top of
the previous skirt.
TREES, EVERGREEN, SMALL
TREES, EVERGREEN, SMALL
This type of evergreen is common to many
scenes. Due to its size, it is used in the middle
third of a picture. The background area must be
filled in first.
This type of evergreen is common to many
scenes. Due to its size, it is used in the middle
third of a picture. The background area must be
filled in first.
The stitching is worked from the top, down the left
half, across the base and up the right side. Use
long and short stitches on the outside stitches to
develop the shape of the tree and when working
over the center line area to avoid making a trough
of punch marks.
The stitching is worked from the top, down the left
half, across the base and up the right side. Use
long and short stitches on the outside stitches to
develop the shape of the tree and when working
over the center line area to avoid making a trough
of punch marks.
APPLICATION
APPLICATION
Scenes
Scenes
167
167
Add Wedge Stitches
where necessary to
develop this change in
direction.
!
Add Wedge Stitches
where necessary to
develop this change in
direction.
The second layer is
stitched exactly like the
first section - start with the
top blending area, working
down to the lower edge.
The last blending area
must overlap the top of
the previous skirt.
!
The second layer is
stitched exactly like the
first section - start with the
top blending area, working
down to the lower edge.
The last blending area
must overlap the top of
the previous skirt.
TREES, EVERGREEN, SMALL
TREES, EVERGREEN, SMALL
This type of evergreen is common to many
scenes. Due to its size, it is used in the middle
third of a picture. The background area must be
filled in first.
This type of evergreen is common to many
scenes. Due to its size, it is used in the middle
third of a picture. The background area must be
filled in first.
The stitching is worked from the top, down the left
half, across the base and up the right side. Use
long and short stitches on the outside stitches to
develop the shape of the tree and when working
over the center line area to avoid making a trough
of punch marks.
The stitching is worked from the top, down the left
half, across the base and up the right side. Use
long and short stitches on the outside stitches to
develop the shape of the tree and when working
over the center line area to avoid making a trough
of punch marks.
APPLICATION
APPLICATION
Scenes
Scenes
167
167
TECHNIQUE
!
!
Start at the very top of the
tree and stitch down the
left half of the tree. The
stitches should be on an
angle working
back and forth with long
and short stitches.
TECHNIQUE
!
Alternate the placement
of the stitches that cross
the center area to avoid
making a trough of punch
marks: extend a stitch past the center line, the
next stitch punched right in the center, the next
stitch short of the center point.
Alternate the placement
of the stitches that cross
the center area to avoid
making a trough of punch
marks: extend a stitch past the center line, the
next stitch punched right in the center, the next
stitch short of the center point.
'Wedging' the stitches inside the tree in this
manner, staggers the amount of thread
crossing the center area thereby preventing a
bulge.
'Wedging' the stitches inside the tree in this
manner, staggers the amount of thread
crossing the center area thereby preventing a
bulge.
To work across the
base, use Wedge
Stitches to gradually
swing the stitch
direction. When you
reach the center point
of the base, the
stitches should be
straight up and down.
Use Wedge Stitches
again to swing the
stitch direction to the right.
!
168
TECHNIQUE
!
!
Start at the very top of the
tree and stitch down the
left half of the tree. The
stitches should be on an
angle working
back and forth with long
and short stitches.
Start at the very top of the
tree and stitch down the
left half of the tree. The
stitches should be on an
angle working
back and forth with long
and short stitches.
To work across the
base, use Wedge
Stitches to gradually
swing the stitch
direction. When you
reach the center point
of the base, the
stitches should be
straight up and down.
Use Wedge Stitches
again to swing the
stitch direction to the right.
168
TECHNIQUE
!
Start at the very top of the
tree and stitch down the
left half of the tree. The
stitches should be on an
angle working
back and forth with long
and short stitches.
Alternate the placement
of the stitches that cross
the center area to avoid
making a trough of punch
marks: extend a stitch past the center line, the
next stitch punched right in the center, the next
stitch short of the center point.
Alternate the placement
of the stitches that cross
the center area to avoid
making a trough of punch
marks: extend a stitch past the center line, the
next stitch punched right in the center, the next
stitch short of the center point.
'Wedging' the stitches inside the tree in this
manner, staggers the amount of thread
crossing the center area thereby preventing a
bulge.
'Wedging' the stitches inside the tree in this
manner, staggers the amount of thread
crossing the center area thereby preventing a
bulge.
To work across the
base, use Wedge
Stitches to gradually
swing the stitch
direction. When you
reach the center point
of the base, the
stitches should be
straight up and down.
Use Wedge Stitches
again to swing the
stitch direction to the right.
168
!
To work across the
base, use Wedge
Stitches to gradually
swing the stitch
direction. When you
reach the center point
of the base, the
stitches should be
straight up and down.
Use Wedge Stitches
again to swing the
stitch direction to the right.
168
!
Work up the right half of the
tree using long and short
stitches that overlap the left
side -if a long stitch was
used on the left side. use a
short stitch on the right side;
if there is a short stitch on
the left side. overlap it with
a long stitch on the right
side.
!
Work up the right half of the
tree using long and short
stitches that overlap the left
side -if a long stitch was
used on the left side. use a
short stitch on the right side;
if there is a short stitch on
the left side. overlap it with
a long stitch on the right
side.
!
Maintain the same stitch angle on both sides
of the tree.
!
Maintain the same stitch angle on both sides
of the tree.
!
The long stitches that extend out the sides of
the tree are the ones that give the tree its
shape.
!
The long stitches that extend out the sides of
the tree are the ones that give the tree its
shape.
!
Highlights give the effect of
spots where sunlight is
striking some of the
branches. Use either Pine
Needle Stitches or Claw
Stitch. Keep the stitches
small -in proportion to the
tree.
!
Highlights give the effect of
spots where sunlight is
striking some of the
branches. Use either Pine
Needle Stitches or Claw
Stitch. Keep the stitches
small -in proportion to the
tree.
TREES, OLD PINE
TREES, OLD PINE
Old Pine bark has circular patches surrounded by
the main trunk colour. The patches can be one
solid colour or require blending of 2 colours. The
stitch direction for the patches can be the same
or opposite to the stitching on the main trunk - to
Old Pine bark has circular patches surrounded by
the main trunk colour. The patches can be one
solid colour or require blending of 2 colours. The
stitch direction for the patches can be the same
or opposite to the stitching on the main trunk - to
169
169
!
Work up the right half of the
tree using long and short
stitches that overlap the left
side -if a long stitch was
used on the left side. use a
short stitch on the right side;
if there is a short stitch on
the left side. overlap it with
a long stitch on the right
side.
!
Work up the right half of the
tree using long and short
stitches that overlap the left
side -if a long stitch was
used on the left side. use a
short stitch on the right side;
if there is a short stitch on
the left side. overlap it with
a long stitch on the right
side.
!
Maintain the same stitch angle on both sides
of the tree.
!
Maintain the same stitch angle on both sides
of the tree.
!
The long stitches that extend out the sides of
the tree are the ones that give the tree its
shape.
!
The long stitches that extend out the sides of
the tree are the ones that give the tree its
shape.
!
Highlights give the effect of
spots where sunlight is
striking some of the
branches. Use either Pine
Needle Stitches or Claw
Stitch. Keep the stitches
small -in proportion to the
tree.
!
Highlights give the effect of
spots where sunlight is
striking some of the
branches. Use either Pine
Needle Stitches or Claw
Stitch. Keep the stitches
small -in proportion to the
tree.
TREES, OLD PINE
TREES, OLD PINE
Old Pine bark has circular patches surrounded by
the main trunk colour. The patches can be one
solid colour or require blending of 2 colours. The
stitch direction for the patches can be the same
or opposite to the stitching on the main trunk - to
Old Pine bark has circular patches surrounded by
the main trunk colour. The patches can be one
solid colour or require blending of 2 colours. The
stitch direction for the patches can be the same
or opposite to the stitching on the main trunk - to
169
169
emphasize areas of loose bark, some patches are
stitched horizontally - the trunk is stitched
vertically.
emphasize areas of loose bark, some patches are
stitched horizontally - the trunk is stitched
vertically.
APPLICATION
APPLICATION
Scenes
Scenes
TECHNIQUE
TECHNIQUE
!
Complete the main trunk
area first. The stitch
direction flows vertically, up
and down the tree.
!
Complete the main trunk
area first. The stitch
direction flows vertically, up
and down the tree.
!
Fill in each patch with the
appropriate colours. Do not
blend into the main trunk
colour - keep the edges
nice and firm. On large
trees, the colour of the
patch varies, that creates
the realistic shading effect.
Refer to your insert for
colour placement and stitch
direction.
!
Fill in each patch with the
appropriate colours. Do not
blend into the main trunk
colour - keep the edges
nice and firm. On large
trees, the colour of the
patch varies, that creates
the realistic shading effect.
Refer to your insert for
colour placement and stitch
direction.
TREES, VERTICAL TRUNKS
TREES, VERTICAL TRUNKS
Stitch direction runs vertically up and down the
length of the trunk. All the background areas must
be completed first.
Stitch direction runs vertically up and down the
length of the trunk. All the background areas must
be completed first.
170
170
emphasize areas of loose bark, some patches are
stitched horizontally - the trunk is stitched
vertically.
emphasize areas of loose bark, some patches are
stitched horizontally - the trunk is stitched
vertically.
APPLICATION
APPLICATION
Scenes
Scenes
TECHNIQUE
TECHNIQUE
!
Complete the main trunk
area first. The stitch
direction flows vertically, up
and down the tree.
!
Complete the main trunk
area first. The stitch
direction flows vertically, up
and down the tree.
!
Fill in each patch with the
appropriate colours. Do not
blend into the main trunk
colour - keep the edges
nice and firm. On large
trees, the colour of the
patch varies, that creates
the realistic shading effect.
Refer to your insert for
colour placement and stitch
direction.
!
Fill in each patch with the
appropriate colours. Do not
blend into the main trunk
colour - keep the edges
nice and firm. On large
trees, the colour of the
patch varies, that creates
the realistic shading effect.
Refer to your insert for
colour placement and stitch
direction.
TREES, VERTICAL TRUNKS
TREES, VERTICAL TRUNKS
Stitch direction runs vertically up and down the
length of the trunk. All the background areas must
be completed first.
Stitch direction runs vertically up and down the
length of the trunk. All the background areas must
be completed first.
170
170
APPLICATION
APPLICATION
Scenes
Scenes
TECHNIQUE
TECHNIQUE
!
Fill in with regular Flat Stitching working
darkest to lightest. If there are areas that
require green thread and the trunk colour is
brown, complete the brown sections first, then
the green. Accent techniques such as Reverse
or Blizzard Stitch are used to represent moss
growing on the trunk.
!
- When the trunk is divided
by blending lines as
shown in the diagram, fill
in as much as possible
with continuous rows of
Flat Stitch. Each
projection is then filled
individually before
proceeding with the next
colour.
!
Fill in with regular Flat Stitching working
darkest to lightest. If there are areas that
require green thread and the trunk colour is
brown, complete the brown sections first, then
the green. Accent techniques such as Reverse
or Blizzard Stitch are used to represent moss
growing on the trunk.
- When the trunk is divided
by blending lines as
shown in the diagram, fill
in as much as possible
with continuous rows of
Flat Stitch. Each
projection is then filled
individually before
proceeding with the next
colour.
Apply Stitch & Cuts to blend the colours
together and to give a rugged effect.
!
Apply Stitch & Cuts to blend the colours
together and to give a rugged effect.
TRIANGLE STITCH
TRIANGLE STITCH
This technique combines Ring Stitch and Inlay
Stitch to create a triangle-shaped, decorative
stitch.
This technique combines Ring Stitch and Inlay
Stitch to create a triangle-shaped, decorative
stitch.
APPLICATION
APPLICATION
Very limited.
Very limited.
171
171
APPLICATION
APPLICATION
Scenes
Scenes
TECHNIQUE
TECHNIQUE
!
Fill in with regular Flat Stitching working
darkest to lightest. If there are areas that
require green thread and the trunk colour is
brown, complete the brown sections first, then
the green. Accent techniques such as Reverse
or Blizzard Stitch are used to represent moss
growing on the trunk.
!
- When the trunk is divided
by blending lines as
shown in the diagram, fill
in as much as possible
with continuous rows of
Flat Stitch. Each
projection is then filled
individually before
proceeding with the next
colour.
!
Fill in with regular Flat Stitching working
darkest to lightest. If there are areas that
require green thread and the trunk colour is
brown, complete the brown sections first, then
the green. Accent techniques such as Reverse
or Blizzard Stitch are used to represent moss
growing on the trunk.
- When the trunk is divided
by blending lines as
shown in the diagram, fill
in as much as possible
with continuous rows of
Flat Stitch. Each
projection is then filled
individually before
proceeding with the next
colour.
Apply Stitch & Cuts to blend the colours
together and to give a rugged effect.
!
Apply Stitch & Cuts to blend the colours
together and to give a rugged effect.
TRIANGLE STITCH
TRIANGLE STITCH
This technique combines Ring Stitch and Inlay
Stitch to create a triangle-shaped, decorative
stitch.
This technique combines Ring Stitch and Inlay
Stitch to create a triangle-shaped, decorative
stitch.
APPLICATION
APPLICATION
Very limited.
Very limited.
171
171
TECHNIQUE
TECHNIQUE
!
Follow the Ring Stitch
technique to make the desired
number of loops.
!
Follow the Ring Stitch
technique to make the desired
number of loops.
!
Press the loop flat to the
canvas.
!
Press the loop flat to the
canvas.
!
Flatten out the round tip of the loop to make a
triangle shape by overstitching the whole
thread with a nice, tight Satin Stitch using 2/4
pull thread in a bunka needle.
!
Flatten out the round tip of the loop to make a
triangle shape by overstitching the whole
thread with a nice, tight Satin Stitch using 2/4
pull thread in a bunka needle.
TWISTED DOT
TWISTED DOT
A thread in a Twisted Dot has a swirled effect like
a soft ice cream cone.
A thread in a Twisted Dot has a swirled effect like
a soft ice cream cone.
APPLICATION
APPLICATION
Decorative Stitch.
Decorative Stitch.
TECHNIQUE
TECHNIQUE
!
A Flat or Fluffy needle threaded with 2/4 pull
thread may be used depending on the
desired size of dot.
!
A Flat or Fluffy needle threaded with 2/4 pull
thread may be used depending on the
desired size of dot.
!
Take the needle behind the work frame and
punch up through to the front of the canvas.
!
Take the needle behind the work frame and
punch up through to the front of the canvas.
!
To hold the thread in place before twisting,
press a fingernail to the thread and against
the canvas just at the point where it emerges
from the canvas
!
To hold the thread in place before twisting,
press a fingernail to the thread and against
the canvas just at the point where it emerges
from the canvas
172
TECHNIQUE
172
TECHNIQUE
!
Follow the Ring Stitch
technique to make the desired
number of loops.
!
Follow the Ring Stitch
technique to make the desired
number of loops.
!
Press the loop flat to the
canvas.
!
Press the loop flat to the
canvas.
!
Flatten out the round tip of the loop to make a
triangle shape by overstitching the whole
thread with a nice, tight Satin Stitch using 2/4
pull thread in a bunka needle.
!
Flatten out the round tip of the loop to make a
triangle shape by overstitching the whole
thread with a nice, tight Satin Stitch using 2/4
pull thread in a bunka needle.
TWISTED DOT
TWISTED DOT
A thread in a Twisted Dot has a swirled effect like
a soft ice cream cone.
A thread in a Twisted Dot has a swirled effect like
a soft ice cream cone.
APPLICATION
APPLICATION
Decorative Stitch.
Decorative Stitch.
TECHNIQUE
TECHNIQUE
!
A Flat or Fluffy needle threaded with 2/4 pull
thread may be used depending on the
desired size of dot.
!
A Flat or Fluffy needle threaded with 2/4 pull
thread may be used depending on the
desired size of dot.
!
Take the needle behind the work frame and
punch up through to the front of the canvas.
!
Take the needle behind the work frame and
punch up through to the front of the canvas.
!
To hold the thread in place before twisting,
press a fingernail to the thread and against
the canvas just at the point where it emerges
from the canvas
!
To hold the thread in place before twisting,
press a fingernail to the thread and against
the canvas just at the point where it emerges
from the canvas
172
172
!
Slowly turn the needle
around in a circular motion.
!
Slowly turn the needle
around in a circular motion.
!
As the thread twists, pull
down slowly withdrawing the
needle from the canvas. Do
not pull down too hard on
the needle or the stitch will
be pulled out.
!
As the thread twists, pull
down slowly withdrawing the
needle from the canvas. Do
not pull down too hard on
the needle or the stitch will
be pulled out.
TWISTED PICOT
TWISTED PICOT
Forms a dot, slightly larger than a Reverse Stitch
dot and similar in appearance to a Twisted Dot.
Forms a dot, slightly larger than a Reverse Stitch
dot and similar in appearance to a Twisted Dot.
APPLICATION
APPLICATION
Twisted Picots can be joined with 'Lead' stitches
or left separate. The bubbly effect is frequently
used in waterfalls or ocean waves.
Twisted Picots can be joined with 'Lead' stitches
or left separate. The bubbly effect is frequently
used in waterfalls or ocean waves.
TECHNIQUE
TECHNIQUE
!
Punch into the canvas and pull the end to the
back.
!
Punch into the canvas and pull the end to the
back.
!
Lift the needle about ½" to ¾" above the
canvas.
!
Lift the needle about ½" to ¾" above the
canvas.
!
To hold the thread in place, keep the finger of
your left hand pressing on the thread at the
back of the canvas.
!
To hold the thread in place, keep the finger of
your left hand pressing on the thread at the
back of the canvas.
173
173
!
Slowly turn the needle
around in a circular motion.
!
Slowly turn the needle
around in a circular motion.
!
As the thread twists, pull
down slowly withdrawing the
needle from the canvas. Do
not pull down too hard on
the needle or the stitch will
be pulled out.
!
As the thread twists, pull
down slowly withdrawing the
needle from the canvas. Do
not pull down too hard on
the needle or the stitch will
be pulled out.
TWISTED PICOT
TWISTED PICOT
Forms a dot, slightly larger than a Reverse Stitch
dot and similar in appearance to a Twisted Dot.
Forms a dot, slightly larger than a Reverse Stitch
dot and similar in appearance to a Twisted Dot.
APPLICATION
APPLICATION
Twisted Picots can be joined with 'Lead' stitches
or left separate. The bubbly effect is frequently
used in waterfalls or ocean waves.
Twisted Picots can be joined with 'Lead' stitches
or left separate. The bubbly effect is frequently
used in waterfalls or ocean waves.
TECHNIQUE
TECHNIQUE
!
Punch into the canvas and pull the end to the
back.
!
Punch into the canvas and pull the end to the
back.
!
Lift the needle about ½" to ¾" above the
canvas.
!
Lift the needle about ½" to ¾" above the
canvas.
!
To hold the thread in place, keep the finger of
your left hand pressing on the thread at the
back of the canvas.
!
To hold the thread in place, keep the finger of
your left hand pressing on the thread at the
back of the canvas.
173
173
!
Rapidly twirl the needle in a
counter-clockwise motion.
This will tighten up the fibers
in the thread causing it to
twist down into a knob.
!
Rapidly twirl the needle in a
counter-clockwise motion.
This will tighten up the fibers
in the thread causing it to
twist down into a knob.
!
Punch back into the canvas,
almost directly under the dot.
!
Punch back into the canvas,
almost directly under the dot.
!
Take a step to where you
would like the next dot with a
1/2" 'Lead' stitch. Repeat.
!
Take a step to where you
would like the next dot with a
1/2" 'Lead' stitch. Repeat.
WATERFALLS
WATERFALLS
Stitching a waterfall may require combining
various techniques to create the desired effect gentle flow; rapids rushing over rocks; foaming
turbulence floating away from the actual waterfall.
The basic principle of stitching the background
first is very important with subsequent techniques
applied on top. A large waterfall could consist of
several secondary waterfalls.
Stitching a waterfall may require combining
various techniques to create the desired effect gentle flow; rapids rushing over rocks; foaming
turbulence floating away from the actual waterfall.
The basic principle of stitching the background
first is very important with subsequent techniques
applied on top. A large waterfall could consist of
several secondary waterfalls.
Possible Techniques:
Possible Techniques:
Blending
Blizzard
Foam
Line Padding
Overlay
Running
Stitch & Cut
Stretch
3 Colour Padding
Reverse/clip
Blending
Blizzard
Foam
Line Padding
Overlay
174
Running
Stitch & Cut
Stretch
3 Colour Padding
Reverse/clip
174
!
Rapidly twirl the needle in a
counter-clockwise motion.
This will tighten up the fibers
in the thread causing it to
twist down into a knob.
!
Rapidly twirl the needle in a
counter-clockwise motion.
This will tighten up the fibers
in the thread causing it to
twist down into a knob.
!
Punch back into the canvas,
almost directly under the dot.
!
Punch back into the canvas,
almost directly under the dot.
!
Take a step to where you
would like the next dot with a
1/2" 'Lead' stitch. Repeat.
!
Take a step to where you
would like the next dot with a
1/2" 'Lead' stitch. Repeat.
WATERFALLS
WATERFALLS
Stitching a waterfall may require combining
various techniques to create the desired effect gentle flow; rapids rushing over rocks; foaming
turbulence floating away from the actual waterfall.
The basic principle of stitching the background
first is very important with subsequent techniques
applied on top. A large waterfall could consist of
several secondary waterfalls.
Stitching a waterfall may require combining
various techniques to create the desired effect gentle flow; rapids rushing over rocks; foaming
turbulence floating away from the actual waterfall.
The basic principle of stitching the background
first is very important with subsequent techniques
applied on top. A large waterfall could consist of
several secondary waterfalls.
Possible Techniques:
Possible Techniques:
Blending
Blizzard
Foam
Line Padding
Overlay
174
Running
Stitch & Cut
Stretch
3 Colour Padding
Reverse/clip
Blending
Blizzard
Foam
Line Padding
Overlay
174
Running
Stitch & Cut
Stretch
3 Colour Padding
Reverse/clip
TECHNIQUE
TECHNIQUE
!
Complete each
secondary waterfall,
one at a time,
progressing from the
section furthest in the
background and
finishing with the
foreground portion.
!
Complete each
secondary waterfall,
one at a time,
progressing from the
section furthest in the
background and
finishing with the
foreground portion.
!
Line padding can be
used to emphasize the
top edge of each
section of the waterfall.
!
Line padding can be
used to emphasize the
top edge of each
section of the waterfall.
!
Flat stitch the entire
area to create a base,
using the appropriate
colours working from
darkest to lightest.
The darkest colours,
the area closest to
rocks, grass, etc.,
illustrate the deepest
part of the waterfall
and are therefore
furthest to the
background.
!
Flat stitch the entire
area to create a base,
using the appropriate
colours working from
darkest to lightest.
The darkest colours,
the area closest to
rocks, grass, etc.,
illustrate the deepest
part of the waterfall
and are therefore
furthest to the
background.
!
When the base layer is
completed, the vertical
rows of colour will give
it a very striped
appearance.
!
When the base layer is
completed, the vertical
rows of colour will give
it a very striped
appearance.
175
TECHNIQUE
175
TECHNIQUE
!
Complete each
secondary waterfall,
one at a time,
progressing from the
section furthest in the
background and
finishing with the
foreground portion.
!
Complete each
secondary waterfall,
one at a time,
progressing from the
section furthest in the
background and
finishing with the
foreground portion.
!
Line padding can be
used to emphasize the
top edge of each
section of the waterfall.
!
Line padding can be
used to emphasize the
top edge of each
section of the waterfall.
!
Flat stitch the entire
area to create a base,
using the appropriate
colours working from
darkest to lightest.
The darkest colours,
the area closest to
rocks, grass, etc.,
illustrate the deepest
part of the waterfall
and are therefore
furthest to the
background.
!
Flat stitch the entire
area to create a base,
using the appropriate
colours working from
darkest to lightest.
The darkest colours,
the area closest to
rocks, grass, etc.,
illustrate the deepest
part of the waterfall
and are therefore
furthest to the
background.
!
When the base layer is
completed, the vertical
rows of colour will give
it a very striped
appearance.
!
When the base layer is
completed, the vertical
rows of colour will give
it a very striped
appearance.
175
175
!
To make it more natural-looking numerous
rows of Stitch & Cuts should be applied on
top of the base.
To make it more natural-looking numerous
rows of Stitch & Cuts should be applied on
top of the base.
- apply Stitch & Cuts of the darkest thread
over the medium thread.
- next, apply the medium colour over the
lighter colour.
- apply Stitch & Cuts of the darkest thread
over the medium thread.
- next, apply the medium colour over the
lighter colour.
Work your way back over this first layer of
blending with a second layer.
!
- apply Stitch & cuts of the lightest thread
over the medium colour.
- next, apply the medium colour over the
darkest thread.
!
Use either the lightest colour thread or some
white thread to emphasize the heavier or
more active parts of the waterfall - the top,
where the water is hitting a rock, at the base.
SUGGESTIONS
!
!
!
Use Foam or Stretch
Stitch to develop a frothy
effect at the base of the
waterfall.
Use Blizzard Stitch to
make a gentle flow of
water away from the base
of the waterfall.
Use Reverse or Clip Stitch
to add droplets or
splashes of water to the
lightest coloured area.
- apply Stitch & cuts of the lightest thread
over the medium colour.
- next, apply the medium colour over the
darkest thread.
!
!
!
!
!
!
Use Blizzard Stitch to
make a gentle flow of
water away from the base
of the waterfall.
Use Reverse or Clip Stitch
to add droplets or
splashes of water to the
lightest coloured area.
To make it more natural-looking numerous
rows of Stitch & Cuts should be applied on
top of the base.
To make it more natural-looking numerous
rows of Stitch & Cuts should be applied on
top of the base.
- apply Stitch & Cuts of the darkest thread
over the medium thread.
- next, apply the medium colour over the
lighter colour.
- apply Stitch & Cuts of the darkest thread
over the medium thread.
- next, apply the medium colour over the
lighter colour.
Work your way back over this first layer of
blending with a second layer.
Use either the lightest colour thread or some
white thread to emphasize the heavier or
more active parts of the waterfall - the top,
where the water is hitting a rock, at the base.
SUGGESTIONS
!
Use Foam or Stretch
Stitch to develop a frothy
effect at the base of the
waterfall.
176
!
- apply Stitch & cuts of the lightest thread
over the medium colour.
- next, apply the medium colour over the
darkest thread.
!
Use either the lightest colour thread or some
white thread to emphasize the heavier or
more active parts of the waterfall - the top,
where the water is hitting a rock, at the base.
SUGGESTIONS
176
!
Work your way back over this first layer of
blending with a second layer.
Use Foam or Stretch
Stitch to develop a frothy
effect at the base of the
waterfall.
Use Blizzard Stitch to
make a gentle flow of
water away from the base
of the waterfall.
Use Reverse or Clip Stitch
to add droplets or
splashes of water to the
lightest coloured area.
176
Work your way back over this first layer of
blending with a second layer.
- apply Stitch & cuts of the lightest thread
over the medium colour.
- next, apply the medium colour over the
darkest thread.
!
Use either the lightest colour thread or some
white thread to emphasize the heavier or
more active parts of the waterfall - the top,
where the water is hitting a rock, at the base.
SUGGESTIONS
!
!
!
Use Foam or Stretch
Stitch to develop a frothy
effect at the base of the
waterfall.
Use Blizzard Stitch to
make a gentle flow of
water away from the base
of the waterfall.
Use Reverse or Clip Stitch
to add droplets or
splashes of water to the
lightest coloured area.
176
WEAVING
WEAVING
This technique creates a basket-weave design
using 4 to 5 colours of 2/4 pull thread and an
ordinary sewing needle. The area is first filled in
with a base layer, keeping the colours in the
same sequence. You then weave the second
layer under and over the warp threads in the
colour order.
This technique creates a basket-weave design
using 4 to 5 colours of 2/4 pull thread and an
ordinary sewing needle. The area is first filled in
with a base layer, keeping the colours in the
same sequence. You then weave the second
layer under and over the warp threads in the
colour order.
Groups of thread, consisting of
one row of each colour will be
worked over the area: 1 row of
each of the 5 colours = 1 group.
Groups of thread, consisting of
one row of each colour will be
worked over the area: 1 row of
each of the 5 colours = 1 group.
The sequence of thread colours
should be repeated for each
Group.
The sequence of thread colours
should be repeated for each
Group.
APPLICATION
APPLICATION
Limited, used most often in original designs -very
few kits utilize this technique.
Limited, used most often in original designs -very
few kits utilize this technique.
TECHNIQUE
TECHNIQUE
FIRST LAYER:
FIRST LAYER:
!
Thread up sewing needles with about 12" of 2/4
pull thread of the various colours being used.
!
Thread up sewing needles with about 12" of 2/4
pull thread of the various colours being used.
!
Bring the first colour up from the back, take one
long stitch up across the whole area and take
the needle to the back.
!
Bring the first colour up from the back, take one
long stitch up across the whole area and take
the needle to the back.
!
Move the needle over to the edge of the next
box and take one stitch down to the bottom.
!
Move the needle over to the edge of the next
box and take one stitch down to the bottom.
177
177
WEAVING
WEAVING
This technique creates a basket-weave design
using 4 to 5 colours of 2/4 pull thread and an
ordinary sewing needle. The area is first filled in
with a base layer, keeping the colours in the
same sequence. You then weave the second
layer under and over the warp threads in the
colour order.
This technique creates a basket-weave design
using 4 to 5 colours of 2/4 pull thread and an
ordinary sewing needle. The area is first filled in
with a base layer, keeping the colours in the
same sequence. You then weave the second
layer under and over the warp threads in the
colour order.
Groups of thread, consisting of
one row of each colour will be
worked over the area: 1 row of
each of the 5 colours = 1 group.
Groups of thread, consisting of
one row of each colour will be
worked over the area: 1 row of
each of the 5 colours = 1 group.
The sequence of thread colours
should be repeated for each
Group.
The sequence of thread colours
should be repeated for each
Group.
APPLICATION
APPLICATION
Limited, used most often in original designs -very
few kits utilize this technique.
Limited, used most often in original designs -very
few kits utilize this technique.
TECHNIQUE
TECHNIQUE
FIRST LAYER:
FIRST LAYER:
!
Thread up sewing needles with about 12" of 2/4
pull thread of the various colours being used.
!
Thread up sewing needles with about 12" of 2/4
pull thread of the various colours being used.
!
Bring the first colour up from the back, take one
long stitch up across the whole area and take
the needle to the back.
!
Bring the first colour up from the back, take one
long stitch up across the whole area and take
the needle to the back.
!
Move the needle over to the edge of the next
box and take one stitch down to the bottom.
!
Move the needle over to the edge of the next
box and take one stitch down to the bottom.
177
177
!
Repeat the above, placing
one row of the first colour in
each box. Do not cut the
thread - set it aside for
further use (stick it into the
side of the canvas).
!
Repeat the above, placing
one row of the first colour in
each box. Do not cut the
thread - set it aside for
further use (stick it into the
side of the canvas).
!
Bring the needle with the
second thread colour up
right beside the first thread
in the first box and take
another long stitch across
to the other side.
!
Bring the needle with the
second thread colour up
right beside the first thread
in the first box and take
another long stitch across
to the other side.
!
Place one row of the
second colour in each box.
Set aside the needle.
!
Place one row of the
second colour in each box.
Set aside the needle.
!
Repeat the above until
each box is filled with one
row of each colour. This
completes the first layer.
!
Repeat the above until
each box is filled with one
row of each colour. This
completes the first layer.
SECOND LAYER:
SECOND LAYER:
LOCKING IN THE WEAVE
LOCKING IN THE WEAVE
Working in the opposite direction (horizontally)
and using the same colour sequence, the method
for the second layer (weaving layer) differs from
the first.
Working in the opposite direction (horizontally)
and using the same colour sequence, the method
for the second layer (weaving layer) differs from
the first.
178
178
!
Repeat the above, placing
one row of the first colour in
each box. Do not cut the
thread - set it aside for
further use (stick it into the
side of the canvas).
!
Repeat the above, placing
one row of the first colour in
each box. Do not cut the
thread - set it aside for
further use (stick it into the
side of the canvas).
!
Bring the needle with the
second thread colour up
right beside the first thread
in the first box and take
another long stitch across
to the other side.
!
Bring the needle with the
second thread colour up
right beside the first thread
in the first box and take
another long stitch across
to the other side.
!
Place one row of the
second colour in each box.
Set aside the needle.
!
Place one row of the
second colour in each box.
Set aside the needle.
!
Repeat the above until
each box is filled with one
row of each colour. This
completes the first layer.
!
Repeat the above until
each box is filled with one
row of each colour. This
completes the first layer.
SECOND LAYER:
SECOND LAYER:
LOCKING IN THE WEAVE
LOCKING IN THE WEAVE
Working in the opposite direction (horizontally)
and using the same colour sequence, the method
for the second layer (weaving layer) differs from
the first.
Working in the opposite direction (horizontally)
and using the same colour sequence, the method
for the second layer (weaving layer) differs from
the first.
178
178
The second layer weaves under and over the
threads of the first layer. It is easier if you hold the
sewing needle by the pointed end and slide the
eye end of the needle under and over the threads
of the first layer.
The second layer weaves under and over the
threads of the first layer. It is easier if you hold the
sewing needle by the pointed end and slide the
eye end of the needle under and over the threads
of the first layer.
Group 1
Group 1
Start with the first shade by sliding the needle
under and over each group of the first layer
(under 5 threads. over 5 threads, under 5. over 5.
etc.). DO NOT MOVE TO THE NEXT BOX - set
the needle aside. Repeat the same under and
over pattern with 1 row of each colour until the
first group is completed.
Start with the first shade by sliding the needle
under and over each group of the first layer
(under 5 threads. over 5 threads, under 5. over 5.
etc.). DO NOT MOVE TO THE NEXT BOX - set
the needle aside. Repeat the same under and
over pattern with 1 row of each colour until the
first group is completed.
Group 2
Group 2
Returning to the first colour of the group, lock in
the weave by reversing the under and over
pattern used with the first group -where you went
under the threads of the first layer, you will now
go over them; where you went over the threads
of the first layer, you will now go under.
Returning to the first colour of the group, lock in
the weave by reversing the under and over
pattern used with the first group -where you went
under the threads of the first layer, you will now
go over them; where you went over the threads
of the first layer, you will now go under.
Repeat the same under and
over pattern for all the colours
of Group 2.
Repeat the same under and
over pattern for all the colours
of Group 2.
Repeat this weaving pattern
for the remaining boxes.
REMEMBER to reverse the
under and over pattern after
each GROUP.
The raw edges of a woven area can be hidden
with a row of a decorative stitch such as Picot or
Cord.
Repeat this weaving pattern
for the remaining boxes.
REMEMBER to reverse the
under and over pattern after
each GROUP.
The raw edges of a woven area can be hidden
with a row of a decorative stitch such as Picot or
Cord.
179
179
The second layer weaves under and over the
threads of the first layer. It is easier if you hold the
sewing needle by the pointed end and slide the
eye end of the needle under and over the threads
of the first layer.
The second layer weaves under and over the
threads of the first layer. It is easier if you hold the
sewing needle by the pointed end and slide the
eye end of the needle under and over the threads
of the first layer.
Group 1
Group 1
Start with the first shade by sliding the needle
under and over each group of the first layer
(under 5 threads. over 5 threads, under 5. over 5.
etc.). DO NOT MOVE TO THE NEXT BOX - set
the needle aside. Repeat the same under and
over pattern with 1 row of each colour until the
first group is completed.
Start with the first shade by sliding the needle
under and over each group of the first layer
(under 5 threads. over 5 threads, under 5. over 5.
etc.). DO NOT MOVE TO THE NEXT BOX - set
the needle aside. Repeat the same under and
over pattern with 1 row of each colour until the
first group is completed.
Group 2
Group 2
Returning to the first colour of the group, lock in
the weave by reversing the under and over
pattern used with the first group -where you went
under the threads of the first layer, you will now
go over them; where you went over the threads
of the first layer, you will now go under.
Returning to the first colour of the group, lock in
the weave by reversing the under and over
pattern used with the first group -where you went
under the threads of the first layer, you will now
go over them; where you went over the threads
of the first layer, you will now go under.
Repeat the same under and
over pattern for all the colours
of Group 2.
Repeat the same under and
over pattern for all the colours
of Group 2.
Repeat this weaving pattern
for the remaining boxes.
REMEMBER to reverse the
under and over pattern after
each GROUP.
The raw edges of a woven area can be hidden
with a row of a decorative stitch such as Picot or
Cord.
Repeat this weaving pattern
for the remaining boxes.
REMEMBER to reverse the
under and over pattern after
each GROUP.
The raw edges of a woven area can be hidden
with a row of a decorative stitch such as Picot or
Cord.
179
179
WEDGE STITCHING
WEDGE STITCHING
As the name implies a 'wedge' is a shorter row or
stitch worked between longer areas to ensure
smooth, even work for:
As the name implies a 'wedge' is a shorter row or
stitch worked between longer areas to ensure
smooth, even work for:
!
an irregular shaped area such as a triangle
where the stitch direction fans out from a very
narrow end to the opposite side which is much
wider.
!
an irregular shaped area such as a triangle
where the stitch direction fans out from a very
narrow end to the opposite side which is much
wider.
!
an area where there is a drastic change in
stitch direction.
!
an area where there is a drastic change in
stitch direction.
This concept of Wedging is applied to single
stitches as well as to rows of stitching.
This concept of Wedging is applied to single
stitches as well as to rows of stitching.
APPLICATION
APPLICATION
Used extensively especially in mountains, flowers.
Used extensively especially in mountains, flowers.
TECHNIQUE
TECHNIQUE
'Wedge Stitches' are
short length stitches
Wedge Rows are rows
of stitches. A Wedge
Row is shorter in length
than the surrounding
rows.
'Wedge Stitches' are
short length stitches
180
Wedge Rows are rows
of stitches. A Wedge
Row is shorter in length
than the surrounding
rows.
180
WEDGE STITCHING
WEDGE STITCHING
As the name implies a 'wedge' is a shorter row or
stitch worked between longer areas to ensure
smooth, even work for:
As the name implies a 'wedge' is a shorter row or
stitch worked between longer areas to ensure
smooth, even work for:
!
an irregular shaped area such as a triangle
where the stitch direction fans out from a very
narrow end to the opposite side which is much
wider.
!
an irregular shaped area such as a triangle
where the stitch direction fans out from a very
narrow end to the opposite side which is much
wider.
!
an area where there is a drastic change in
stitch direction.
!
an area where there is a drastic change in
stitch direction.
This concept of Wedging is applied to single
stitches as well as to rows of stitching.
This concept of Wedging is applied to single
stitches as well as to rows of stitching.
APPLICATION
APPLICATION
Used extensively especially in mountains, flowers.
Used extensively especially in mountains, flowers.
TECHNIQUE
TECHNIQUE
'Wedge Stitches' are
short length stitches
180
Wedge Rows are rows
of stitches. A Wedge
Row is shorter in length
than the surrounding
rows.
'Wedge Stitches' are
short length stitches
180
Wedge Rows are rows
of stitches. A Wedge
Row is shorter in length
than the surrounding
rows.
1. FOR IRREGULAR SHAPED AREAS
1. FOR IRREGULAR SHAPED AREAS
More thread is required to cover the wider end
than the narrow end. If the top area is the
widest, wedge stitches or wedge rows are
worked in the pattern of the letter "M".
Every stitch is worked to the widest area but
only a few reach the narrow end. These
shorter stitches are called Wedge Stitches.
More thread is required to cover the wider end
than the narrow end. If the top area is the
widest, wedge stitches or wedge rows are
worked in the pattern of the letter "M".
Every stitch is worked to the widest area but
only a few reach the narrow end. These
shorter stitches are called Wedge Stitches.
!
Working from the narrow side, take 1 stitch
to the widest edge.
!
Working from the narrow side, take 1 stitch
to the widest edge.
!
Return 1/2 way down the first stitch
(towards the narrow side) and punch. This
is a Wedge Stitch.
!
Return 1/2 way down the first stitch
(towards the narrow side) and punch. This
is a Wedge Stitch.
!
Return toward the widest edge again with a
regular length stitch.
!
Return toward the widest edge again with a
regular length stitch.
!
Return down this third stitch with a Wedge
Stitch which is either shorter or longer than
the first Wedge. If all the Wedges were
punched in at the same point, a row of
punch marks would become visible.
!
Return down this third stitch with a Wedge
Stitch which is either shorter or longer than
the first Wedge. If all the Wedges were
punched in at the same point, a row of
punch marks would become visible.
181
1. FOR IRREGULAR SHAPED AREAS
181
1. FOR IRREGULAR SHAPED AREAS
More thread is required to cover the wider end
than the narrow end. If the top area is the
widest, wedge stitches or wedge rows are
worked in the pattern of the letter "M".
Every stitch is worked to the widest area but
only a few reach the narrow end. These
shorter stitches are called Wedge Stitches.
More thread is required to cover the wider end
than the narrow end. If the top area is the
widest, wedge stitches or wedge rows are
worked in the pattern of the letter "M".
Every stitch is worked to the widest area but
only a few reach the narrow end. These
shorter stitches are called Wedge Stitches.
!
Working from the narrow side, take 1 stitch
to the widest edge.
!
Working from the narrow side, take 1 stitch
to the widest edge.
!
Return 1/2 way down the first stitch
(towards the narrow side) and punch. This
is a Wedge Stitch.
!
Return 1/2 way down the first stitch
(towards the narrow side) and punch. This
is a Wedge Stitch.
!
Return toward the widest edge again with a
regular length stitch.
!
Return toward the widest edge again with a
regular length stitch.
!
Return down this third stitch with a Wedge
Stitch which is either shorter or longer than
the first Wedge. If all the Wedges were
punched in at the same point, a row of
punch marks would become visible.
!
Return down this third stitch with a Wedge
Stitch which is either shorter or longer than
the first Wedge. If all the Wedges were
punched in at the same point, a row of
punch marks would become visible.
181
181
!
If the base of the area is the widest, such
as in a mountain, then the wedge rows are
reversed, following the pattern of the letter
"W' where every stitch is worked to the
bottom but only a few reach the top.
!
If the base of the area is the widest, such
as in a mountain, then the wedge rows are
reversed, following the pattern of the letter
"W' where every stitch is worked to the
bottom but only a few reach the top.
Wedge Rows are used for large areas where
more than one stitch length is required.
Wedge Rows are used for large areas where
more than one stitch length is required.
2. WEDGING FOR CHANGE IN STITCH DIRECTION
2. WEDGING FOR CHANGE IN STITCH DIRECTION
Consists of a single, shorter stitch/row which is
worked between regular stitching to develop a
smooth change of direction.
Consists of a single, shorter stitch/row which is
worked between regular stitching to develop a
smooth change of direction.
APPLICATION
APPLICATION
General knowledge that is used in various
applications.
General knowledge that is used in various
applications.
TECHNIQUE
TECHNIQUE
!
Make one Wedge Stitch/Row
about every 2nd or 3rd
stitch, varying the length.
This will enable you to
'swing' the regular length
stitches around to the
desired direction.
!
Make one Wedge Stitch/Row
about every 2nd or 3rd
stitch, varying the length.
This will enable you to
'swing' the regular length
stitches around to the
desired direction.
!
Working from the narrow side of the area, take
1 stitch/row to the widest edge.
!
Working from the narrow side of the area, take
1 stitch/row to the widest edge.
!
Returning to the narrow side, make one
Wedge Stitch/Row half the length of the first
stitch.
!
Returning to the narrow side, make one
Wedge Stitch/Row half the length of the first
stitch.
182
!
182
If the base of the area is the widest, such
as in a mountain, then the wedge rows are
reversed, following the pattern of the letter
"W' where every stitch is worked to the
bottom but only a few reach the top.
!
If the base of the area is the widest, such
as in a mountain, then the wedge rows are
reversed, following the pattern of the letter
"W' where every stitch is worked to the
bottom but only a few reach the top.
Wedge Rows are used for large areas where
more than one stitch length is required.
Wedge Rows are used for large areas where
more than one stitch length is required.
2. WEDGING FOR CHANGE IN STITCH DIRECTION
2. WEDGING FOR CHANGE IN STITCH DIRECTION
Consists of a single, shorter stitch/row which is
worked between regular stitching to develop a
smooth change of direction.
Consists of a single, shorter stitch/row which is
worked between regular stitching to develop a
smooth change of direction.
APPLICATION
APPLICATION
General knowledge that is used in various
applications.
General knowledge that is used in various
applications.
TECHNIQUE
TECHNIQUE
!
Make one Wedge Stitch/Row
about every 2nd or 3rd
stitch, varying the length.
This will enable you to
'swing' the regular length
stitches around to the
desired direction.
!
Make one Wedge Stitch/Row
about every 2nd or 3rd
stitch, varying the length.
This will enable you to
'swing' the regular length
stitches around to the
desired direction.
!
Working from the narrow side of the area, take
1 stitch/row to the widest edge.
!
Working from the narrow side of the area, take
1 stitch/row to the widest edge.
!
Returning to the narrow side, make one
Wedge Stitch/Row half the length of the first
stitch.
!
Returning to the narrow side, make one
Wedge Stitch/Row half the length of the first
stitch.
182
182
!
Return out to the widest edge again and then
right back to the narrow edge with a full length
stitch/row.
!
Return out to the widest edge again and then
right back to the narrow edge with a full length
stitch/row.
ZIGZAG STITCH
ZIGZAG STITCH
Very basic stitch referred to as a technique more
than a specific stitch. It is worked across the axis
of a straight line.
Very basic stitch referred to as a technique more
than a specific stitch. It is worked across the axis
of a straight line.
APPLICATION
APPLICATION
Used on many scenes for the rough, shadowy
effect of distant trees. Decorative Stitching.
Used on many scenes for the rough, shadowy
effect of distant trees. Decorative Stitching.
TECHNIQUE
TECHNIQUE
!
punch needle from front of canvas, taking the
beginning thread to the back of fabric.
!
punch needle from front of canvas, taking the
beginning thread to the back of fabric.
!
Stitch side to side across the straight line.
!
Stitch side to side across the straight line.
Variations:
Short & Narrow
Variations:
Long & Open
Irregular
Short & Narrow
Long & Open
Irregular
183
!
Return out to the widest edge again and then
right back to the narrow edge with a full length
stitch/row.
183
!
Return out to the widest edge again and then
right back to the narrow edge with a full length
stitch/row.
ZIGZAG STITCH
ZIGZAG STITCH
Very basic stitch referred to as a technique more
than a specific stitch. It is worked across the axis
of a straight line.
Very basic stitch referred to as a technique more
than a specific stitch. It is worked across the axis
of a straight line.
APPLICATION
APPLICATION
Used on many scenes for the rough, shadowy
effect of distant trees. Decorative Stitching.
Used on many scenes for the rough, shadowy
effect of distant trees. Decorative Stitching.
TECHNIQUE
TECHNIQUE
!
punch needle from front of canvas, taking the
beginning thread to the back of fabric.
!
punch needle from front of canvas, taking the
beginning thread to the back of fabric.
!
Stitch side to side across the straight line.
!
Stitch side to side across the straight line.
Variations:
Short & Narrow
Variations:
Long & Open
Irregular
183
Short & Narrow
Long & Open
Irregular
183
Section 111
Section 111
Appendices
Appendices
Appendix 1
Appendix 11
Framing
Colour Chart
Appendix 1
Appendix 11
Framing
Colour Chart
Section 111
Section 111
Appendices
Appendices
Appendix 1
Appendix 11
Framing
Colour Chart
Appendix 1
Appendix 11
Framing
Colour Chart
FRAMING
FRAMING
Trim
Trim
To prepare the completed picture for framing, turn
the work frame over and carefully trim off the
excess thread on the back of the canvas with a
pair of very sharp scissors. Remove the canvas
from the work frame.
To prepare the completed picture for framing, turn
the work frame over and carefully trim off the
excess thread on the back of the canvas with a
pair of very sharp scissors. Remove the canvas
from the work frame.
Mounting
Mounting
The canvas is then stretched and mounted onto a
backboard. 'Foamcore' is recommended because it
is very strong but very light in weight. Other
backings such as heavy cardboard can also be
used. The larger the picture, the stronger the
mounting board. Use two-sided tape and/or staples
to mount and secure the canvas onto the
backboard.
The canvas is then stretched and mounted onto a
backboard. 'Foamcore' is recommended because it
is very strong but very light in weight. Other
backings such as heavy cardboard can also be
used. The larger the picture, the stronger the
mounting board. Use two-sided tape and/or staples
to mount and secure the canvas onto the
backboard.
Mats
Mats
The use of at least one mat is recommended. Mats
serve two purposes - compliments the finished
appearance of the picture but more importantly
acts as a spacer between the canvas and the
glass so that the glass is not resting directly on top
of the threads.
The use of at least one mat is recommended. Mats
serve two purposes - compliments the finished
appearance of the picture but more importantly
acts as a spacer between the canvas and the
glass so that the glass is not resting directly on top
of the threads.
Glass
Glass
Glass is mandatory on all Bunka Shishu pictures
for protection from dust, grease, etc. Regular glass
is most widely used rather than the non-glare type.
Non-glare is more costly and tends to dull the
thread colours and 'flatten' out the 2-dimensional
effect of the stitching.
Glass is mandatory on all Bunka Shishu pictures
for protection from dust, grease, etc. Regular glass
is most widely used rather than the non-glare type.
Non-glare is more costly and tends to dull the
thread colours and 'flatten' out the 2-dimensional
effect of the stitching.
186
186
FRAMING
FRAMING
Trim
Trim
To prepare the completed picture for framing, turn
the work frame over and carefully trim off the
excess thread on the back of the canvas with a
pair of very sharp scissors. Remove the canvas
from the work frame.
To prepare the completed picture for framing, turn
the work frame over and carefully trim off the
excess thread on the back of the canvas with a
pair of very sharp scissors. Remove the canvas
from the work frame.
Mounting
Mounting
The canvas is then stretched and mounted onto a
backboard. 'Foamcore' is recommended because it
is very strong but very light in weight. Other
backings such as heavy cardboard can also be
used. The larger the picture, the stronger the
mounting board. Use two-sided tape and/or staples
to mount and secure the canvas onto the
backboard.
The canvas is then stretched and mounted onto a
backboard. 'Foamcore' is recommended because it
is very strong but very light in weight. Other
backings such as heavy cardboard can also be
used. The larger the picture, the stronger the
mounting board. Use two-sided tape and/or staples
to mount and secure the canvas onto the
backboard.
Mats
Mats
The use of at least one mat is recommended. Mats
serve two purposes - compliments the finished
appearance of the picture but more importantly
acts as a spacer between the canvas and the
glass so that the glass is not resting directly on top
of the threads.
The use of at least one mat is recommended. Mats
serve two purposes - compliments the finished
appearance of the picture but more importantly
acts as a spacer between the canvas and the
glass so that the glass is not resting directly on top
of the threads.
Glass
Glass
Glass is mandatory on all Bunka Shishu pictures
for protection from dust, grease, etc. Regular glass
is most widely used rather than the non-glare type.
Non-glare is more costly and tends to dull the
thread colours and 'flatten' out the 2-dimensional
effect of the stitching.
Glass is mandatory on all Bunka Shishu pictures
for protection from dust, grease, etc. Regular glass
is most widely used rather than the non-glare type.
Non-glare is more costly and tends to dull the
thread colours and 'flatten' out the 2-dimensional
effect of the stitching.
186
186
Yellow/Green
31
Yellow
207
Orange
M119
Red
90
Black
73
Violet
202
201
200
BlueViolet
179
178
177
Turquoise
65
64
63
Blue
This chart lists all the Tokyo Bunka thread colors according to family groupings. The shades within each family are complimentary to
each other; the numbers listed separately are distinct, individual colors that do not belong to any specific family. The letter "M"
designates Metallic thread.
169
74
224
213
191
212
M120
M121
3
214
37
193
4
186
195
12
5
209
159
115
208
M124
39
114
32
61
40
231
219
108
M126
M128
182
233
19
20
77
35
230
87
187
49
21
57
66
38
M134
76
51
81
170
228
226
153
48
55
M118
98
154
184
106
78
229
220
196
M133
53
30
189
203
105
18
227
75
58
21
155
50
225
6
185
M132
27
232
218
M131
M111
80
84
M130
Yellow/Green
31
Yellow
207
Orange
M119
Red
90
Black
73
Violet
202
201
200
BlueViolet
179
178
177
Turquoise
65
64
63
Blue
This chart lists all the Tokyo Bunka thread colors according to family groupings. The shades within each family are complimentary to
each other; the numbers listed separately are distinct, individual colors that do not belong to any specific family. The letter "M"
designates Metallic thread.
169
74
224
213
191
212
M120
M121
3
214
37
193
4
186
195
12
5
209
159
115
208
M124
39
114
32
61
40
231
219
108
M126
M128
182
233
19
20
77
35
230
87
187
49
21
57
66
38
M134
76
51
81
170
228
226
153
48
55
M118
98
154
184
106
78
229
220
196
M133
53
30
189
203
105
18
227
75
58
21
155
50
225
6
185
M132
27
232
218
M131
M111
80
84
M130
Yellow/Green
31
Yellow
207
Orange
M119
Red
90
Black
74
224
73
Violet
202
201
200
BlueViolet
179
178
177
Turquoise
65
64
63
Blue
This chart lists all the Tokyo Bunka thread colors according to family groupings. The shades within each family are complimentary to
each other; the numbers listed separately are distinct, individual colors that do not belong to any specific family. The letter "M"
designates Metallic thread.
169
191
212
213
M120
M121
3
214
37
193
4
186
195
12
5
209
159
115
208
M124
39
114
32
61
40
231
219
108
M126
M128
182
19
20
77
35
230
87
187
49
233
21
57
66
38
M134
76
51
81
170
228
226
153
48
55
M118
98
154
184
106
78
229
220
196
M133
53
30
189
203
105
18
227
75
58
21
155
50
27
225
6
185
232
218
M131
80
M132
M111
84
M130
Yellow/Green
31
Yellow
207
Orange
M119
Red
90
Black
74
224
73
Violet
202
201
200
BlueViolet
179
178
177
Turquoise
65
64
63
Blue
This chart lists all the Tokyo Bunka thread colors according to family groupings. The shades within each family are complimentary to
each other; the numbers listed separately are distinct, individual colors that do not belong to any specific family. The letter "M"
designates Metallic thread.
169
191
212
213
M120
M121
3
214
37
193
4
186
195
12
5
209
159
115
208
M124
39
114
32
61
40
231
219
108
M126
M128
182
19
20
77
35
230
87
187
49
233
21
57
66
38
M134
76
51
81
170
228
226
153
48
55
M118
98
154
184
106
78
229
220
196
M133
53
30
189
203
105
18
227
75
58
21
155
50
27
225
6
185
232
218
M131
80
M132
M111
84
M130
187
187
187
187
160
26
161
183
101
102
Blue Green
160
26
161
183
101
102
Blue Green
M135
60
70
197
198
199
188
56
79
59
206
M116
54
210
204
7
8
9
52
103
104
M117
171
172
173
151
152
180
181
205
Green
M135
60
70
197
198
199
188
56
79
59
206
M116
54
210
204
7
8
9
52
103
104
M117
171
172
173
151
152
180
181
205
Green
Grey
Brown
Peach
89
22
1
White
Beige
158
157
156
194
220
192
221
222
223
85
2
211
68
86
Pink
160
26
161
183
101
102
Blue Green
M135
60
70
197
198
199
188
56
79
59
206
M116
54
210
204
7
8
9
52
103
104
M117
171
172
173
151
152
180
181
205
Green
Pink
Green
Beige
Blue Green
White
33
34
36
Peach
175
176
M112
190
67
69
13
62
174
Brown
89
22
1
M129
16
17
11
29
109
10
23
24
82
88
M112
M127
Grey
33
34
36
160
26
161
183
101
102
175
176
M112
190
67
69
13
62
174
158
157
156
194
220
192
221
222
223
85
2
211
68
86
162
163
164
165
168
215
216
217
28
41
25
15
83
M122
71
72
107
166
167
44
47
14
45
43
46
42
M129
16
17
11
29
109
10
23
24
82
88
M112
M127
162
163
164
165
168
215
216
217
28
41
25
15
83
M122
71
72
107
166
167
44
47
14
45
43
46
42
M135
60
70
197
198
199
188
56
79
59
206
M116
54
210
204
7
8
9
52
103
104
M117
171
172
173
151
152
180
181
205
Grey
Brown
Peach
Peach
33
34
36
Brown
M129
16
17
11
29
109
10
23
24
82
88
M112
M127
Grey
33
34
36
162
163
164
165
168
215
216
217
28
41
25
15
83
M122
71
72
107
166
167
44
47
14
45
43
46
42
M129
16
17
11
29
109
10
23
24
82
88
M112
M127
162
163
164
165
168
215
216
217
28
41
25
15
83
M122
71
72
107
166
167
44
47
14
45
43
46
42
White
Beige
Pink
Pink
89
22
1
Beige
175
176
M112
190
67
69
13
62
174
White
158
157
156
194
220
192
221
222
223
85
2
211
68
86
89
22
1
175
176
M112
190
67
69
13
62
174
158
157
156
194
220
192
221
222
223
85
2
211
68
86
188
188
188
188
** 1ST EDITION
** THE ENTIRE CONTENTS
OF THIS BOOK ARE
COPYRIGHTED : 1986
** 1ST EDITION
Karen Schilthuis
The Creative Bunka Needle Inc.
** 2ND EDITION ** THE ENTIRE CONTENTS
OF THIS BOOK ARE
COPYRIGHTED : 1992
** THE ENTIRE CONTENTS
OF THIS BOOK ARE
COPYRIGHTED : 1986
Karen Schilthuis
The Creative Bunka Needle Inc.
** 2ND EDITION ** THE ENTIRE CONTENTS
OF THIS BOOK ARE
COPYRIGHTED : 1992
Bunka With Flair
511 East Avenue
West Hill, Ontario
Canada, M1C 3K5
416-282-9257
Bunka With Flair
511 East Avenue
West Hill, Ontario
Canada, M1C 3K5
416-282-9257
189
** 1ST EDITION
** THE ENTIRE CONTENTS
OF THIS BOOK ARE
COPYRIGHTED : 1986
Karen Schilthuis
The Creative Bunka Needle Inc.
** 2ND EDITION ** THE ENTIRE CONTENTS
OF THIS BOOK ARE
COPYRIGHTED : 1992
Bunka With Flair
511 East Avenue
West Hill, Ontario
Canada, M1C 3K5
416-282-9257
189
** 1ST EDITION
** THE ENTIRE CONTENTS
OF THIS BOOK ARE
COPYRIGHTED : 1986
Karen Schilthuis
The Creative Bunka Needle Inc.
** 2ND EDITION ** THE ENTIRE CONTENTS
OF THIS BOOK ARE
COPYRIGHTED : 1992
Bunka With Flair
511 East Avenue
West Hill, Ontario
Canada, M1C 3K5
416-282-9257
189
189
THIS BOOK BELONGS TO:
THIS BOOK BELONGS TO:
ADDRESS :
ADDRESS :
TELEPHONE :
TELEPHONE :
NOTES :
NOTES :
THIS BOOK BELONGS TO:
THIS BOOK BELONGS TO:
ADDRESS :
ADDRESS :
TELEPHONE :
TELEPHONE :
NOTES :
NOTES :

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